Yoshiki (X Japan) | The Magnificent Others with Billy Corgan

Summary

The Magnificent Others with Billy Corgan

Episode: Yoshiki (X Japan) | July 1, 2026
Guest: Yoshiki (X Japan)
Host: Billy Corgan

---

Episode Overview

In this profound and wide-ranging conversation, Billy Corgan sits down with Yoshiki—visionary musician, composer, and leader of the legendary Japanese band X Japan. The episode explores Yoshiki’s journey from his formative years to global success, the birth and influence of Visual Kei, the impact of loss and resilience, and his expansion into business, fashion, and technology. Yoshiki generously shares his insights into Japanese culture, creativity, and the ongoing transformation of the music industry.

---

Key Discussion Points & Insights

1. The Roots of Disruption: Yoshiki's Early Influences

• Yoshiki describes his classical upbringing starting piano at age 4, shifted to drums inspired by rock (03:21).
• The tragic suicide of his father was a driving emotional force, fueling rebellion and artistic extremity.
  • Quote: “I thought that music or art should be more free. There's no rule. I wanted to disrupt everything I could think of.” — Yoshiki (00:48)

2. The Birth of Visual Kei and X Japan’s Identity

• Explains how X Japan organically combined classical, glam, punk, and thrash metal—taking visual presentation to bold extremes.
• Influence from his family’s kimono business and Japanese traditions like Kabuki and anime.
• Host’s perspective: To American musicians in the early '90s, X Japan’s look felt "alien" and "from another planet" (03:21–08:29).
• Quote: “We didn't want people to define who we are.” — Yoshiki (05:05, 09:51)
• Vivid story of rebellion: being punished for dying hair as a student (06:53).

3. Japanese Rock Culture vs. the West

• Corgan probes why X Japan’s innovation felt inherently Japanese and why the country lacked a true "rock culture" until X Japan's time (10:30–13:50).
• Yoshiki notes the initial dominance of Western influence, little native rock, and why X Japan didn’t consciously try to “represent” Japan (12:30).
• Many key aesthetic and emotional choices grew organically, including piano solos at thrash metal shows and accidental visual innovations (15:16–16:28).

4. The Unique Sound and Method of X Japan

• Yoshiki’s detailed, classical-method composing: charting every note, even guitar solos (18:08).
• Integration of Japanese melody over heavy music, influencing generations and even K-pop.
  • Quote: "I wrote every single note, even guitar solo to the really music score." — Yoshiki (18:08)
• Host notes enduring influence: “Even now, I hear so many bands doing what you guys were doing 30 years ago.” (20:16)

5. Relationship with Japanese Audiences and Cultural Reception

• Japanese audiences are both “contained but explosive”—extremely quiet at times, but also incredibly passionate (21:39–23:26).
• Corgan and Yoshiki reflect on historic Tokyo Dome shows and the connection X Japan built with its fans.

6. DIY Spirit and Building an Empire

• Yoshiki describes leveraging punk DIY ethos to create an independent label, using a $100,000 loan from his mother, and repaying it tenfold (24:38–27:40).
  • Quote: "I wanted to do something crazy... I just want to do something new." — Yoshiki (24:38)

7. Success, Pressure, and Internal Band Challenges

• Billy contextualizes X Japan’s success as greater than Western bands in Japan; Yoshiki discusses pressure, fast escalation (36:20).
• The struggle to transition success to the West; linguistic and cultural barriers (39:20–43:52).
• Reflections on the band’s breakup, survivor’s guilt, and the loss of members Hide and Taiji (44:58–47:17)
  • Quote: "To face the death of band members, I was like, what did I do? ... If they didn't join my band, maybe they are still alive or something like this." — Yoshiki (47:17)

8. Reinvention, Recovery, and the ‘Artist’ Identity

• After the breakup and deep depression, Yoshiki contemplated quitting performing; composing for the Emperor rekindled his desire to play (55:56–57:27).
• Host explores the depth of Yoshiki’s multi-industry career: music, fashion, wine, technology.

9. Business as Art – The Yoshiki Empire

• Discusses transition from musician to brand/empire: fashion (Maison Yoshiki), wine, AI Yoshiki (64:16, 66:33).
• Yoshiki's philosophy: “I feel like I’m not doing business—I’m still creating the art.” (66:16)
• On setbacks and resilience: “Once you say I gave up, then you fail… If you don’t give up, may take another decade or two.” (61:57)
• No secret partner: “I have a lot of amazing staff. Amazing business partners, I guess. But it all goes through me.” (64:39, 61:34)

10. Creativity, Resilience, and Identity

• Yoshiki recounts fragile confidence, insecurity, and maintaining a positive outlook through charity and “doing good deeds” (68:08–69:16).
• The balance of living as both a creative and a businessperson.

11. Legacy, AI, and the Future of Music

• Both discuss the existential threat and opportunity of AI in music—can organic music survive? (73:26–78:51)
• Yoshiki believes “organic music should exist more than 50%” (77:52), while Billy is less optimistic.
• On human imperfection in performance as the irreplaceable core: “...people will travel all over the world to see you play it because they want to hear what you’re going to do—not just to play it perfect, but play it in that moment.” — Billy Corgan (80:25)
• Yoshiki agrees, sharing stories of unpredictable, heartfelt live performance (81:24–82:44).

12. Virtual Performances and Digital Legacies

• Debate on fully virtual concert experiences like ABBA Voyage & KISS: Yoshiki is open-minded, having used holograms for late bandmates, but values the irreplaceable “shared moment” of live human experience (83:54–85:50).

---

Notable Quotes & Moments with Timestamps

• On artistic freedom and disruption:
  "I thought that music or art should be more free. There's no rule. I wanted to disrupt everything I could think of." — Yoshiki (00:48)

• On starting Visual Kei:
  "We didn't want people to define who we are." — Yoshiki (05:05)

• The role of rebellion:
  "I was so rebel against everything. I hated life because I think that my father's suicide just had a lot of influence towards me. So I did completely opposite." — Yoshiki (06:13)

• On composing all parts:
  "I wrote every single note, even guitar solo to the really music score." — Yoshiki (18:08)

• On organic innovation:
  "We didn't think that much. It was just happening organically." — Yoshiki (16:28)

• On band challenges and ‘survivor guilt’:
  "To face the death of band members, I was like, what did I do? ... If they didn't join my band, maybe they are still alive or something like this." — Yoshiki (47:17)

• On business as art:
  "I feel like I’m not doing business—I’m still creating the art." — Yoshiki (66:16)

• On resilience:
  "Once you say I gave up, then you fail… if you don’t give up, may take another decade or two." — Yoshiki (61:57)

• On AI and performance:
  "We have to believe that people are still going to want to see you sit in a concert hall... Because what you can do in the moment is something that a computer can never do." — Billy Corgan (80:25)

---

Important Segment Timestamps

• Visual Kei Origins & Influence – [03:21–09:51]
• Japanese vs. Western Rock Culture – [10:30–14:58]
• Organic Growth & Performance Innovations – [15:16–16:28]
• DIY Label Formation/Entrepreneurship – [24:38–27:40]
• Internal Band Dynamics and Loss – [44:58–47:17]
• Life after X Japan / Becoming a Brand – [55:56–66:16]
• AI, the Music Industry & The Future – [73:26–78:51]
• Live vs. Virtual Legacy – [83:54–85:50]

---

Memorable Moments

• Yoshiki describing how even "mistakes" on stage (like half-spiked hair or spontaneous piano outbursts) became iconic innovations (15:16, 16:01).
• Honest discussion of grief, survivor guilt, and turning trauma into creative energy (44:58–47:17).
• Yoshiki’s mother’s emotional support—helping him pursue rock, start a label, and guiding him back to performing after depression (27:37, 56:16).
• Frank conversation about mental health, creative insecurity, and positivity through charity (68:08–69:16).
• Yoshiki’s openness about the unpredictability and “imperfection” being the soul of live music (81:13–82:44).
• Philosophical debate about AI, organic creativity, and the irreplaceable human spark (73:26–79:37).

---

Tone & Language

• Candid, reflective, warm: Both Billy and Yoshiki share openly, with Billy’s questions blending deep cultural analysis and friendly rapport, and Yoshiki responding with vulnerability and philosophical insight.

---

For longtime fans and newcomers alike, this episode is a masterclass in creativity, resilience, and the never-ending quest for authenticity in art—and in life.

Transcript

[Progressive Insurance Announcer]

Why does Progressive work hard for truckers? Because truckers unite the world. They unite kids with their first drum sets and parents with earplugs. But truckers can't do this if they're not on the road. That's why Progressive has over 360 heavy truck employees to help truckers stay on time and on track. Quote Truck Insurance today in as little as eight minutes at progressive commercial.com progressive casualty insurance company and affiliates. This episode is brought to you by Progressive Insurance. Do you ever think about switching insurance companies to see if you could save some cash? Progressive makes it easy to see if you could save when you bundle your home and auto policies. Try [e-mail] Progressive Casualty Insurance Company and affiliates. Potential savings will vary. Not available in all states.

[Yoshiki]

I thought that music or art should be more free. There's no rule. I wanted to disrupt every. Everything I could think of.

[Interviewer (Billy Corgan)]

What planet is this man from? Japan. Planet Japan. But it was so extreme.

[Yoshiki]

We didn't want people to define who we are.

[Interviewer (Billy Corgan)]

This was something completely different.

[Yoshiki]

Moab critics hated us. I enjoyed it.

[Interviewer (Billy Corgan)]

Most of the credit goes to your band for starting this style. Yoshiki, thank you for being on my show. Nice to see you.

[Yoshiki]

Thank you for having me.

[Interviewer (Billy Corgan)]

We've known each other for how long?

[Yoshiki]

Quite a long time.

[Interviewer (Billy Corgan)]

I guess it's been a while now. 20 years. Maybe a little less. Something like that. So I did not know this until I was going to interview you but you made the 100 Most Influential People in the World list 2025 for Time magazine.

[Yoshiki]

Thank you.

[Interviewer (Billy Corgan)]

Was that a surprise or.

[Yoshiki]

I think so.

[Interviewer (Billy Corgan)]

I mean. I mean it doesn't surprise me because I know how successful you are. But still that's an incredible list to end up on. When you think of eight plus billion people on the planet, it's.

[Yoshiki]

Yeah. It's a surprise.

[Interviewer (Billy Corgan)]

Yeah.

[Yoshiki]

Yeah.

[Interviewer (Billy Corgan)]

Did they. Did they warn you before or did you just one day you read that you're on this list?

[Yoshiki]

One day? I just heard from.

[Interviewer (Billy Corgan)]

Oh, really?

[Yoshiki]

Yeah.

[Interviewer (Billy Corgan)]

Did anyone call you and offer you

[Yoshiki]

anything like I mean I've done, I'm sure up in Time magazine a few times before.

[Interviewer (Billy Corgan)]

Oh, okay.

[Yoshiki]

So it's not like I'm pretty. Not familiar with, you know. Yeah, yeah. That vibe.

[Interviewer (Billy Corgan)]

Yeah. So I wanted to start here because I. I never knew that there was a. A term for it. But it's the idea of visual K which your band X Japan is seen as kind of the originator. Obviously there's other people, but most of the credit goes to your band for starting this Style Visual Kei. So one small story before I ask you a question, but when Pumpkins first went To Japan, around 92, 93 ex Japan, your band is everywhere. But with this massive hair and this style. And to us it was so alien. We'd never seen anything like it. So can you maybe explain a little bit the origin of the Visual K style and what you the band was thinking?

[Yoshiki]

Okay, so I do have a classical music background. Started playing piano when I was 4 years old. So then like 10 years old. When I was 10 years old, I started playing drums like a classical tumor. Like a punk rock drums. I mean music. I'm influenced by Kiss, something like that. The moment I lost my father, actually he took his own life as a very sad moment. Anyway, then fast forwarding. Then I met a band called X. Then eventually, I mean, so we. Well, eventually changed the band name to X. Japan.

[Interviewer (Billy Corgan)]

Yes.

[Yoshiki]

Because there's a band called X. Amazing

[Interviewer (Billy Corgan)]

band called Famous band from America.

[Yoshiki]

Yeah. Yes. So anyway, so my background is classical music and rock music. Then at that time I was very influenced by more like a heavy thrash metal.

[Interviewer (Billy Corgan)]

Yeah.

[Yoshiki]

As well as punk rock.

[Interviewer (Billy Corgan)]

Yeah. I was listening to some of your early. Your early music and I hear a lot of Lars Ulrich, you know, something like that. Yes.

[Yoshiki]

So. Yeah.

[Interviewer (Billy Corgan)]

So Dave Lombardo and Lars were influences on this style for you?

[Yoshiki]

Yeah, yeah, of course. So then. But at the same time I was very into like a David Boy or that kind of like.

[Interviewer (Billy Corgan)]

Yes.

[Yoshiki]

There's also band called Japan like that kind of like Gram Rock kind of like. So then we just combined all those things. So.

[Interviewer (Billy Corgan)]

But other. But other people had combined glam and rock before, but never like very extreme. I mean the extreme. So again, to us coming from America, this is early 90s. We would see posters or your band would be on television. We would think like, what planet is this band from? Japan. Planet Japan. But it was so extreme. So how do you go from hey, let's dress up and be kind of cool glam to the massive wigs? And whose idea was that first?

[Yoshiki]

So because we are playing a very heavy music, a lot of critics came and said, you know, you. If you wanna. How do you say sign to measure label. You may want to do that. Right? Look. Yeah, so look like, you know, heavy metal band.

[Interviewer (Billy Corgan)]

I see. That's like your typical jean jackets.

[Yoshiki]

I respect that as well. But I was so rebel against everything. I hated life because I think that my father's suicide just had a lot of influence towards me. I was like. So I did completely opposite.

[Interviewer (Billy Corgan)]

Was this born of anger or born of rebellion?

[Yoshiki]

Combination of a lot of things. Sadness and then anger. Yeah. Also, Japanese culture was not in a bad way, but very, very conservative.

[Interviewer (Billy Corgan)]

You know, still in many ways, very conservative.

[Yoshiki]

So when I was high school or junior high, I dyed my hair red or blue then. I don't think it's allowed right this moment, but, I mean, this time. But my teacher grabbed me and shaved my head. Yeah. Yeah. So that, you know, I knew I was doing not right things because the school rule. But so anyway, a lot of things just made me like that kind of like rock and roll anger and everything. Even though I was playing classical music.

[Interviewer (Billy Corgan)]

Yeah.

[Yoshiki]

At that moment.

[Interviewer (Billy Corgan)]

But I guess what I'm after is it seems particularly Japanese that you would take one element that other people had focused on, let's say the glamour in rock, and then push it to an absolute extreme. I mean, was it there a progression? Did you guys have meetings? Did you talk about it? I mean, how do you. Because, you know, again, to us, coming from America, it was like, what is happening? Because it was so different than anything we'd ever seen before. Because obviously we'd seen when Lou Reed was sort of, you know, being androgynous with Transformer and Bowie's Different Guises. And even New York Dolls and Kiss was obviously very influenced by New York Dolls and that scene that they all grew up in. But this was something completely different. Can you at least walk me a bit through how you got there? Maybe to you it doesn't seem shocking, but to us it was very shocking.

[Yoshiki]

I mean, organically happened. But my family used to run kimono. Japanese kimono business, producing kimono. Then when I was young, my parents just, you know me to put the kimono or something like that. Then sometime there's some festival or something, they put makeup on me and then some neighbor thought I was a girl. Something like that then, anyway. So, you know, also there's a Kabuki kind of culture in Japan or also anime culture in Japan.

[Interviewer (Billy Corgan)]

Yeah.

[Yoshiki]

So then. But mostly, like, influenced by David Boy or something like that. So I decided to put the makeup, then play heavy music. And then more critics hated us. I enjoyed it.

[Interviewer (Billy Corgan)]

I see. So the more the critics hated you, the more extreme.

[Yoshiki]

So I didn't want to belong not only at me. I somehow met those amazing friends slash artists we didn't want to belong to. We didn't want people to define

[Interviewer (Billy Corgan)]

who

[Yoshiki]

we are because, you know, there's basically no rule in terms of art, so. But especially Japan around that time, maybe our culture, I really Respect that. At the same time, they wanted to define who you are. You are like this. You should be. I didn't like it. I thought the music or art should be more free. There's a no rule. I wanted to disrupt everything I could think of.

[Interviewer (Billy Corgan)]

Whoa, you definitely disrupted everything. This is a question I would maybe only ask you because we know each other a bit and we're friendly, and I know you're a very generous person. So I'm asking you, in a way to kind of explain something to me about Japanese culture that I've always found interesting. Of course, historically, Japan was a closed island up until about the 1850s, and there are still the remnants of that closed society in the way Japan views other cultures. It's changing a bit now, but. And we've even talked about some of those changes that are going on in Japanese culture now. But I guess what I'm saying is, for example, on a certain level, to an American, it makes sense that a Japanese band in rebellion would pick elements that they like from rock and roll history and say, okay, we want to, because we did the same thing. But it seems very particular to Japanese culture that those elements would be different than the ones the Americans would focus on. And then it would be taken to this extreme. Of course, Japanese culture is very prevalent in. In the world now, but 30 years ago, less so.

[Yoshiki]

Right.

[Interviewer (Billy Corgan)]

And it got. It does feed into the story of your band about how what became so popular and you guys became the biggest band in Japan didn't necessarily translate to other cultures, places, because, like I said, to us, it was so strange what you guys were doing. So can you at least explain to me maybe some of the elements that are particular to Japanese culture that maybe aren't the same as to Western culture? Does that make sense? Like. Like, for example, when you said people would say, well, you're playing in a thrash band, you should look like Metallica would look or Megadeth or something like that. But. But to a Japanese sensibility, that doesn't make sense. Can you explain that a little bit?

[Yoshiki]

So first of all, like, let's see, 30, 40 years ago. I mean, as far as I know, all the musicians are respected. I mean, still. But are respecting all the Western artists.

[Interviewer (Billy Corgan)]

I see.

[Yoshiki]

So more like a rock is like culture of Western, not more like Eastern. Right? That's a vibe. So when I told my mother, first time I'm gonna do rock band, she's like, but anyway, she end up taking me to Kiss concert. I was 11 years old. But. But yeah, there's no Such word rock kind of like exist in Japanese culture? More like there's a. There's a Japanese pop music, something like that.

[Interviewer (Billy Corgan)]

But why do you think there isn't? I mean, there is more so now maybe than ever before, but certainly 30 years ago, there was very small Japanese rock culture.

[Yoshiki]

Very.

[Interviewer (Billy Corgan)]

Like, we knew Shonen Knife.

[Yoshiki]

Oh, yeah, yeah.

[Interviewer (Billy Corgan)]

You know, because we played shows with Shonen Knife. We knew the ladies in Shonen Knife. But Japanese rock was not even considered as its own form of expression because it was always so Western.

[Yoshiki]

Exactly.

[Interviewer (Billy Corgan)]

Influenced.

[Yoshiki]

Very small. Yeah, yeah. In terms of the. The record sales too, at that time.

[Interviewer (Billy Corgan)]

Sure.

[Yoshiki]

Yeah.

[Interviewer (Billy Corgan)]

So. But what I think. I guess what I'm trying to do is link two ideas. Your focus as Japanese artists was. Was very much in its own way, very Japanese. I don't know how else to explain it. Only a Japanese band would have made the choices that you made musically, melodically. Obviously there's Western influences. But what makes X Japan so unique and such a famous band is you made choices that only X Japan would have made. Very synonymous with Japanese culture to us as Westerners. But were you on some way celebrating Japanese culture? Was it innate to you to celebrate the things that you wanted to celebrate about Western music? And it just ended up being its own thing. Does it make sense?

[Yoshiki]

It does.

[Interviewer (Billy Corgan)]

Sorry. And also, did the Japanese fans rally because they thought, okay, here's a band making Japanese rock for Japanese fans. Was that part of the success?

[Yoshiki]

We didn't think that much.

[Interviewer (Billy Corgan)]

Well, most bands don't.

[Yoshiki]

We just thought something. We are. We were very enjoying the. Every single pass.

[Interviewer (Billy Corgan)]

Yeah.

[Yoshiki]

It's like. So let's see. I used to have a spike hair.

[Interviewer (Billy Corgan)]

Yeah.

[Grainger Announcer]

Like this?

[Yoshiki]

Yeah. Actually, I used to have entire hair like spike. Then one time before the show, I ran out of time. So I only have half done that. Like, oh, oh, God. So I gotta be on stage. So I just showed up. They might as well put the left side. Like put the white foundation or something. People liked it. I was like, oh, there's like anything. Not, how to say, Conventional. Yes, I liked it. Then the beginning of X Japan concert, we are just playing very heavy music. The one time there's a piano, the club, they couldn't move that piano.

[Interviewer (Billy Corgan)]

So it was just on stage.

[Yoshiki]

Yeah. So kind of sideways stage, but just really like a center of stage, almost ish. So I was like, you know what? Just leave it. I'll play back. Or Chopin. Middle of the set, middle of the thrash metal concert I played, the people liked it. I'm like, huh? This May work. Yeah. So we didn't think that much. It was just happening organically.

[Interviewer (Billy Corgan)]

Yeah.

[Progressive Insurance Announcer]

This episode is brought to you by Progressive Insurance. Do you ever think about switching insurance companies to see if you could save some cash? Progressive makes it easy to see if you could save when you bundle your home and auto policies. Try [e-mail] Progressive Casualty Insurance Company and affiliates. Potential savings will vary. Not available in all states. Why does Progressive work hard for truckers? Because truckers unite the world. They unite kids with their first drum sets and parents with earplugs. But truckers can't do this if they're not on the road. That's why Progressive has over 360 heavy truck employees to help truckers stay on time and and on track. Quote Truck Insurance today in as little as eight minutes at progressive commercial.com progressive casualty insurance company and affiliates.

[Grainger Announcer]

Granger knows when you're a procurement manager for an office park, you're not managing one building, you're managing all of them. And to stay ahead, you need to see through walls and around corners. Lights about to fail. Filters ready to clog H Vac on its last leg. If you wait until something breaks, you're all already behind. Count on Granger for quality products, easy reordering and 24. 7 support. Call 1-800-GRAINGER click grainger.com or just stop by Grainger for the ones who get it done.

[Interviewer (Billy Corgan)]

What do you think are some of the elements, looking back now that makes X Japan different than most bands of the last rock bands of the last 30 years? For people who don't know X Japan's music, can you explain a little bit like what you think makes the band different?

[Yoshiki]

Okay, so even though we are. We were doing this kind of we still. But heavy music. I wrote every single note, even guitar solo to the really music score.

[Interviewer (Billy Corgan)]

So would you actually chart out the guitar solos? I didn't know that.

[Yoshiki]

So I mean there are also, you know, amazing guitar player or bass player. So they wrote a song as well. Taiji, Hide Pata, he's now Sugizo Toshi. But I wrote probably 80, 90% of the song at the beginning. I was. Because of my classical music background, I wrote even double bass everything. I wrote the music score. They gave it to my members. They're like, what the. Yeah, what is this? Oh, I see. So I need to maybe either play the piano and then this guitar. So like this and then. So even though we are doing the heavy music, that how we construct, you know, construct the music was built. The music was very Different. So I care about every single voicing. So this guitar is not gonna crash with this bass. And then guitar could be city guitar. Can we play this? And something like that orchestral way of creating the music.

[Interviewer (Billy Corgan)]

So I. I think I did it the same way, but I did it all in my head because I have no. I think I told you before, I can't read music, you know, but you

[Yoshiki]

have like a naturally, you know, talented. And then you have.

[Interviewer (Billy Corgan)]

I appreciate, but I'm saying is I had. I couldn't write, so I had to compose all in my head.

[Yoshiki]

Basically the same thing. We are doing the same thing.

[Interviewer (Billy Corgan)]

Yeah, yeah. That's interesting.

[Yoshiki]

So that was already strange way to start.

[Interviewer (Billy Corgan)]

Yeah, yeah. Because to Western ears, Japanese rock metal always sounds a bit strange. And you've lived in America so long, I think you understand why it probably sounds strange to Western ears. Maybe it's the use of Japanese melody on top of conventional rock. You know what I'm saying?

[Yoshiki]

Yeah.

[Interviewer (Billy Corgan)]

And certainly your band was very influential. Like every time I go to Japan now, I mean, I hear so many bands that are still doing what you guys were doing 30 years ago. I don't know what you would call that style of music. It's almost like a very. I don't want to call it pop metal because that's the wrong way to put it. Like, almost like Japanese pop melody over the. Over very heavy, aggressive music that seems very akin to Japanese culture.

[Yoshiki]

Right.

[Interviewer (Billy Corgan)]

Maybe you hear more influence now in America from that. But that goes back to Japanese culture, which goes back to your band. Do you hear those influences?

[Yoshiki]

Yeah, I'm very grateful. A lot of artists mention my band or even K pop.

[Interviewer (Billy Corgan)]

Wow. Yeah, That's a cool compliment.

[Yoshiki]

Yeah.

[Interviewer (Billy Corgan)]

There's one thing I wanted to ask you about because I think, and you've seen it, where western bands come to Japan and it's almost like a. They almost infantilize the audience. Like, oh, the Japanese audience is so quiet. There was. You know what I'm saying? Can you. Can you tell us, because you have such a special relationship with Japanese fans. Can you tell us like, what the. What the true. What's the best understanding of the Japanese audience? Because I think the Western bands oftentimes get the wrong impression of a Japanese audience.

[Yoshiki]

Well, Japanese audience could be extremely, like loud and passionate. So it's like an in between set. When I start talking, they become very quiet. Right. When I say scream, they just became louder than anything. So it's very. I don't know, somehow. Not in a bad way contained, but explosive.

[Interviewer (Billy Corgan)]

Okay.

[Yoshiki]

Do you. Is do.

[Interviewer (Billy Corgan)]

But do Western artists misunderstand the Japanese crowd? Do you see where sometimes western artists misjudged the crowd?

[Yoshiki]

I think, you know, also, I went traveling all over the world. I mean, they're playing a concert, so it's not different than any other audience. Just.

[Interviewer (Billy Corgan)]

But maybe now. But you remember the early 90s, the Japanese crowds were very quiet.

[Yoshiki]

Yeah, yeah.

[Interviewer (Billy Corgan)]

At least to a rock band.

[Yoshiki]

Yeah.

[Interviewer (Billy Corgan)]

I remember going to see Nirvana play Tokyo sun Palace. Okay. 92.

[Yoshiki]

Wow.

[Interviewer (Billy Corgan)]

And it was. This is the height of Nevermind. I mean, it was so quiet, you

[Yoshiki]

know what I mean?

[Interviewer (Billy Corgan)]

In between songs, it was like there was not one person talking.

[Yoshiki]

Okay.

[Interviewer (Billy Corgan)]

I mean, you would never find a grunge concert in 1992 anywhere in the world where it would be quiet between songs.

[Yoshiki]

That's true, actually.

[Interviewer (Billy Corgan)]

So that's what I'm saying. Yeah, that sort of. But when I see the amount of love that the Japanese audience has had for your band, you guys have sold out the Tokyo Dome like 18 times. I mean, there's a passionate connection there. So I guess what I'm trying to say is, is there a secret to that understanding of that audience that maybe most western rock bands misunderstand?

[Yoshiki]

I think what we did was it's okay to scream. So, yeah, I think they had the same kind of like, amount of emotion. It's, you know, my fans or every single, like rock band's fan. So. But they didn't know it's okay to scream or not. So you just push that button. So then Japanese fans, very sweet. And then. But also again, very emotional as well. So if you just say it's okay to scream and if you, you know, then they can be louder than anyone in the world. Yeah, yeah, yeah.

[Interviewer (Billy Corgan)]

I didn't know this about you, but I was doing my research about sort of the DIY roots of the band, you know, because again, my first connection to your band was you were this massive. People at the time were saying, this band is as big as the Beatles. They're like. They would call you the. The Japanese Beatles or something. You know what I mean? This massive band. So. But I didn't know there was a DIY route that you formed your own record label to put out the music. Can you talk about that experience? Because like you said, there really wasn't a Japanese rock business when you started.

[Yoshiki]

Right. So I was very influenced by punk rock world. So at that time, some rock band. I mean, there's amazing rock bands there. They are all trying to be signed by major label. So then of course, the critics are very important for that time. I mean, still. But then less so. It depends how you look at it. But. So then I was told for so many critics, even my guitar player Hide, he's. He passed away. But he was like, kind of like a cold leader of the Japan. So, you know, if we be. If we can be good friend with these critics, you know, he's. He'll open the door for us to be signed by major label. I respected everything, but I was like, I just want to do something crazy or just, you know, I had some kind of vision. Just I didn't want to fall into this again. The same thing. The one category I was like, if, you know, I don't want to follow the rule, so why don't I just create the new label? So those punk rock band had their own small label. Very small, but that was kind of like a trend.

[Interviewer (Billy Corgan)]

Okay.

[Yoshiki]

Yeah.

[Interviewer (Billy Corgan)]

How'd you get the money to start your own label?

[Yoshiki]

Well, so I asked my mother,

[Interviewer (Billy Corgan)]

was she supportive of you, of you playing rock?

[Yoshiki]

So it's kind of a little deep because my father took his own life. She apologized to me. She said, I chose the partner who abandoned you. So I was like, it's not your fault anything. But she said she felt like she owes me something. Like, mom, I'm okay, but let me do what I want to do. But at the same time, you know, she said, stop playing rock band sometime. You know. So when I was like at 20, 21, like. Because I was supposed to go to music college then for classical. Classical, yeah. So there was, how do you say? Scholarship? That scholarship. But I said, mom, I'm gonna do rock. So anyway, she said, maybe I'm gonna do a few years and I'm gonna give up or something like that. Then we are talking. Then I want to create a label. Then can you. Can I borrow money? How much? Like maybe 100k. Like she said, okay.

[Interviewer (Billy Corgan)]

Oh, wow.

[Yoshiki]

So I said, I returned probably within year or something like that. Then she didn't believe me, but I made 10 times more. They returned it to her. So anyway, so we decided to make our own album. So then the album sold a lot. So then eventually we signed Sony Record. Yeah.

[Interviewer (Billy Corgan)]

At what point? Because you talked about having a vision and I think this is a very ahead of its time. It's almost like you didn't just build a successful music band and brand, you built almost like your own world. And like you said, I, you know, some of it was just accidental. I played the piano one end on stage, the Fans loved it, so it becomes part of what you do. But, but, but by the mid-90s, I mean, X Japan was this massive business. I mean, you're selling like crazy amounts of records in Japan. I mean, even if you Google right now and you say, who's the biggest rock band in Japanese. Japanese history, it's Ex Japan. They say there's some other band, I don't know, but they said maybe you could argue this other band is bigger. But at the end of the day, the real influence is Ex Japan. So even now, it's. You're still considered the biggest band rock band ever in Japan. And. And you know, because you grew up there. But I know, because I know my history. Like, bands like Deep Purple were massive in. In Japan, right? I mean, they weren't just successful bands that went to Japan. I mean, they were massive in Japan in a way that was even shocking to the bands. So to be a bigger band than those bands in your home country is. Is an incredible accomplishment. But at what point was this your vision that you sort of almost built like Ex Japan World because it seemed that you were ahead of the curve with that the band could be bigger than just a music band.

[Yoshiki]

So the new Year, New Year's Eve in Tokyo Dome.

[Interviewer (Billy Corgan)]

What year now?

[Yoshiki]

Long time ago. So all those, let's see, somebody like Michael Jackson or like Bon Jovi or those people, Ojahn Jackson, they are doing their New Year's Eve concert in Tokyo Dome. There was like. Like big, amazing western artists, you know, two nights of. So then eventually we took over. First Japanese artist at that moment, like, we might have made it.

[Interviewer (Billy Corgan)]

Who was your. Was Mr. Udo your promoter at that time?

[Yoshiki]

At that time, he was a promoter. Now we work with Udo, but could be. Could be. Yeah.

[Interviewer (Billy Corgan)]

I'm just curious because we always work with Mr. Udo in the 90s.

[Yoshiki]

Oh, yeah. Yeah. They're amazing. So they are my. One of my promoters. Yeah. So we did not know, like. So, like, what's exactly success mean?

[Interviewer (Billy Corgan)]

Yeah, but where does the vision for like making the brand as part, you know, because you were ahead of the curve of understanding that you could do other things with the band's success, not just sell records. When I tried similar things in the 90s in America, I was told no.

[Yoshiki]

No.

[Interviewer (Billy Corgan)]

I was told no. I was told no by people in la. When I tried to make my band bigger than just a music band that sold records, I was told no.

[Yoshiki]

Okay.

[Interviewer (Billy Corgan)]

Now it's understood that that's what you do, right? I mean, now you have Yoshiki credit cards. I mean, you expanded your brand and the solo members of X Japan went on to also have their own individual success. So you guys were ahead of that curve, more so than western artists. But I'm saying, who was the vision on this idea that the band could be a brand? Does that make sense the way I'm asking it?

[Yoshiki]

Yes. Yes. Okay. Because again, I look at a big picture sometimes. Way too, way too big even. A lot of my people say, just focus on something. I'm focusing. But there's basically no rule. We are just living in the world of somebody like even music industry, like, you know, so even entertainment business, record industry, business. Why do we. Why do we sign to the label? Why do we make some music like, you know, album like once a year, once in two years, then do two hour. I just have, you know, the system when I look at it. It's because I also love classical music. Like, you know, let's see, 200 years ago, what Beethoven was doing or what Mozart was thinking, or like, let's see, 100 years from now, what's going to be happening? So there's no rule. I mean, these are very small to me, so you don't have to follow. You know, again, you can be musician or slash fashion designer or, you know, I also create wine. And there's no rule to me, so.

[Interviewer (Billy Corgan)]

Right. But you understand, you. You were way ahead of this idea. Now every pop star thinks this way and in many cases, rock bands do too now. But you were thinking like this in the 90s. I mean, we were over here in the grunge moment where it was very much about authenticity and, you know, the critics deciding who was cool, not cool.

[Yoshiki]

I love it though.

[Interviewer (Billy Corgan)]

Yes. But it's. But if you think about it, it's not good in many ways. It wasn't good for business.

[Yoshiki]

I. I love the, like, kind of like Haya metal was destroyed by.

[Interviewer (Billy Corgan)]

Well, that's true. There's truth to that.

[Yoshiki]

I was, I was. That was so exciting. The Nirvana, Smashing Pumpkin. Were you, Were you.

[Interviewer (Billy Corgan)]

Were you guys paying attention to what was going on in America in the

[Yoshiki]

90s at that time? Probably we. I came to America around that time.

[Interviewer (Billy Corgan)]

Yeah, that's when you kind of started living here.

[Yoshiki]

Yeah, yeah. That was a transition that was like, wow. It's amazing. Like, you know, I respect the hair Metro band too, but these things are like, you know, kind of revolutionizing. That's exciting.

[Interviewer (Billy Corgan)]

It was, it was a very exciting time. I didn't hear a ton of grunge influence in Your band's music, you guys seem to not. We do we do you think so?

[Yoshiki]

Yeah.

[Interviewer (Billy Corgan)]

You'd have to tell me which songs. I didn't find them because I think you have a distinctive style. So I'm saying that's a good thing that you weren't necessarily influenced by what was going on in America at the time.

[Yoshiki]

To me, like a grand style is more like. How do you say?

[Interviewer (Billy Corgan)]

Is it more an attitude.

[Yoshiki]

Attitude and then artistic way of. You know, more like you are in your heart, like authenticity. Yeah, yeah. I mean, of course it's not. There's some certain type of music as well.

[Interviewer (Billy Corgan)]

Yeah.

[Yoshiki]

But we do have that kind of influence.

[Interviewer (Billy Corgan)]

Okay. Yeah. Because I went looking for it because oftentimes bands are, you know, they are influenced by the things that are going on. Because part of your story is, you know, ex Japan became a phenomenon in Japan, but that phenomenon didn't necessarily translate outside of Japan. That's part of the story of the band now. That's grown over time. That's a different story. But. Did the success affect the members relationships? Because you had so much success. I mean, more success than I ever had. You know what I'm saying? So it's hard for me to understand what that must feel like, especially in a country like. Because really, if you think about it, there's only two countries in the world where that sort of success translates into a cultural phenomenon. The UK and Japan.

[Yoshiki]

Okay.

[Interviewer (Billy Corgan)]

America, of course it has it. But it's so big that by the time it gets there, it takes a long time. Where in Japan and the UK it can happen very fast. And for you guys, it seemed to happen fast. Did it feel like it happened fast?

[Yoshiki]

Yes, very fast.

[Interviewer (Billy Corgan)]

So did that affect the internal relationships with the. With the band members?

[Yoshiki]

Did.

[Interviewer (Billy Corgan)]

Yeah. Can you tell me, just tell me how.

[Yoshiki]

Yes, probably we can somehow relate to. Because, you know, I been the leader of the group.

[Interviewer (Billy Corgan)]

Yeah, you get all the. You get all the blame.

[Yoshiki]

Yeah, I tried very hard, but you know, the. It's hard to explain but suddenly a lot of money come came to, you know, band. Also the lifestyle changing. When we used to tour, sometimes we were sleeping in the car or, you know, some parking lot or even park or something like that. I used to enjoy that then. Now everyone has their own suite room and blah, blah, blah. I. Yeah. Then when I realized. So then I wanted to go to America or, you know, Western musical industry to try. Right. Because I was kind of fearless.

[Interviewer (Billy Corgan)]

Were you thinking. Sorry, were you thinking that I need to figure out how to take my Band into the world now. Okay.

[Yoshiki]

Yeah, exactly. Thank you. So yeah, because we went to. From, let's see, club to Tokyo Dome like at the speed of light or something like that. Just very fast crazy. So like whatever. I said I'm gonna do Budokan six months from now. Like you're still playing club. Like no, I'll do it. Then when I set the goal, I was like, I just made it like okay. Then we played Broca. I played Tokyo Dome like okay, when? Six months from now. Then Sony said, no, you can't. Okay, no, I will. So yeah, then we did it. Then six months later, I'm going to play three nights. Then the rebel said, no, you can't. No, we will. We did. Then I said, now we're going to America. Then blah blah blah. So the car from club playing club to Tokyo Dom was so fast. Like that's so steep. Then from there I came here in America. Then like, wow, it's a completely different world. So first of all, at that time I didn't. I spoke 0 English 0. So early 20 or no mid 20. So wow, I need to speak English, you know. So I started studying anyway. Then all the band members came. Then we had to start from the get go. Pretty much everything we built in Japan. But that didn't apply anything here.

[Interviewer (Billy Corgan)]

I see.

[Yoshiki]

So then you know, everybody lived first one year here. But we never have. We have holiday. What I mean by went back to Japan because in Japan we are treated like rock star. Then here we are nobody. I kind of loved it. But so the gap in between those two world kind of like, I don't know, slowly start separating us. Like what you want to do or you already feel accomplished or you want to be, you know, go more higher place or so then to me, I try to, I don't know the organize the band. Let's try to, you know, if we can, we can do it. We can do in. How do you say, do something in western music industry.

[Interviewer (Billy Corgan)]

Yeah.

[Yoshiki]

But it was not easy. So we started slowly, like falling apart.

[Interviewer (Billy Corgan)]

That must have been difficult.

[Yoshiki]

Very difficult.

[Interviewer (Billy Corgan)]

Yeah. Because looking back now because we see of course the success of BTS and other international artists where they don't even have to sing in English. Like if you had had those same opportunities, maybe most people in the west would know your band the way that the Japanese audiences knew your band.

[Yoshiki]

But at the same. Yeah, so yeah, I kind of know them a little bit. BTS of those people, they also worked the K pop music been also working for a long time. Little by Little. They didn't make it like the success overnight. So I really respect their K pop world as well.

[Interviewer (Billy Corgan)]

So, yeah, sorry, but you understand because you dealt with America, you came here and you're like, okay, wow, this is a big difference.

[Yoshiki]

Yes.

[Interviewer (Billy Corgan)]

If we're going to solve this, if it's a problem.

[Grainger Announcer]

Granger knows when you're a procurement manager for an office park, you're not managing one building, you're managing all of them. And to stay ahead, you need to see through walls and around corners. Lights about to fail, filters ready to clog H Vac on its last leg. If you wait until something breaks, you're already behind. Count on Grainger for quality products, easy reordering and 24. 7 support. Call 1-800-GRAINGER click grainger.com or just stop by Grainger for the ones who get it done.

[Interviewer (Billy Corgan)]

Thirty years ago, the idea that a band could come especially from Asia, sing in their native language and be successful in America, the chance of that happening was zero.

[Yoshiki]

Thirty years ago, pretty much, yeah.

[Interviewer (Billy Corgan)]

I mean, loudness had had some success, but, you know, for the metal fans, you know what I mean? But always the compromise that the artist must sing in English. Now it's totally understood that you can be successful singing in your native language. Right. There was even a huge controversy with Bad Bunny at the super bowl this year because he was singing in Spanish.

[Yoshiki]

Right, Right.

[Interviewer (Billy Corgan)]

But if you really think about it, he's singing in the language that he's most comfortable in and he's just. It's just music.

[Yoshiki]

Right, Right.

[Interviewer (Billy Corgan)]

So what I'm saying is, is I'm trying to at least explain to people that the idea of. Of a Japanese band coming to America in the 90s at the height of grunge.

[Yoshiki]

Right.

[Interviewer (Billy Corgan)]

And try to figure out how to be part of the Western music culture. It's actually a lot more distant than it would seem today.

[Yoshiki]

Right, Right.

[Interviewer (Billy Corgan)]

Do you agree with that? Yeah.

[Yoshiki]

Yes. So I kind of put the same format. I respect the culture, so I started learning at the same time, we don't have to belong here. That kind of same substance.

[Interviewer (Billy Corgan)]

Yeah. So I get it.

[Yoshiki]

We are who we are. So again, with respect. So that's how I was like, you know, I tried. We came here not to become Western music band, as I still have the identity of Japanese group. So that's. I've tried to convince. I talk to label or members. You don't have to change. We can be who we are, then we can still make it. But that moment three decades ago was hard to convince.

[Interviewer (Billy Corgan)]

Yes. Mm, yes. Would you meet with music executives in America and try to say, this is my vision and they agreed with you or they told you you were crazy?

[Yoshiki]

I First I was crazy. Yeah. Pretty much hands down, like, yeah, yeah, you have to do this. Yeah. Then I listened to it. I respected that. But, yeah, my vision was different.

[Interviewer (Billy Corgan)]

Yeah. You know, so I'm not interested in why the band broke up. I mean, bands break up stories. There's the real story and there's the public story. So I'm not asking you for the real story, but it strikes me that, that the band breaking up was particularly painful for you. That it wasn't. That it came at a. A bad time or not. Maybe it's never a good time. But how do you look at it now? Because obviously the band has endured. The band has reformed many times and played concerts and the band is loved and revered, you know, for what it's accomplished. But at the time, how did you feel With. With. With.

[Yoshiki]

Extremely painful. I mean, I'm like, our MIDI U went through, so I've banned this. Still here is. Yeah. Broke up and then came back. And then. So the most painful moment, still very painful, was the death.

[Interviewer (Billy Corgan)]

Yeah. Of

[Yoshiki]

my guitar player, Hide. Then the Taiji. I fired him. But then. But before he killed himself, I brought him back to the stage again. Maybe we brought him back to stage again. Then we're gonna do something together. But then also other bass player, he saw those members death. It's hard to bear still. I really thought white. That was not me. I. I was telling Hide that, you know, the guitar player, for some reason we talked about death. Kind of strange, but because I don't know, I keep talking about death. Then like, I'm going to die first. Something like this. Not in a like, more like dark way, but so that the word death was always in me for some reason. Well, obviously because my father took his life. So at the same time I try to use that thoughts in a more positive way because worse comes worse, I die tomorrow. So why don't I do as much as we can today to. You know, so I had some. Still have like, not depression, but like, if I start thinking too much, I go to the darkest corner of the night or something like this. So I. I try to shift that. Yeah. Energy into something positive.

[Interviewer (Billy Corgan)]

Yeah.

[Yoshiki]

But the. To face the death of band members, I was like, what did I do? So if I didn't ask them to join because I pretty much headhunted every single band members, they are also leader of the band. So for me to create the biggest band, I had to headhunt like a. The band leaders anyway, so if they didn't join my band, maybe they are still alive or something like this as like just that. Really?

[Interviewer (Billy Corgan)]

Yeah. Well, you know, in.

[Yoshiki]

In.

[Interviewer (Billy Corgan)]

In psych. Western psychology, they call it survivor guilt. Do you know?

[Yoshiki]

Yes.

[Interviewer (Billy Corgan)]

Where the survivor feels somehow guilty that it should be them.

[Yoshiki]

And I have it.

[Interviewer (Billy Corgan)]

Yeah.

[Yoshiki]

Still. Yeah.

[Interviewer (Billy Corgan)]

I saw this thing in. In this documentary where your mother was talking about that she thought you were not going to make it to be an adult. Was it a psychic that told her that or who?

[Yoshiki]

No, physically I was so weak, I had a. Asthma. Asthma attack like so was a doctor

[Interviewer (Billy Corgan)]

had said that you weren't going to survive constantly.

[Yoshiki]

So I was pretty much like a living hospital when I was a kid. So yeah, physically very weak. So then, yeah, doctor was telling my mother she's not gonna survive.

[Interviewer (Billy Corgan)]

Wow.

[Yoshiki]

Yeah.

[Interviewer (Billy Corgan)]

I didn't know this about you, but I saw where you work with George Martin. You probably. Classical album, 1993, something like that. Yeah. You're not so good with the date.

[Yoshiki]

Yeah, amazing.

[Interviewer (Billy Corgan)]

No, I have to do my research. But. But that must have been a big thrill to work with George Martin.

[Yoshiki]

So I learned orchestration after I worked with Georgia Martin. Yeah.

[Interviewer (Billy Corgan)]

Oh, so you studied it after you worked. Okay.

[Yoshiki]

Yes. So like English, like when I came here, I spoke English. Yeah.

[Interviewer (Billy Corgan)]

I see. So he did the orchestration for your classical. This was your first classical album.

[Yoshiki]

Yeah, my first original classical album. I made like a Yoshiki selection or something like this. You know, before I just picked like. Picked like this song from Beethoven or this song from Tchaikovsky. They made album Koyoshi selection. I made two albums, so became pretty big sales. So then I was like, might as well make my own classical album. So then end up working George Martin.

[Interviewer (Billy Corgan)]

Wow.

[Yoshiki]

Yeah.

[Interviewer (Billy Corgan)]

So these were all original compositions that he.

[Yoshiki]

So he translated like let's see, 70, 80% music which I composed from extra pan song into classical music.

[Interviewer (Billy Corgan)]

Ah. And then he.

[Yoshiki]

Yeah, they also wrote 20, 30% music to just classical song. Yeah. Yeah.

[Interviewer (Billy Corgan)]

Wow. Can you tell us because not that many people in their life work with George Martin. Could you. Could you understand having worked with him, could you understand why he was such a successful producer?

[Yoshiki]

Yeah, he listened to the artist. So even though that time my English was very limited, so he must have had a hard time understanding what I'm trying to say. But. But so I play the piano. This is what I want to do. This. Then I. So this place. I don't like staccato. I want To Lego Legato I like. Well, you know, I try to give him as much as input as possible, but then he absorbed all those, you know, what I want. Then he made something even better. Something like that.

[Interviewer (Billy Corgan)]

Yeah. Well, that's what a brilliant person does, right?

[Yoshiki]

Yeah.

[Interviewer (Billy Corgan)]

They almost make it better than you can imagine it. How old were you when the. When. When Ex Japan broke up? Still pretty young.

[Yoshiki]

32.

[Interviewer (Billy Corgan)]

So early 30s.

[Yoshiki]

Yeah. Yeah. First time when I broke up. When we broke. Yeah.

[Interviewer (Billy Corgan)]

Yeah. Could you. Could you have envisioned then that you would go on to all this other success in life? You know, like you said, I mean, there's. You know, in English we say polymath or autodidact. You know, you. You went on fashion design, you have your own wine label, you work with some of the biggest brands in the world. In many ways, you're more famous than you were in Ex Japan as your own person, which is very hard to do, as you know.

[Yoshiki]

I was very confident at that time, regardless. But also, Hide and I were thinking, well, the reason we broke up was my dear friend Toshi, the vocalist. He was brainwashed.

[Interviewer (Billy Corgan)]

Yeah. He was in a cult or something. Yeah. Can you talk about that a little bit? Because I saw that and I thought, this is so crazy.

[Yoshiki]

Yeah. So to make a long story short, he was doing some musical. He was the. How do you say? He met the musical heroine, the partner. Eventually he ended up marrying that lady.

[Interviewer (Billy Corgan)]

Okay.

[Yoshiki]

Yeah. She was in. I don't know if I can say that, but, yeah, I think so. She was in the cult, so then she dragged him into the cult.

[Interviewer (Billy Corgan)]

Wow.

[Yoshiki]

So then I think what they do is they make enemy. Right. So I was an enemy.

[Interviewer (Billy Corgan)]

That's. But that's typical to cults.

[Yoshiki]

Yeah.

[Interviewer (Billy Corgan)]

We're the good team, they're the bad team. We know the right way, they know the bad way.

[Yoshiki]

Yeah.

[Interviewer (Billy Corgan)]

And they isolate the person.

[Yoshiki]

Exactly. So. Exactly. He was isolated. I didn't know how deep he was in. But anyway, so then one day he came to, for some reason around that time, a lot of people, a lot of members living in Japan then I was living in Los Angeles, then came here and then said, I want to leave the band. Like, I actually grew up with him. Like, I met him when I was 4 or 5 years old in same elementary school and everything. So when I saw his eyes, I was like, okay, I think that's what you want. So I didn't really say try to stop him or anything. Like, I kind of understood then. But he did. The other member was very angry, and then no, he can't. Blah, blah, blah. Anyway, so I was very calm then. Then, you know, he there and I talked about maybe we can be Japan in a few years from now again. So when things said timing's right, blah, blah, blah, then I was doing my own thing. The Hide was doing his own thing. Then Toshi joined cult. For some reason, I was not angry or anything. Very calm, like. Then several months later, Hide passed away. That moment, I was like, everything shattered. Like, I became very depressed. Then I decided not to do anything. Actually. I just didn't want to even leave my house. Just I didn't want to open the window. Just standing in the darkness.

[Interviewer (Billy Corgan)]

Did it bring up a lot of feelings too, because of your father's passing?

[Yoshiki]

Yeah. Somehow those two, you know, I mean, few decades apart, but was kind of like, hit me really hard. Yeah. So pretty much I didn't. Well, I decided at that moment, I decided to be on stage and not be on stage.

[Interviewer (Billy Corgan)]

And not be on stage.

[Yoshiki]

Not be on stage. I quit. Basically, I tried to become a composer.

[Interviewer (Billy Corgan)]

Oh, you were just gonna go behind the scenes?

[Yoshiki]

Behind the scenes completely not, you know, performer. So then I told my mother, I'm not gonna perform anymore. I've just become composer and then just composing songs. Then maybe producing art is something like that. But that's too painful to face this anymore.

[Interviewer (Billy Corgan)]

Wow.

[Yoshiki]

Then about a year later, I was asked to compose the piano concerto for Emperor of Japan. The 10th anniversary of his reign. I was like, what? I feel very honored. And then at the same time, I was not confident at that, as I was like, in the darkest corner of the world. They asked my mother, what should I do? She said, you should do it. Then I end up composing like, seven, eight minutes. I actually composed 20 minutes long, but I condensed it to seven minutes because the ceremony, some length issue or something like that. Then I end up performing the Imperial paradise with orchestra. Then I heard, like, I don't know, 10,000, 20,000, 50,000. I don't know. Remember the audience screaming, voice of the Imperial Palace. It's like, wow, I should come back to the stage.

[Interviewer (Billy Corgan)]

Yeah. Wow. Very powerful. I'm curious because you've lived. You've had such tremendous success in Japan, but you've been in the US for three decades. And you know, of course, you know many musical artists. US Musical artists. What have you learned about American culture that you could only have learned by living here for so long now? Are you fascinated by the culture? I mean, you know, obviously Americans have very diverse opinions about American culture.

[Yoshiki]

Right.

[Interviewer (Billy Corgan)]

But you coming from an intense culture in Japanese culture, American culture. What have you learned to understand about American culture?

[Yoshiki]

American culture is. Well, especially. I live in Los Angeles, as you

[Interviewer (Billy Corgan)]

know, that's a whole nother planet.

[Yoshiki]

It's. You know, of course, I. You know, I go to Chicago sometime or New York a lot. It's very. How do you say? Mixed. Right. A melting pot. So we learn a lot of different countries, culture, being here.

[Interviewer (Billy Corgan)]

Yeah.

[Yoshiki]

So which is, I think, which is amazing, being in Japan. Like, I'm not saying it's bad or good. More. Less dimensional. Okay, right. So in being America, it's like a multidimensional thing. Yeah. I still learn a lot.

[Interviewer (Billy Corgan)]

Yeah.

[Yoshiki]

Yeah.

[Interviewer (Billy Corgan)]

You could see, because when you have success as an American artist in America, it's such an intense experience because you have to draw from so many sources in order for it to work. You know, like, take the grunge revolution, you know, it has Black Sabbath in it. It has Cheap Trick in it. It has Kiss in it. It has. You know, who's. I mean, that culture, that alternative culture, The Cure, Susie and the Banshees. It drew from so many sources that when it finally kind of came together, it was like. It was so intense for everybody involved. And then there's like, wow, this is really working. And, you know, for 300 million people, what is the Japanese population? Like, 80. 80 million, maybe? Does that sound right?

[Yoshiki]

Yeah, something like that.

[Interviewer (Billy Corgan)]

Yeah.

[Yoshiki]

Oh, in Japan now?

[Interviewer (Billy Corgan)]

Yeah.

[Yoshiki]

What is a hundred?

[Interviewer (Billy Corgan)]

100.

[Yoshiki]

Okay. Yeah.

[Grainger Announcer]

More?

[Interviewer (Billy Corgan)]

Yeah.

[Yoshiki]

Yeah.

[Interviewer (Billy Corgan)]

I think maybe it was 80 before. That's why I was thinking about this, because you've had success in so many different ways, and you've become world renowned, not just as a musician, which is, again, an interesting thing to pull off, because usually when you're a musician, that's all anybody sees you as. You're just a musician. And like you said, you had the experience of being successful in the classical side of the thing. As we're about to tape, you're about to play these shows at the Walt Disney venue. I don't know what to call it. Concert hall. Concert hall, yeah. That means beautiful venue. And you're playing two nights. Right? That thing. Where am I trying to go with this? I'm lost in the idea, but I guess, is there somebody behind the scenes that helped you build this kind of Yoshiki empire? You know what I mean? Because when my wife first met you, it's like. It's hard to explain who you are to my wife. Like, I know who you are. And we have some of the same Friends. So we all know who you are. But like to someone like my wife, it's like, where do you start to explain who Yoshiki is in 2026? I could say, well, he used to be in this big Japanese band and sometimes they still play, but he does all this other stuff. Like the day you told me you had your own credit card, I was so impressed. How do you get your own credit card? Is there somebody behind the scenes who helped you build this kind of empire that you have? Is there. Is there a secret business associate partner that we don't know about? Or is it really just all going through you?

[Yoshiki]

First of all, you know, didn't happen overnight. Also, there are so many not success story as well. So you know.

[Interviewer (Billy Corgan)]

Okay, give me one. Give me one big failure.

[Yoshiki]

Good question. Actually. Well, some somehow the orders failure moment. I made it to success eventually.

[Interviewer (Billy Corgan)]

Oh, I see.

[Yoshiki]

So once you say I gave up, then you fail.

[Interviewer (Billy Corgan)]

I see.

[Yoshiki]

So if you don't give up, may take another decade or two. So if you say no, it's just still in the process of doing this.

[Interviewer (Billy Corgan)]

Is it a positive mental attitude? Or is it something born of strength because of the hardships in your life?

[Yoshiki]

It's like. It's like how you take like embarrassing moment, right? So I take it like I blame myself. So pretty much 99% this is my fault. So this is my decision. So I don't blame anyone else. So I decide to do this then. Okay. That means I can improve it from here. So then I say I failed this one as of now. But it's not the end.

[Interviewer (Billy Corgan)]

I see.

[Yoshiki]

So that's kind of mentality. So I guess then. Yeah. So once you stamped, it's. It's done then. Okay. That project was failed.

[Interviewer (Billy Corgan)]

Something like this.

[Yoshiki]

Yeah. Those like again, it's kind of strange, but I didn't really plan like my wine or something like this. I happen to have friends that are drinking like have collection of amazing wine. They then somehow start drinking wine little by little. Not like heavily. But then someday the Mondavi family, Robard Mundi family. They may want to collaborate. Like. Okay, so. But it took long time. It's like first five years was very hard. I didn't want to quit. So they took off like, you know, six, seven years later. Now I've been doing 15 years.

[Interviewer (Billy Corgan)]

Okay.

[Yoshiki]

Yeah.

[Interviewer (Billy Corgan)]

You make it look easy. That's what I'm trying to say.

[Yoshiki]

Even in fashion, you know, it's like I've been doing all those things a decade.

[Interviewer (Billy Corgan)]

Yeah. How Su Yoshiki.

[Yoshiki]

Yeah.

[Interviewer (Billy Corgan)]

Is It. Maison. Maison Yoshiki.

[Yoshiki]

Maison Yoshiki. Yeah. That was like a new. And I launched a few years ago in Paris in the process of. Yeah, it's. It's not easy, actually. Work very hard. Yeah.

[Interviewer (Billy Corgan)]

Well, I know you work hard, so I don't mean to make it seem like. But I just wondered if there was somebody behind the scenes. It helps you put all these things

[Yoshiki]

together because I think I have a lot. Amazing stuff. Yeah. Amazing business partners, I guess.

[Interviewer (Billy Corgan)]

Okay.

[Yoshiki]

Yeah.

[Interviewer (Billy Corgan)]

Because it's unusual. I mean, I can't think of very many other people in Rock that have transitioned into this wider brand business portfolio.

[Yoshiki]

I don't know if I'm doing right.

[Interviewer (Billy Corgan)]

Well, I almost used the word envy, but you're a friend of mine, so I don't think of you in envious way. I'm proud and happy for you.

[Yoshiki]

Thank you.

[Interviewer (Billy Corgan)]

But I envy that you've been able to take your success and expand it into other things. It's impressive to me because I know it's not easy.

[Yoshiki]

Well, thank you for saying that. So I want to be an artist. So, you know, eventually, like, eventually, like, we die, Right. I die. So then, let's see. Somebody describes something. I describe me after my death. Who was Yoshiki? Yeah. Then I was. I would like to be known as an artist. Not. Not the.

[Interviewer (Billy Corgan)]

So then. Okay, then explain this to me. What is it about business that attracts you when you certainly have enough success and wealth that if you just wanted to be an artist 24 hours a day, you could do that? What is it about business that. That. That it still attracts you?

[Yoshiki]

Great question. So I. Those. I feel. I don't feel like I'm doing a business. I'm still creating the art.

[Interviewer (Billy Corgan)]

Okay.

[Yoshiki]

Yeah. So more like some business could be artistic as well.

[Interviewer (Billy Corgan)]

It's all business can.

[Progressive Insurance Announcer]

Really.

[Yoshiki]

Yeah. Right. So how we are reinventing the culture or like, you know, especially these days, like, you know, AI World. And then I have my own AI as well. AI Yoshiki. I'm inventing. I mean, so, you know, artistic way. So I mean. I mean, there doesn't know right or wrong as of. You know, eventually people want to find out that was right. That was wrong.

[Interviewer (Billy Corgan)]

Yeah.

[Yoshiki]

So. Yeah.

[Interviewer (Billy Corgan)]

Have you noticed, at least I see some movement that maybe in the last five to 10 years, more business people want to talk to artists because they want to understand the way they think and use that for business. Because artists get used to having to kind of make stuff up and change direction where business oftentimes is like, here's the Plan and we must. And I think maybe the world is getting so dynamic that business people are almost having to think more like artists now anyway. Do you see that?

[Yoshiki]

Completely. It's a lot of entrepreneur. They are, like, more like a rock star state of mind, I think. Yeah.

[Interviewer (Billy Corgan)]

Yeah.

[Yoshiki]

Very disruptive. Yeah.

[Interviewer (Billy Corgan)]

Right. Yeah. I'm glad that you put that. Do you. Do you. Because your success is so unique, not just in Japanese culture, but also internationally, do you sometimes wonder, like, why you were sort of put in this position? Because you're very unusual in the arts. You know what I mean? I think that's a fair thing to say.

[Yoshiki]

Well, thank you for saying that. I'm still. I'm very lost.

[Interviewer (Billy Corgan)]

Are you?

[Yoshiki]

Yeah, I'm very lost. It's. I can't figure that out. I'm very confident and fragile. I'm very secure and insecure. Okay. There's a. Yeah, it's just. I can't figure it out. So. Yeah, so when I have certain goal, I'm very strong. No matter what, I'll get there. But I just, like, get depressed and cry, and then I don't want to see anyone. Then once I go out, I become very social when I come home because. I don't know.

[Interviewer (Billy Corgan)]

That's interesting.

[Yoshiki]

Yeah. So I talk to psychiatrists sometimes, and then my doctor can't figure it out either.

[Interviewer (Billy Corgan)]

That's interesting. Do you. Do you have any spiritual perspective about it? Does it make sense? The way I put it?

[Yoshiki]

I just believe somehow, like, well, not believe. Like, I just feel like doing good deeds. Like. Like, yeah, I do charity a lot. So when I help people, I just feel good. Just like, okay, I'm okay to be existing in this world. So that's kind of like. So in general, I'm very positive, even though my mind goes dark and sometimes, but positive. And then try to do something good to the world. Yeah. In general. So.

[Interviewer (Billy Corgan)]

Yeah. What. What musical dream is still there? Because I know you have one. So what is. What is the thing that's still over the rainbow for you as a musical dream?

[Yoshiki]

A lot. I have a question about the music industry system as well. I want to disrupt.

[Interviewer (Billy Corgan)]

Now there's a surprise.

[Yoshiki]

I. You know, can I ask you a question? Like, when you are going through that, the grunge taking over that moment, what you are feeling like we gonna be the. Gonna change everything or like.

[Interviewer (Billy Corgan)]

Well, I felt we. I felt collectively inspired that we were gonna change the world. And I did an interview maybe around 1998, so not that long after the grunge peak. And they Said, how do you view the time now? And I said, a failure.

[Yoshiki]

What?

[Interviewer (Billy Corgan)]

Yeah. Because Gen X, if we're just lumping the people together, Gen X didn't accomplish everything that it could have accomplished. Kurt's suicide was part of that. That loss. Like, we lost momentum.

[Yoshiki]

Right.

[Interviewer (Billy Corgan)]

A lot of fake bands came into the system, okay. That really didn't have the same values. It was just a commercial opportunity to. Now I see, you know, they went from hair metal to grunge, and now it's the same, you know, so they sound like the bands, but they don't have the same heart.

[Yoshiki]

That's exactly what I said. Like a Chapin has that in. It doesn't have to be the sound format. More mentality or more integrity over like that.

[Interviewer (Billy Corgan)]

So once that was lost, that pure momentum was lost. It felt like, to me, failure. But I think now is the time in 2026 and the time we're taping this that I think Gen X is finally having, like, almost like a comeback. So I feel like maybe there's one more opportunity for our generation to finish what we started 30 years later.

[Yoshiki]

So when you are top of the world, then there are upside ups and down in between. So you had very hard time. Yeah,

[Interviewer (Billy Corgan)]

yeah. Because. Because, you know, it goes back to Leonardo da Vinci. When you combine pure art and money, there's always going to be tension and at some point, a corruption of the purity of the idea. The Internet affords us the opportunity to reach the entire world without the compromise of. Of the music business.

[Yoshiki]

Right.

[Interviewer (Billy Corgan)]

The music business, on some level, is terrified of this. Because if you don't need the music business, if you and I can just make a song in a basement and the whole world will listen, well, you don't really need the music business. So the music business is still not really sure. And already the music business is hedging its bets with AI.

[Yoshiki]

Mm.

[Interviewer (Billy Corgan)]

So instead of hedging its bets with human beings, it's hedging its bets with AI that somehow AI is gonna make them be safer in the market.

[Yoshiki]

Right.

[Interviewer (Billy Corgan)]

Gen X, I think, ultimately, is about human capital, the spirit of the human being. So the most democratic music society in the world is we're all musicians. We all speak the same language, even if we don't speak the same tongue. But I can listen to your music and you can listen to mine, and we can understand the emotions and the culture and the world that we're coming from. The ultimate promise of music is that everybody has just the same opportunity.

[Yoshiki]

Right, Right.

[Interviewer (Billy Corgan)]

And. And. But, you know, commercial Interest is always going to be like, what about us? So they have to try to control the message or they have to try to control the flow of the information.

[Yoshiki]

Right.

[Interviewer (Billy Corgan)]

So the ultimate fulfillment of the Gen X promise would be that, that there's a balance there between human capital and business, because business is not negative. We need people to create the systems by which we reach people. Even if it's streaming services, we still want to be in communion, but we want holistic communion. We want people to be able to make a living. We want people to have every opportunity to sing their song.

[Yoshiki]

Right.

[Interviewer (Billy Corgan)]

Am I sort of answering what you were asking?

[Yoshiki]

Yeah, yeah. I mean, so that moment was like a CD and you picked. So the music business kind of went streaming to downloading to streaming.

[Interviewer (Billy Corgan)]

Yes.

[Yoshiki]

Then now AI is coming to then destroy everything. Yeah. So then you've been, you know, going through all those. So what's going to be happening for the future from your.

[Interviewer (Billy Corgan)]

Well, I ask you first.

[Yoshiki]

That's right.

[Interviewer (Billy Corgan)]

You're a guest on my show.

[Yoshiki]

That's right. I forgot.

[Interviewer (Billy Corgan)]

It's okay. So what's your prediction? If you have a general prediction.

[Yoshiki]

General prediction, AI is not going to go anywhere. So I'm trying to figure out in a positive way to coexist. So there's a great side of AI. Personally, I don't use AI for creative process, more like a research, something like this as of now. But like when Internet came, some people are just opposed to all those like over iPhone or.

[Interviewer (Billy Corgan)]

Sure.

[Yoshiki]

So AI is not going to go anywhere. So. Yeah, just trying to find the best way to coexist and then.

[Interviewer (Billy Corgan)]

Yeah, yeah, I think that makes sense. I feel the same because you asked me. I feel that AI is here, technology is here, young people are going to use it because why wouldn't they? If they're 15 years old and they're living in a poor situation, they're going to try to find everything that they can do to get their message and their music out. So if they have to use technology, they're going to use it. No different than the, than the. The DJs in, in New York that were using scratch Scratching.

[Yoshiki]

Right.

[Interviewer (Billy Corgan)]

They used the technology that was available and they made music and no one can say it's not music. Right. So the question I think is, is, is there going to be a sort of moral center to the argument about AI or is the music business going to do what it usually does, which is sell the artists out to maintain its position? I believe there's going to be sort of a rebellion. It's not going to be 100% of the people listening or 100% of the artists. But there's going to be enough artists, at least for the next 20 or 30 years. They're going to say, we still believe in organic music. We still believe in organic voices completely.

[Yoshiki]

I think so.

[Interviewer (Billy Corgan)]

I guess the question would. Or the answer would be, what's the percentage going to be? Is it 5%, 10%, 15%, 25%?

[Yoshiki]

I think organic music should exist more than 50%.

[Interviewer (Billy Corgan)]

Okay, great. If you're right, everything is fine. If I'm right, I think it's going to be more like 25, 30%. That's going to be very difficult because the consumer, the fan will have to make a decision to support artists for being imperfect.

[Yoshiki]

I think it's exactly. So we are in a critical time, like artists like us, you know, those artists needs to create something amazing, basically. It kind of sounds strange, but we are maybe competing against AI. But. Yeah, so exactly. Imperfect is great. You know, also AI's other large language model. They are basically the past information correcting the past.

[Interviewer (Billy Corgan)]

Oh, yes.

[Yoshiki]

So. So that's our past. So we asked, you know, present and future.

[Interviewer (Billy Corgan)]

Yes.

[Yoshiki]

So artists can create. So our crazy, like, destructive mind, even.

[Interviewer (Billy Corgan)]

I think.

[Yoshiki]

I think we respect you as like, kind of. We are kind of same artists. Like. Yeah. Because, you know, Billy, you have been always constantly renovating the. You know, even had amazing success. They still keep doing it. I really respect that. Then I'm also, you know, always reinventing. That's the. We have the future. Yeah. As an artist, like, artists like that. There are also a lot of amazing artists. We need to keep creating.

[Interviewer (Billy Corgan)]

Yes.

[Yoshiki]

Not like looking at the past all the time. So past is important, but future could be more interesting.

[Interviewer (Billy Corgan)]

So here's a way to end, I think, because I think this will give people the image that I would want to leave them with. What's a solo piano piece that you would love to play on stage? Just pick one.

[Yoshiki]

Yes. Solo.

[Interviewer (Billy Corgan)]

Yeah, solo. Just you.

[Yoshiki]

Can I be with the orchestra solo?

[Interviewer (Billy Corgan)]

No. There's a reason I'm saying this. Just pick one. It could be even your own composition.

[Yoshiki]

Okay. As of now, Beethoven. Muna Sonata.

[Interviewer (Billy Corgan)]

Okay. Perfect. Right. So you and I know that we could have a computer play a real piano on stage. Perfect. Never miss a note. Right. So we have to believe that people are still going to want to see you sit in a concert hall like Disney and play that piece. Because what you can do in the moment is something that a computer can never do. That's what People need to understand about AI you have access to perfect. We literally could put a Yoshiki piano on the stage, press the button and it would play it perfect. But people will travel all over the world to see you play it because they want to hear what you're going to do. Not just to play it perfect, but play it in that moment.

[Yoshiki]

Yeah. Also, maybe you tease us. Just when I perform, I resonate with the. Connect with the audience. So sometime.

[Interviewer (Billy Corgan)]

Yes.

[Yoshiki]

Sometime I even stop. Let me do it. Yeah. Or like I had the show three weeks ago in Tokyo. Three nights of Tokyo Prescott. Like 7,000 people. Something like that. Three nights. Then there's a one moment I was like a friend with orchestra, dad. Like, oh, my finger's not doing right. I was like. Started smashing piano like that. Is that people say, is that improvisation or something? Like you are angry or like. No, it's a combination of everything. So it's very, very unpredictable. So, you know, when we had a show sometime, I was like. I told the members, one person, the other members, we're going to start speeding up. Just then. Don't tell a guitar player to just have fun. Right. Sometimes I stopped and then left the stage. And then. I don't know what was that like? I just didn't feel right. Just those crazy things.

[Interviewer (Billy Corgan)]

Yes, it's.

[Yoshiki]

I think it's valuable. I'm not trying to justify what I. So I need to approach that. A lot of staff and, you know, people. I made a lot of drama and passed that. That's rock and roll on then. Yeah.

[Interviewer (Billy Corgan)]

Okay, last question. Because I'm sure you've seen what they've done with ABBA in uk with the ABBA virtual show. KISS has signed a deal with the same people. Are we going to see at some point? Ex Japan Virtual Show. It must have crossed your mind when

[Yoshiki]

we did reunion concert decade ago. No, 10 years ago or so at Tokyo Dome. We'd play three nights. I wanted to have Hide. And also we play Coachella. I brought bass player Taiji and Hide Hologram. So. But there's combination of, you know, me and Toshi and arrive alive member and hologram. That's a combination. But if it's entirely hologram. I don't know. I don't know if I. I don't know. But what do you think? The entire member of hologram Smashing Pumpkin.

[Interviewer (Billy Corgan)]

I'm not there yet. But I could see where. I know I could see where would happen.

[Yoshiki]

Do I. I want to be happy. Are you going to be happy if they do Smashing Pumpkins? Entire.

[Interviewer (Billy Corgan)]

I would. I would. I would be interested in it as an artistic idea. For example, I'm 59 years old, so I understand. And we're very successful. We have very young audience. But still this young audience is seeing me not at 25, but 59. I don't look like them, I don't act like them. I'm not them anymore. You know what I mean? I'm not in my 20s. There's something about young artists playing music, connecting with a young audience that's always the most powerful. It was that way for the Beatles and the Stones. It's always the most powerful experience. Something about we're all coming to the same moment together.

[Yoshiki]

I still want to go see Smashing Pumpkins and that. Yeah, like real, you know, I want to see you on stage.

[Interviewer (Billy Corgan)]

Well, we're three quarters intact, so we have three of the original members. But my point is, would it be intriguing to me or you to say, right, you can't go back in a time machine and see ex Japan 1994. But what you can do is we can create an almost incredible unique experience, like a Disneyland ride. So it's the ultimate x Japan from 94, and maybe it's the ultimate X Japan from 2004. You know, you. You might be able to create a unique experience that's not trying to pretend it isn't. It's the same. It's kind of what Gene Simmons talks about with what they're talking about with the people who are doing the ABBA show, which is the idea. They're going to create a new type of Kiss experience. So it seems like your band might be perfect for that. To create a new type of concert experience that is obviously virtual, but at the same time, maybe you can experience something that you can't experience in reality. That's all.

[Yoshiki]

Yeah, I mean, I don't hate it. Maybe I may love it, you know. So, yeah, I think I'm very open minded. So as long as, like entertain people. Yeah, yeah. But I still care about the. You know, people die. Right. So if you make. Because I also met Ayoshiki, will survive forever. So that's kind of like cool and lame, Because the value of life, because we only live certain amount of time. Yeah, that's really kind of valuable. That's kind of fascinating. So if we live thousand years, you know, it's not interesting. Yeah. So I think, like, I'm not like fascinated by this or anything, but that's the amount of time that, you know, same era we met like this, and our audience this is important to me.

[Interviewer (Billy Corgan)]

Yeah.

[Yoshiki]

So you know. Then again, I'm making my own AI Yoshiki. So I'm not denying that what's going to happening. But challenge is how we can make that more fascinating, more exciting than actual human being doing something crazy.

[Interviewer (Billy Corgan)]

I see.

[Yoshiki]

Thank you, Xi. Thank you.