JET alum Washington Post reporter seeks contacts with relatives in Sendai
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Via JETAA DC:
Hi all — I’m a Washington Post reporter and former JET (Hiroshima ’02) looking for any local dc-area connections to the quake for a story on local reaction. In particular seeking anyone who might have relatives in the Sendai region or any of you who were based there for JET and have friends/former colleagues there that you are trying to reach. We are on an immediate deadline, so please email me asap with a contact phone number if you have such a story to share.
Domo,
David Nakamura
nakamurad [at] washpost.com
JQ Magazine: JQ&A with Yumi Tanaka of the New York Peace Film Festival
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See ‘A Thousand Cranes’ at the New York Peace Film Festival March 12-13. (Daiei Motion Picture Co.)
By JQ magazine editor Justin Tedaldi (CIR Kobe-shi, 2001-02). For more Japanese culture, visit his Examiner.com page here.
Manhattan’s Upper East Side kicks off the weekend with the 4th Annual New York Peace Film Festival, which promotes a deeper understanding of international relations from films and presentations worldwide. Saturday focuses on the devastation of the atomic bomb, beginning with the 1958 Japanese film A Thousand Cranes, the story of young Hiroshima bomb victim Sadako Sasaki. JQ caught up with Yumi Tanaka, the festival’s co-founder and executive producer, for this exclusive interview.
Tell us a little about yourself.
I was born and raised in Japan and came to the States to attend college. Upon graduation, I landed a job and remained in the country. When I moved to NYC for a job, I also started taking an acting class. I thought it will help me at business meetings when I have to do a presentation. I loved theater since I was a child. My first experience was with the Takarazuka Revue at the age of three with my father. I studied theater, as literature helped me taking these acting classes, and I was recommended to do a stand-up comedy workshop then. That’s how I started doing stand-up comedy while holding a real job. Then, I pursued the entertainment industry. I took serious acting classes from a teacher who had taught many famous comedians like Ray Romano, and the list goes on.
It was 9/11 that changed my life. I wanted to do something more meaningful instead of being onstage at smelly comedy club to make drunks laugh. In 2005, I met a Hiroshima survivor visiting New York for an NPT [Nuclear Non-Proliferation Treaty] conference. He told me his life story; how he was hiding as a hibakusha [atomic bomb survivor] for a long time. Then, he said, “Hibakusha are getting older. If we all die, the, there’s no people who carry on to tell our stories.” That was the moment. I thought I could use my knowledge and experiences with theater to tell their story.
In 2006, I met Jonathan Fluck, who used to run children’s theater for over 20 years. He had just produced a poetry performance of Hiroshima and Nagasaki. A mutual friend introduced us. Although Jonathan had never been to both cities, his passion towards nuclear abolition was in sync. So we started the New York Peace Film Festival in 2007, and we’ve held one every year except 2009 due to the bad economy.
Exploring Eastern and Western Creativity: Q and A with Michael W. Morris – by Jennifer Olayon
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Michael Morris and Jennifer Olayon. Photo by JET alum Francis Lee.
Here’s a JET-relevant interview titled “Exploring Eastern and Western Creativity: Q & A with Michael W. Morris“ that appeared recently in AsianLife.com magazine and was conducted and written by former JETAANY President Jennifer Olayon.
Jennifer is a Contributing Editor for AsianLife.com magazine and previously served as a Senior Program Officer at Columbia Business School’s Center on Japanese Economy and Business. She is currently open to work and consulting opportunities in Human Capital Management and Diversity and Inclusion areas.
Michael W. Morris is the Chavkin-Chang Professor of Leadership and Director of Program on Social Intelligence at Columbia Business School and leading expert on relationships, conflict resolution, decision-making, and creativity, with a special interest in the role of culture.
Here’s an excerpt from the interview:
“There is a popular stereotype that Easterners are less creative; that they are imitative rather than inventive. While this stereotype is heard in the West, it is heard even more so in East Asia, which surprised me when I first began studying this topic. The creativity problem is a central topic in the social discourse of many East Asian nations, worried about making the transition from manufacturing economies to design and innovation-based economies. In bestsellers with titles like Can Asians Think? Asian polemicists have advanced theories about ways that Asian culture, language, socialization and schooling stunt creativity through hindering abstract critical thinking and molding conformist characters. This sells books, but I think it’s inaccurate.”
Justin’s Japan: NYC Hosts March Anime, Yakuza Film Fests
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'Welcome to the Spaceshow,' an animated entry for this year's New York International Children's Film Festival. (Aniplex)
By JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his page here to subscribe for free alerts on newly published stories.
Anime sci-fi and a Studio Ghibli-inspired effort from China are the Eastern animation highlights at this year’s New York International Children’s Festival, running March 4 to 27 in Manhattan. The acclaimed festival received national attention two years ago when it hosted the premiere of The Secret of Kells, a European fantasy film that was later nominated for an Academy Award for Best Animated Feature.
North America’s largest film festival for children and teens, NYICFF offers an eye-opening selection of the best new animated and live action film from around the world for ages 3 to 18, with gala premieres, filmmaker Q&As, filmmaking workshops, pre-screening giveaways, audience voting, and the NYICFF Awards Ceremony. Its jury this year includes Uma Thurman, Matthew Modine, Susan Sarandon, Gus Van Sant, James Schamus, Christine Vachon, Michel Ocelot, and John Turturro.
From March 9-19, New York’s Japan Society simmers nearly 50 years of yakuza (Japanese mafia) movies—a mainstay of Japanese cinema—in the Globus Film Series Hardest Men in Town: Yakuza Chronicles of Sin, Sex & Violence, featuring 15 of the genre’s sharpest selections.
In addition to acclaimed classics by directors Hideo Gosha (The Wolves) and Kinji Fukasaku (Cops vs. Thugs, Battles Without Honor and Humanity), the series includes lesser known titles and overlooked treasures by Seijun Suzuki (Youth of the Beast), Takashi Miike (Dead or Alive), Rokuro Mochizuki (A Yakuza In Love, Onibi: The Fire Within), and Academy Award winner Sydney Pollack (The Yakuza), as well as contemporary incarnations of the genre such as Takeshi Kitano’s Outrage. Among eight premieres, four will receive their first screening outside of Japan.
The fest ignites Wednesday (March 9) with a special introduction and live Q&A by celebrated filmmaker Paul Schrader for The Yakuza, Sydney Pollack’s overlooked 1970s gem starring Robert Mitchum and Ken Takakura. The film was Schrader’s debut as a screenwriter (in collaboration with his brother Leonard and Chinatown scribe Robert Towne), and he would go on to pen the scripts for Martin Scorsese’s Taxi Driver and Raging Bull and direct such diverse works as American Gigolo and Mishima, among others. Few films show more deference and respect to Japanese film culture than The Yakuza, which has been lauded as the most original introduction to its eponymous genre.
- ‘Outrage,’ a new crime drama by Takeshi Kitano, left, premieres as part of Japan Society’s Hardest Men in Town film festival, March 9-19. (‘Outrage’ Production Committee )
JETs quoted in article on English teaching in Japanese elementary schools
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New AJET Chair Matthew Cook (Osaka) as well as Beppu City JET May Schlotzhauer are both quoted in a nice Epoch Times article titled “Japanese Elementary Teachers Take On Teaching English.” (Yes, Epoch Times is the paper connected with Falun Gong, but they have a mix of regular reporting together with propaganda.)
While the article includes some cynical, provocative quotes, it’s also nice to see that the JETs quoted are the voice of experience, perspective and reason in thinking about and commenting on the new requirement to have English in 5th and 6th grades in Japan. This makes sense as JETs are actually working in the schools with teachers and students and positioned to be informed commentators.
Also interesting, toward the end of the article is a description of a proactive attempt by Cook to help prepare the elementary school teachers in his district for the coming requirement. A good example of a role that JETs can (and likely already do) play in school districts around Japan.
“Hoping to help prepare elementary teachers to teach English, Cook lobbied the board of education to host a training seminar, but was turned down. Later the board agreed to allow his school to offer a voluntary seminar to teachers from three local elementary schools. The seminar will be offered once, lasting no more than two hours.”
Here’s the link to the full article:
NYT Column: Take Back the Trash by JET alum Bruce Feiler
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“Take Back the Trash“ is a thoughtful column on whether to throw out food in your refrigerator by JET alum Bruce Feiler, author of Learning to Bow, Walking the Bible and several other best-sellers including his recent book The Council of Dads:
http://www.nytimes.com/2011/03/06/fashion/06ThisLife.html?pagewanted=1&_r=2
Justin’s Japan (or America): Oscar Winner + Film Director Q&As
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Academy Award-winning songwriter Randy Newman. (Pamela Springsteen)
JetWit is proud to announce that JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) is now the official Music Q&A and Perfoming Arts Q&A reporter for Examiner.com‘s national page! Kicking off his new channels are exclusive interviews with Academy Award-winning songwriter Randy Newman and filmmaker Kevin Smith.
Visit Justin’s site here to subscribe for free alerts on newly published stories.
Writer/actor/director Kevin Smith. (Mark Mainz/Getty Images)
Justin’s Japan: Q&A with Billy Sheehan of Mr. Big
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- Billy Sheehan of platinum-selling rock group Mr. Big. (William Hames)
By JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his page here to subscribe for free alerts on newly published stories.
Considered by many to be the Eddie Van Halen of bass, Billy Sheehan launched his recording career in the late ’70s with the Buffalo-based rock trio Talas, then joined original Van Halen frontman David Lee Roth’s band in the mid-’80s for two platinum-selling albums. After parting with Diamond Dave, Sheehan formed Mr. Big in 1988. Best known for its hit ballad “To Be with You”—which went to number one in 15 countries including the U.S. in 1992—Mr. Big called it quits a decade later, but in 2009 the original lineup reformed for a massive tour of Asia and Europe.
In February, the band released What If…, the first album in 15 years from the reunited rockers, which instantly went gold in Japan upon release. I spoke with Billy about the new album, his long relationship with Japan, and Mr. Big’s future touring plans.
What are some of your favorite “culture shock” memories from Japan?
Let’s see. Well, I toured with a Japanese band called B’z [in 2002], and they’re a huge band. One of their singles released that I played on [1999’s “Giri Giri Chop,” with Pat Torpey] sold, I think, three or four million units in a day; they’ve sold more records in Japan than Madonna has sold. Amazing statistics; wonderful bunch of guys, too. But we’ve played in little, tiny places where very few Western bands have ever performed. We did a thing on this little island where at the hotel there weren’t even Western numbers on the doors, so I had to remember the character of the kanji on the door to try to remember which door was mine, and that was an interesting moment for me.
It must have been a thrilling experience to go on tour with them.
We played all over. In Mr. Big, that’s one thing we’ve done, as well. Most bands [play] Tokyo, Osaka, Nagoya, and that’s it. But we’ve done Sendai, Kagoshima, Niigata, Sapporo, Fukuoka; all kinds of little places, a lot of places where many bands don’t get to. In Sendai, the first time we played there, we found out that they were having a petition to have Mr. Big play there. It had 30,000 signatures on it, and the place we were playing could only hold about 5,000 people, so we asked, what happened to the other 25,000 people that signed the thing? It was pretty fun; a sweet, sweet beautiful little city, great spot. We were very lucky to see a side of Japan that not a lot of Westerners see. It’s a very inspirational experience.
In your opinion, how do you think Japan has changed from the time you first went there up until now?
I know the economy’s been in trouble for a while, so now we’re starting to see things like discount stores and prices that aren’t set anymore; that’s a new thing for them, to go into a store and not pay absolute full retail for something, which they did for a long, long time. Now, they’re actually looking for bargains. That’s an interesting cultural change that not a lot of Japanese folks are used to. Also, the idea that once you work for a company, you are there for a lifetime of work; it’s not as secure anymore. So, I do believe there is a little bit of concern and worry amongst the average folks now that things are changing, and it’s sad to see. It’ll be interesting to see how things play out in the end.
When you played the Mr. Big reunion shows in Japan in 2009, did you notice any shift in the people who were coming to the shows?
We were very, very surprised at how many young kids were in the audience. We had a few gray heads of hair out there, too, of course, but there was amazingly a very large amount of very young kids, because I guess like any band, when you’re fortunate enough to get to some plateau of success, things start to kind of become timeless, as with this whole Beatles fans thing—I’m not comparing ourselves to them, of course, but same principle. So, we’re pleasantly surprised to see a lot of very young people whose parents probably turned them on to it, or their older brothers or sisters. So, that was a great thing.
You’re spanning generations now over there.
Yeah, I think there’s probably three generations easily being represented in the audience. We’re so thankful.
You’ve been known to get extra work and gigs in Japan over the years, like the B’z tour, Hard Rock Cafe radio spots, bass clinics, and other appearances. Do these usually come to you by reputation, or do you have to actively campaign for them?
Generally, they come to me, which I’m humbled by. It’s awful nice of them to consider me for their endorsement things and what have you. Fortunately, the press in Japan is thorough and omnipresent, so we really get a lot of coverage, and if we get fortunate enough to have a reputation that precedes us, that’s pretty cool. And it’s been an incredibly lucrative thing, to be frank—we’ve made a lot of money from Japan. And when we played there, we realized that. So, we played, and I came off the stage and practically collapsed from exhaustion a couple of times, because we push hard in our appreciation for what we have now as a result of the fans there. We don’t forget it for a minute. That’s pretty awesome.
Click here for the complete interview.
JET alum sake expert spotlighted in Japan Times
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Today’s Japan Times makes mention of JET alum and leading sake expert John Gauntner (a.k.a. The Sake Guy), author of the Sake World E-Newsletter. In the article, which highlights sake’s growing popularity around the world, Gauntner recalls his long journey with the rice-based beverage — from love at first sip to his current status as the first and only non-Japanese certified “sake expert assessor”.
Check out the article, “Foreign sake experts win over hearts, palates”.
Gauntner is a noted lecturer on sake who travels the world speaking on the topic. He has published a score of books on sake and spoke at Japan Society last May. To learn more about him and sake, visit his website www.sake-world.com.
Justin’s Japan: Q&A with Yuki Chikudate of Asobi Seksu
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Asobi Seksu singer/keyboardist Yuki Chikudate. (Polyvinyl Record Co.)
By
JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his pages here to subscribe for free alerts on newly published stories.
Formed in New York City in 2001, the band Asobi Seksu and its core members Yuki Chikudate (vocals, keyboards) and James Hanna (guitar) cut their teeth in the indie shoegaze and dream pop scene as it graduated from a dense, textured guitar-based sound to a more abstract, atmospheric approach.
Fluorescence, the band’s fourth and latest studio album, hits stores today (Feb. 15). I caught up with Chikudate prior to the band’s sold out show at New York’s Mercury Lounge later this week for this exclusive interview.
What kind of goals did you and James have recording Fluorescence?
We knew that we were interested in making an album that better captured what we sound like live. We wanted it to be colorful.
How did you approach the recording compared to your other albums?
The approach was to let go and have fun. I think we felt a lot more relaxed this time—it was summer.
Do you have any other special plans for promoting the album in addition to touring?
Hoping to play some festivals this year—outdoor shows are the best!
I read that you grew up in Southern California and attended a school for children of Japanese expatriates who planned to return home after several years abroad. Was this your first brush with Japanese culture outside the home, and how do you think the experience influenced your view of Japan or the way this aspect of its society operates?
I was born in Japan, so no, it wasn’t my first experience with Japanese culture outside my home. My view of Japan was that all my family was there. Sometimes I wished that it wasn’t so far away. As a kid, the strict disciplinary nature of Japanese school sucked!
Click here for the rest of the interview.
Justin’s Japan: Tak Matsumoto of B’z wins first Grammy
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'Take Your Pick' was named Best Pop Instrumental Album last night at the 2011 Grammys. (335 Records/Vermillion Records)
By JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his NY Japanese Culture page here to subscribe for free alerts on newly published stories.
While Justin Bieber came up empty, Takahiro Matsumoto of the J-rock band B’z won big at the 53rd annual Grammy Awards in Los Angeles last night (Feb. 13).
The famed 49-year-old guitarist, commonly known Tak Matsumoto, netted his very first Grammy gold (Best Pop Instrumental Album) for Take Your Pick, a collaboration with the equally legendary American guitarist Larry Carlton.
Carlton, whose licks Matsumoto admitted to copying as a teenager, has been recording since the 1960s and has played on over 100 gold and platinum records, including discs by Steely Dan, Michael Jackson and Billy Joel. Take Your Pick, which contains original compositions by the duo supported by American session players, was released last June and goosed by a two-month Japanese tour by the axe slingers.
“I had never told anyone until now, but the Grammys was one of my dreams and a big goal,” Matsumoto said yesterday after winning the award. This was Carlton’s fourth win and 19th nomination overall.
Click here for the rest of the story.
NYTimes column: “Dominating the Man Cave” by JET alum Bruce Feiler
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A thoughtful column in today’s New York Times on the topic of ESPN and man culture by JET alum Bruce Feiler, author of Learning to Bow, Walking the Bible and several other best-sellers including his recent book The Council of Dads:
http://www.nytimes.com/2011/02/06/fashion/06ThisLife.html?_r=1&src=twrhp
Justin’s Japan: Interview with stylist Haruo Noro on NYC’s Lunar New Year Celebration
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Haruo Noro brings his unique stylings to NYC's Lunar New Year Celebration Saturday, Feb. 5. (Courtesy of Julia Dubrovich)
By JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his NY Japanese Culture page here to subscribe for free alerts on newly published stories.
Haruo Noro came to the U.S. to open his own salon after finding success as a stylist in Japan and London. Last year, he worked with the networking site AsianInNY on their “Lucullen” Lunar New Year Fashion Show for designer Joyce Huang. Today (Feb. 3) marks the beginning of the Lunar New Year, and to ring in the Year of the Rabbit AsianInNY has teamed up with the Greater Chinatown Community Association to present their Lunar New Year Celebration this Saturday in Manhattan. I caught up with Noro, who is again working with his stylists and make-up artists for this distinguished cultural event.
Please tell us about your journey to New York from Japan.
I was born and raised in Aomori, Japan, within a family of stylists. My initial training, cutting technique, discipline and inspiration was born here as well. As my experience grew, so did my thirst for new adventures. I wanted to see the world of fashion and beauty. I wanted to expand my knowledge and creativity.
The salon sponsored me to continue my education in London at the Vidal Sassoon Academy, which is where I first experienced a full variety of hair types and textures. London opened my mind through its culture and fashion, giving me the confidence with my skills and the possibilities in the styling industry.
I have been lucky to have had an offer as an assistant to a top stylist in New York City, Oscar Blandi, through which my learning experience continued. I fully blossomed into a complete stylist during my time there. I continued on to Rita Hazan and then my path became clear. I opened my very own salon, which is in the vision as I have always imagined. Fashion, beauty, diversity and creativity here is endless.
How did you first get involved with AsianInNY? What events have you worked on with them before and what was the reaction from the public?
I first got involved with AsianInNY in 2010. When I heard about this opportunity, I was very excited to be part of the Lucullen Fashion Show at the Lunar New Year Celebration. I was especially enthusiastic about having the support of the Asian community in New York, which I am a part of. The designer loved our work, a sophisticated braided bun, which complimented the garments and added a stylish flair. We have received many positive reviews and are happy to be back this year as a sponsor for AsianInNY’s biggest Lunar New Year Celebration in New York City, this time doing both hair and make-up for two designers, as well as singers participating in the show.
What kind of styling are you doing for the upcoming Lunar New Year Celebration and who are you working with?
We will be styling for two designers Way Zen and Janet Zheng. I will be working with my salon team. Haruo Noro Salon will be doing both hair and make-up. The hair for Way Zan collection will be simple yet romantic, loose updos. The hair for Janet Zheng menswear will be natural yet edgy. The make-up lead artist Wenya Chang describes the look as a beautiful look that simply emphasizes the natural beauty of the woman. Light shimmery brown on the eyes, with a rosy flush on the cheeks and a glossy natural lip color. Most importantly, a sexy, dewy complexion.
How would you describe your own style in determining the perfect cut? Did you find yourself adapting your creativity in order to match the image of the Lunar New Year Celebration?
I am always inspired by the artistry in the designs and intuitively create what I see as a companion piece of art. I strive to create a masterpiece each and every time.
Click here for the complete interview.
There’s a nice piece today by Dan Moeller on The Wide Island View (a really high-quality JET-produced webzine for Hiroshima-ken) looking into the similarities between the Philly Phanatic and Slyly, the Hiroshima Carp’s mascot. In the process, Dan comes to grips with the overlap and digs below the costume to reveal some interesting things about the two mascots:
http://www.wideislandview.com/2011/02/the-hiroshima-carp-and-slyly-their-mascot/
Correction: The Wide Island View is independent and not an official AJET publication, as previously stated. Thanks to Dan for pointing that out and apologies for the confusion.
Justin’s Japan: Interview with Ary Warnaar of Anamanaguchi
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- See Ary Warnarr with Anamanaguchi at New York’s Silent Barn Saturday, Feb. 5. (Leia Jospe/leiajospe.carbonmade.com)
By JQ magazine’s Justin Tedaldi (CIR Kobe-shi, 2001-02) for Examiner.com. Visit his NY Japanese Culture page here to subscribe for free alerts on newly published stories.
The music of Anamanaguchi is part hacked Nintendo Entertainment System, part crowd surfing rave. The Brooklyn-based foursome and chiptune vanguards are on an artistic roll after releasing an acclaimed video game soundtrack based on the film Scott Pilgrim vs. the World, and earlier this month the band played packed houses at both The Studio at Webster Hall as a headliner and Irving Plaza with Super Mash Bros.
If you missed them, fear not: Anamanaguchi returns this Saturday at Silent Barn. I caught up with their co-guitarist and songwriter Ary Warnaar for this exclusive interview.
How did Anamanaguchi form, and what made you decide to specialize in playing chiptune music?
Pete [Berkman, the band’s lead songwriter] started writing chip music in 2003 and was releasing it online under the name Anamanaguchi. Once there was a demand for the music in a live setting, Pete decided to form a band. Over the years the lineup changed quite a bit, but solidified in 2007-08 with Pete on guitar, James [DeVito] on bass, Luke [Silas] on drums and me on guitar as well. I started messing around with chip music when I met Pete and James at New York University in the music technology program. I had been writing electronic music for most of my teen years and had become quite bored with most software by the time I entered college. Modern music software gives you unlimited options in terms of creation, and often lets you skip most steps of creation with presets and loops…software for limited sound chips (such as the 2A03 in the Nintendo Entertainment System) does the exact opposite. You’re extremely limited and are forced to make every note and every sound count. I found that the primitive software and extreme limitations actually made me write more complex music, and helped me focus on expressing myself. The harsh sound palette of simple squarewaves and white noise was also a breath of fresh air to me…overproduced lush sounding electronic music drenched in reverb and pads with hundreds of channels can get kinda boring. Chiptune music is a nice way of going back to basics.
What does the band’s name mean?
Before studying music technology, we were all fashion majors at the Parsons School of Design. Pete and James both interned for Armani, I was a secretary at Prada, and Luke worked at the Gucci store in SoHo. Whenever we showed up at fashion parties, people would always call us as the “Armani-Prada-Gucci” boys. After a couple bottles of Veuve Clicquot, people just started slurring the nickname into “Anamanaguchi.” We quickly realized the fashion world wasn’t for us, but that name just stuck when we made the shift to being a band.
Tell us about your history with Japan. How did it pop up on your radar, what made you want to go there, and how do you keep up your connection with it back home?
Hmm…I’m sure we all have different answers for this. I’ll start with answering for the band, and then get more personal:
As a band, we have never been to Japan.
As a band, we are DYING to go to Japan.
Touring in Japan is kinda our number one dream. Japanese culture, and more specifically, its music scene, is totally awesome. Even the chip-scene in Japan is amazing with artists like quarta330, USK, Maru, Aonami, Cow’P, BSK, YMCK, etc., etc…..
Personally, I have been to Japan twice. I went to Tokyo a couple summers ago and loved it so much that a week after I got back home, I bought another ticket right back to Japan to go to the Fuji Rock Festival. BEST TIME EVER. I’m always keeping up with what’s coming out of Japan, whether it’s reading blogs online searching for new Japanese artists, or asking my girlfriend to buy me clothes when she goes back to Tokyo to visit her family.
What’s your fanbase in Japan like? What things would you like to see and do there on tour?
I don’t really know what our fanbase is like in Japan…I know we have fans there, but we have yet to meet any of them! Hopefully we’ll be out there sooner than later. I love Tokyo, but haven’t really gotten a chance to see any other cities in Japan. Touring would be an awesome excuse to see all of Japan.
Click here for the complete interview.
