By Candice Anne Marshall
When we talk about Halloween, we are encompassing all it entails: witches, black cats, vampires, monsters, and…. ghosts. This leads into today’s epic launch which I personally have been beyond excited to finally be able to share. Here’s why…
In October of 2015, I promoted a video for fashion art rock band Palaye Royale for their song ‘White’ off their upcoming ‘Boom Boom Room Side A’ album. The video content included an intro from InterFM897 Japans ‘WhatTheFunday’ radio show for the band. The show was hosted in part by Mr. Mike Rogers and after tagging it in our SMC post, Mike and I connected. What a ride it’s been too! In the two years that I have known Mike, we have conversed, collaborated, shared mutual likes of the Artists we support, laughed, and networked like crazy. This has led to some of the most prominent stories on the SMC Spotlight platform with notables such as Mr. John Ferriter, The Tearaways, Stephen David Brooks, Chris Craker (Karma Sound Studios), and The Fontaines. This is just scratching the surface too.
There is so much that goes into the background of someone as interesting as Mike Rogers and this goes beyond his vast connections: it is the fact that he speaks candidly, honestly, and humorously in his own blog ‘Marketing Japan’ (see here). This is something this world really needs: honest and factual journalism and the fact that Mike is willing to write a truthful account of his experience with ‘Sex Pistols’ John Lydon aka: ‘Johnny Rotten’ in ‘I Interviewed Johnny Rotten – The True Story’ was, in my opinion, deserving of a massive applause. It isn’t often these days that many are willing to write responsible journalism, and Mike is. That bodes well in my books! Enough that I have formally invited Mike to be supported on the SMC Spotlight website and he has agreed. If you look to the right of this feature (desktop) or below it (mobile or tablet), you will see that his blog has been added to our roster with ‘The Chronicles’, ‘Little Black Book Club’, and ‘SMC Artist of the Year’. Take a moment to read it, there’s a lot to learn from someone who has the background he has…
Which leads me into Mike’s background: he’s been a Musician (The Rotters), General Manager of a major Japanese broadcasting station (TV Tokyo owned InterFM), produced smash hit programs and several of Japan’s highest rated and most famous radio programs, and most recently, Wrote and produced full-length motion picture “Ghostroads – A Japanese Rock and Roll Ghost Story“. This bringing me to the purpose of launching his first ever SMC Spotlight fittingly, today, Halloween day. This is a film, is a truly entertaining thrill ride from start to finish and has earned some serious awards and nods at prestigious Film Festivals worldwide including the Raindance Film Festival. The story line is both humorous and steeped in truths: ‘what would you do for fame?’ being the tagline. It is reflective of an individual who has not only seen the best and the worst of the entertainment industry, he has lived them.
The vibrancy and quality of this film, featuring brilliant music by some of Japans most famous bands (The Neatbeats, The Privates, The 50 Kaitenz) show Mikes serious credibility in his role of Director and Producer. I recommend anyone who is looking for something to take them away from their day to day grind or the negativity of what’s going on in the world today and turn their attention to this film. It is quickly becoming an iconic rock and roll (and dare I say, Halloween) music cult classic which I can easily put up there with the likes of The Rocky Horror Picture Show. I know what you are thinking: ‘Did she just say that?’ Yes, yes I did because undoubtedly, in my mind, it’s something you will want to watch every year!
Editor’s Note: Mike, I am personally congratulating you on your accomplishment with this film. I realize and can appreciate how much strategy, planning, and hard work goes into these kinds of projects from start to finish. So, I will say to you this: I am very picky with the kinds of art I will lend my praise to – it must be exceptional. With ‘Ghostroads’, you have created a masterpiece and I look forward to supporting you on your future projects going forward. This film, honestly, gets a five out of five Starlight Music Chronicles star rating. Congrats!
SMC Spotlight Exclusive Interview | Mike Rogers ‘Ghostroads: A Japanese Rock and Roll Ghost Story’
SMC – Hello Mike! This Spotlight has been a very long time coming my friend! Let’s begin with a little bit of a back story on who you are and how you evolved into your career today. Can you tell us what new readers to our site will want to know about Mike Rogers?
Mike – OK. You can ask me anything. Like about the time I was the driver (and booze runner) for Burt Reynolds on the set of the film Boogie Nights in 1997. Or how about the time when Justin Beiber, in a foaming-at-the-mouth rage, tried to stab me in the shoulder with a butter knife at Mick Jagger’s pool party because a drunk and topless Selena Gomez was riding on my shoulders and screaming at him and singing “I’m so over you!”… I have lots of those!
SMC – I am going to get right into this interview with your film ‘Ghostroads: A Japanese Rock and Roll Ghost Story’, which has been getting some major traction on the film festival circuit. Which awards, or accomplishments have you won or been acknowledge for to date?
Mike – Well, the biggest thing so far is getting selected at Raindance Film Festival in London. Raindance is one of the most famous and respected film festivals in the world, so even though we didn’t win any big high-falutin’ awards, just being selected at Raindance is incredible. Many film makers try all their lives and never get into a festival like Raindance. I have to thank my “Cinema Sensei,” Stephen David Brooks, (see Stephen David Brooks interview here) who actually, has become one of my very best friends, for all the coaching and advice. Without him, we’d have never gotten into that festival. That’s not bullshit, it’s true. And a big thanks to John Ferriter for introducing me to Stephen. John Ferriter is tops too (and plays lead tambourine for the rock band, The Tearaways), as your readers already know! (see John Ferriter interview here)
We’ve been in several other festivals as “also-ran” but, actually, we’ve only won one award so far. It was for “2nd Place” in the “Best Foreign Feature Category.” I think the official award title for second-place is “The Film That Sucks Less Than the Others” award…. Or something like that.
SMC – I have personally seen this film and can NOT say enough good about it. There are no films like it on the market today which not only have appealed to foreign culture in Japan and the UK, but has also been getting attention in North America as well. (which is where we are based) What is the greatest compliment you have received on this film so far?
Mike – Hmmm? That’s a hard one. I figured out that, naturally, when someone is making their first movie, no one expects much… So, I’ve gotten remarks like, “Wow! That was better than I expected.” Or, “I’ve seen other films that friends made and they were all bad. This was really good!” Or, from my wife’s mom and dad, scratching their heads after watching the film and asking, “What was that all about?”
I guess the best compliment was from the top program director of Raindance who wrote, “Congratulations on a truly great film.” That blew my mind… I can’t imagine a higher compliment than that. I cried the night when I read that comment from her.
SMC – The synopsis of this film is basically selling your soul to the Devil (Ghost) for instant fame. We see this all the time in our industry. Is this a personal experience you have had or seen happen?
Mike – Yes. You guys are going to think I am nuts, so you can skip over this next part if you wish, but I have seen this personally. Now, I am not a religious person and I follow no organized religion, but I personally know people who made deals (by prayer to somebody) for fame… (As Bobby Dylan says, “It may be heaven, or it may be hell, but you gotta serve somebody.”)
I also saw and heard bad things that happened to them and their families…. I don’t know why these bad things happened to them. Was it because of the deal? Was it bad karma? I don’t know….
But, entertain me for a second here. What is “fame”?
If you make a deal with a Manager, Agent, label, or Publisher or, yes, even the Devil for “fame” then you’d have to damn well know and write down what exactly “fame” means. You know that guy in town whose always drunk and getting into fights down by the billiard hall? Yeah. Everyone knows who he is.
He’s famous, isn’t he?
There are conceited jerks I’ve met who played infield for a famous professional baseball team here in Japan… They were “famous.” But what is famous? You don’t know their names. I don’t know their names. The average person walking on the street wouldn’t recognize them if they saw them. But they are “famous.”
There are many levels of fame. I think that “famous,” I mean, really “famous,” means that anywhere in the world where you walked, many people would recognize you; that’s famous.
So, being in some rock band, having a hit on the charts, being a radio DJ, etc. etc. That’s not really famous…. Michael Jackson? David Bowie? Adolf Hitler? Winston Churchill? Donald Trump? Yeah… People would recognize them. They are famous.
Is this a good thing?
That’s about all I can say on this subject… I could write a book about things I’ve seen involving this person – these people – who I know made a deal for fame….
But the devil doesn’t exist, right?
As for me, I believe in these things much like the great American writer, Samuel Clemens who was also known as Mark Twain; once said, “I do not believe in ghosts, but I sure am afraid of them.”
The old saying goes, “You’d better be careful of what you wish for.”
SMC – From start to finish, what was the length of time spent getting this film made?
Mike – I almost died in a hospital in Sept 2014. It was there where I decided to make a film before I died and wrote the first idea on a napkin. The film was completed in May 2017. So almost 2 1/2 years from conception to finish.
SMC – Tell us about the selection of brilliant talent you have in this film – I can see that you carefully chose some pretty stellar talent from Japan!
Mike – I chose the bands, the Neatbeats, the Privates, the 50 Kaitenz, because those three are my favorite Japanese bands of all-time. Foreigners don’t usually know good Japanese bands because the only Japanese acts that people know outside of Japan are released on major labels. Take Baby Metal (please!) these big money labels create these acts and sell them… It’s OK, I get it. When I was a kid, I liked the Monkees too… But, I am astounded at how I sometimes talk to foreigners (who are over 12 years old) who like stuff like Baby Metal.
The Neatbeats, the Privates, the 50 Kaitenz, are the real thing. They are DIY indies acts. They have all been offered deals with majors, but they do things the indies way… Why? Because everyone knows, major labels have a way of screwing up good indies acts. It is common knowledge, isn’t it?
Also, I chose those bands because they are easy to explain to a foreign audience in just a few words. The Neatbeats are the ‘Japanese Beatles,’ the Privates are the ‘Japanese Buzzcocks,’ the 50 Kaitenz are the ‘Japanese Ramones.” Simple is always best, especially when making a sales presentation… And, in life, nearly everything is a “sales presentation.”
The other actors and actresses in the movie I found because I have always been impressed by European films and off-beat movies that have strong and unforgettable characters – unlike American films which always have people who look like fashion models in them with perfect teeth. In a nutshell, in my movies, I want many to look like the circus act on the cover of the classic album by the Doors, “Strange Days.” I want people who look like freaks – because we are all freaks somewhere deep down inside – and I want strange people because, as the song goes, “People are strange.” We are all strange.
In fact, if you really stop to think about it, the more you get to know people, the stranger they become.
Besides the strangers, I also have one of Japan’s top sex symbol girls in the film, Mina Shirakawa, and Miwa Rock who is one of Japan’s most famous burlesque dancers.
So, there’s something for everybody.
SMC – You also have a cameo in this film as the narrator. Is this your first role in a movie?
Mike – Oh no. I had been in many famous Japanese TV dramas in the eighties; with lots of Japan’s most famous stars! In Ghostroads, I only narrate in the trailer. That’s my voice in the trailer saying, “A struggling Japanese rocker finds a haunted amp with a ghost who promises fame.” (see at end of this interview). I am in the actual movie several times though. You know the scene where the girl throws a beer can out the window of the car? I’m driving.
In fact, that girl is/was one of Japan’s most famous actresses. She has been a big star since the 1980s. She was a sex symbol and starred in literally hundreds of movies and TV shows and commercials galore. Everyone in Japan knows who she is. But she only appears for a split second, so only a few people have spotted her so far… It’s like, well, imagine getting Lindsay Wagner out of retirement and cameo in your film? Or getting Lillian Gish to appear in Whales of August?…. That’s what it is like having this former super-star in the film.
Also, when the story teller is showing the high school yearbook and mentioning about how some jerk acts like your friend, but he steals your girlfriend and you hate that guy forever? That’s my high school senior year photo he is looking at.
SMC – Can you tell me the behind-the-scenes story while making this film?
Mike – I tried to run this film as a business with a profit motive. I am reminded of an anecdote about a very famous businessman and industrialist named John D. Rockefeller. One time, newspaper reporters were interviewing Rockefeller and they attacked him as not being especially knowledgeable about trains or the steel industry. Rockefeller responded by saying, “Perhaps I am not an expert on these subjects, but I am smart enough to hire people around me who are experts.” I never forget that.
As one of the most important jobs of any Producer (be they the manager or founder of a business, or whatever) is to get people around you who are better than you are. It is also wise for any business owner or producer to hire people who are smarter than they are. The smartest management hire smart people so that these smart people tell them what to do. Of course! What’s the point of hiring people who are smarter or more talented than we are if we are going to tell them what to do?
So, when I started out this film, and a big reason it came out so well is that, my #1 priority was not protection of my position, but the success of the project. So, I went out and got a director who was better than me; he had a much better eye for design and composition. He was a true artist. I also hired a cameraman who is really top class and stubborn as hell; he’s stubborn because he’s great at what he does. Of course, my partner, Ken Nishikawa, is a genius at editing and musical styling. Ken is one of the top in his field in Japan and the best editor I’ve ever met. So, with every job, I tried to get people better than me to do specific tasks. I think that is the core reason the film looks the way it does and has enjoyed the success it has; I could have never done this without that great team.
So, we had an Italian director; an American cameraman; a Japanese editor and actors and actresses; Darrell Harris from Nebraska (as a ghost) and me. It was often chaos at the shoots.
Oh, by the way, a guy named Yuji Wada, was our lighting “sensei.” Yuji is a famous Hollywood lighting director. You all know the Bill Murray film, “Lost in Translation”? Yuji does all the lighting for Sophie Coppola’s films. Yuji was my friend and next-door neighbor for ten years… I asked him to help and one day he came and showed us how to do the lighting. I like to think I am a fast learner and I am good at copying people, so when Yuji showed us how to light scenes, we merely mimicked what he showed us. That’s why the film has the lighting it does. Of course, if Yuji could have done it for us himself, we’d be talking about winning an Academy Award, but, beggars can’t be choosers.
Because I am a radio show host and producer, I also am a professional talker; so, I went out to Phillips Electronics (technology company) and convinced them to just give me a thousand dollars (USD) of high tech lighting equipment for absolutely free in trade for putting their name in the credits. When I went there to ask for these high-tech lights I was surprised they eagerly said, “Yes!” so quickly. I actually said to them, “Wait! What? OK? Don’t I have to grovel or something?”
The point is that if you are making a record or a movie, you need to be flamboyant and you need to overcome insecurities and your own fears. Asking for something doesn’t cost anything and there is no risk; all they can do is say, ‘No!’ But you have to have a professional presentation prepared and you must have confidence.
I was prepared for the meeting with Phillips. I had a great trailer, printed synopsis and staff and actors and actresses lists. I had mentally prepared and I knew in my heart that them giving me those lights was a good deal for them too! I know now that they were very happy with the film. I was happy to save a few thousand dollars on lighting.
SMC – You are the Producer/Writer/Director for this film. Do you feel that you had greater creative control of this film by wearing all three hats?
Mike – Yes. I always had the veto over everything… I do realize that I did fail in one thing though; during shooting, we often had a problem with important staff being constantly late. Other issues occurred with arguments over absurd things with the staff. Much later, when the editor and I finished the film and I had informed the editor that we had been accepted at Raindance, the world-famous festival, and I had sold the right for sales and distribution of the film – along with a healthy advance – to a very famous Japanese major film company, my partner, Ken, was almost speechless.
He said to me, “None of us ever thought, in our wildest dreams, that we’d come this far with this movie. In fact, the director and the cameraman were convinced we didn’t even have enough footage for a proper feature film! For a trailer? Maybe. But not a film. Only, you, Mike. You were the only one who believed from the start to the finish that this could happen.”
When he told me this, I wasn’t especially happy because I realized that I had failed in an important part of the project; I had failed to properly explain to the staff what we were going to do. I had failed to get them to realize the vision and the dream. I then understood why the director was always late; why the cameraman would complain about ridiculous things; they didn’t believe that this would become a proper film; they didn’t believe it would be entered in festivals and win awards (hell, they didn’t even believe it would be completed). They never believed for a second that the film would be sold to a Japanese major film studio. So, this was my failure; I didn’t get them to understand the dream and the vision.
We did this well, with people who had no belief or confidence? Imagine how much better it could have been if they believed and became better than themselves? I will always regret this shortcoming of mine.
But, even in the bible Jesus talks about this: I guess it doesn’t matter what others believe. It only matters what I believe. I believed we could do this and be successful.
Though, that the film has done this well and is so successful is nothing short of a miracle. Next film, will astound people even more. I really believe that too.
SMC – While doing my research, I came across a video of you wearing a sandwich board shaking a rattle for the Raindance viewing of your film. Great Stuff! What kind of reaction did you get from that?
Mike – When I was in London at the theater, some friends told me that they had been to some film screenings and, in a theater that seats 200 people, there would only be three to eight people in paid attendance!
I couldn’t believe it!
I was shocked. I thought about my wife. What would she say if I had spent three years of my life making a movie, spent another $2000 going 6000 miles to the other side of the earth only to have it viewed by four people (including me?)
So, with that, I decided what my mission was: I had decided to sell out our screenings or, if I couldn’t, to at least give it the good old samurai try (try or die trying!)
I decided that since we couldn’t hang posters at the theater, I’d take my biggest poster and make a sandwich sign. Then I’d stand in front of the theater wearing the sign every day.
I went to an art shop and bought the supplies for making the sandwich sign. I then went home and constructed it with more loving care than mom making Christmas dinner. The next morning, I went back to the theater with my sandwich sign and put it on and I stood there; in the heat and the sun… I would stand in front of the theater with my sign for four and a half or five hours every day.
I wondered why other filmmakers are so self-conscious and embarrassed that they refuse to promote their own films in this way? Nobody really cares what we do. Nobody watches us as much as we like to think they do.
I was a curiosity to the other people at the film festival. Many ridiculed me, some laughed; others just gawked. A few said that I was an inspiration and wondered why other filmmakers didn’t promote their films this way… One time two young filmmakers walked past me, laughed and pointed at me, and one said, “That’s what we should be doing. I wonder how much that costs?”
A few days later, I was informed that the World Premiere of my movie, “Ghostroads – a Japanese Rock n Roll Ghost Story” was sold out; one of the few films that were sold out!
People had laughed at me as Sandwich Man! But there also is an old saying, “He who laughs last, laughs best.” I laughed so hard I almost cried when I heard we had sold out the first night and the second night was nearly sold out. I felt redeemed.
I wrote all about it here (I think it’s a pretty funny story with an important lessons for filmmakers and musicians alike)
SMC – What was your experience like working with The Neatbeats for this film?
Mike – Before shooting started, I was very good friends with the Neatbeats and, especially their leader, Mr. Pan. But, as I mentioned above, there were all sorts of problems during shooting. The worst problem was important staff being constantly late. Being late like this is out of the question in Japan, so Mr. Pan would get angry with me about it.
You see, in Japan, for any mistake or screw-up, management will never blame the staff. I was the producer; I was captain of the ship, so if we hit an iceberg, it was my fault. This is the Japanese way. In the Japanese way of doing things, no matter what happens, the boss takes responsibility.
The top boss is always the person responsible for what goes on. The captain could never say to the crew and passengers, “That idiot navigator didn’t see the iceberg. So, we hit it.”
That would never happen in Japan.
I often had frank discussions with the critical person who was often late and told him the ways of the locals and so, he came to understand the cultural differences between his country and Japan. This is only an example of many issues that occurred with regularity.
But, in many cases, the damage was done. The leader of the Neatbeats, Mr. Pan would call me on the phone and start berating me in local-dialect Japanese (which was difficult to understand – but I knew he was mad). I know the way of the people of this country, so I know that it would be best to handle it the Japanese way: I had to take responsibility. I was, indeed, my fault. I could not blame the guilty party. Why? Because I hired him. It is my fault.
I would allow Mr. Pan to yell at me on the phone for 30 or 40 minutes straight and I would merely reply, “Yes. I know” or “Yes. I think so.” I would do this and not talk back until Mr. Pan grew weary of shouting at me and he’d finally calm down. I’d eventually tell him I would try to rectify the situation and then I would smooth things over.
That was my biggest job as producer: keeping the team together, keeping the peace and trying to keep the boat from capsizing.
I thank a famous producer in Japan named Motoyoshi Tai who showed me that the best way to handle pissed off people is to let them yell at you (agreeing with them) until they tire out and then promising that you’d do your best to remedy the situation.
I think many Americans would do themselves well to learn this way; getting into a hellacious fight and then people quitting mid-project is never a good result for anyone. A smart Producer knows how to handle it.
SMC – What is one thing you wish you could do differently for this film if you had the opportunity?
Mike – As I mentioned above, I would have taken more time to explain to people what was going on and to get them to understand the vision. I think about it now, and I have made very famous programs and TV shows here in Japan, some of them with millions of viewers (10 million in 6 months on an internet TV show). But I guess the staff didn’t know that or they didn’t understand or didn’t believe in what we were trying to accomplish.
Next time I will make sure everyone understands and is on board 120%. If they aren’t or they don’t “get it,” I will patiently keep trying to get them to understand. If they don’t, I will replace them.
SMC – What kind of competition is there in the film industry in Japan?
Mike – In Japan, in films, like music, the majors have total control. The difference is that, in Tokyo, there are 3000+ bars and clubs and so-called “Live Houses” where musicians can come and play and hone their craft every night of the week. Some can even break and become famous. There is no such a situation for independent filmmakers like that in Japan. I want to change that.
SMC – What do you find is the most difficult thing to do when promoting your own project?
Mike – In the case of Ghostroads, I had sold it off to a Japanese company before it was even completed, so I don’t really have any stories (besides frustration) at watching how other people handle things… I reckon the biggest problems was, is and will always be budget.
SMC – Can you tell us if there are any upcoming film festivals that this film will be a part of?
Mike – The next big festival is very soon in Europe, but I can’t announce it yet. It’s a big deal but everything seems so cloak and dagger. I’m hoping the win the Golden Tupperware Award (like Stephen David Brooks has) or, maybe I can get some 50% discount tickets on fries at Burger-O-Rama. We’ll see.
Fact: The Golden Tupperware Award is an extremely rare award, and few have ever seen one, even fewer own it.
Trivia: What’s really cool about the coveted Golden Tupperware Award for best film, actor or director is that, even though the base of the award is solid 24 carat gold, the top lid is still, to this day, made of pink plastic as engineers have yet to figure out how to make a solid gold lid malleable enough to snap into an out of an airtight fit. Once they do, the Golden Tupperware Award will truly become a proud member of the Tupperware family.
SMC – Ken Nishikawa is also the co-Director, Editor, Sound Designer, and Translator for this film. What was it like working with him?
Mike – Ken Nishikawa is the nicest guy anyone could ever hope to meet. I’m damned dead serious about that too. He never has a bad word about anyone and I have never heard anyone say anything unpleasant about Ken. No Kidding. I want to be like Ken when I grow up. Ken is a sort of legendary person too as he comes from a famous family. Really. His mom is very famous as she is one of the last true remaining geishas in Japan and Ken is almost done with a documentary about her. It is a wild story: Matsuchiyo – Life of a Geisha.
SMC – Once Ghostroads has circled the film festival circuit, will you be working on another film project?
Mike – I have already started working on another project now. Ghostroads is finishing its festival course. We got very lucky and had our World Premiere at Raindance. Entering smaller festivals (that aren’t famous) is meaningless for sales and promotion. I have a few more festivals coming up (that I signed up for months ago) but I will not be signing up for any new festivals. I will now focus on getting distribution and sales and letting some company handle the rest of the life of this film.
SMC – Who would you like to work with in the future in terms of film?
Mike – Alfred Hitchcock, Stanley Kubrick, Charles Chaplin, Orson Welles and Cecil B. DeMille. But, alas, none of those guys ever answer my emails, so I wrote to Stephen David Brooks instead. Now he and I going to try to make a movie together. I say “try,” and I think Stephen will agree with me, because whenever anyone can actually complete a movie, it is a miracle.
SMC – What advice would you give to someone new wanting to begin a film project?
Mike – Run it like you would any business. If your idea is good, then you should be able to find financing and investment partners. Blowing your parents money on a crap vanity project is no good for you or your parents.
The best advice I ever received from anyone was when Stephen David Brooks told me to read the bible of script writing: “Save the Cat” by Blake Snyder (here) and I recommend, “The Hero with a Thousand Faces”, The Collected Works of Joseph Campbell (here).
SMC – You have (had) a show on WhatTheFunday at InterFM897 Radio in Japan which I believe is where we met via Palaye Royale – I believe it was after we did a Spotlight on the band for their single ‘White’ (see original post here). Can you tell us how long you have been with the station?
Mike – I can proudly say that I am the only DJ in Tokyo, that has been fired from every radio station in Tokyo at least once. You name it, they’ve canned me. But since FM radio in Tokyo is so lame, I wear that as a stinky badge of honor. I have been fired from InterFM three times now, but they keep hiring me back because I make the best shows. I have been with them since 1996.
I have a new show, The Mike Rogers Show, that starts on Nov. 5, 2017. It’s going to be like a BBC morning show on acid.
SMC – I love seeing the posts on your blog ‘Marketing Japan’ and would love to link it up to this feature as well as our site! You have some of the greatest stories, tips, and shared memories on there with some pretty fantastic people. Can you tell us some back stories that haven’t been shared on that platform?
Mike – I once had to fly to Canada and back on the same day, just so I could sleep with the editor of SMC just to get this interview. Hey! I need the promotion.
SMC – You recently did an interview with John Lydon while you were at Raindance Film Festival. WOW. This is the reason I asked you the previous question. I have to say I truly admire honesty. Way too many will write a fluff or ‘Pollyanna’ story about some of the behaviors of the ‘professionals’ in this music industry. I am happy to see you are not – you write it as you see it – for the facts. What kind of a response did you get from people after you posted that?
Mike – Oh? Mr. Rotten? That’s probably best if the readers go directly and read the entire details by themselves. The article is here: “I Interviewed Johnny Rotten – the True Story.”
The festival people and the Theater Manager and staff were furious at John Lydon and his posse. But, I am not mad at the guy and he is still my hero. I totally understand his desire for respect and status. We all have it… So, just because he was drunk and rude to me (well, all of us) it would be childish of me to now say, “I don’t like Johnny Rotten because he was a right ass to me when we met.” Nothing he could do now erases what he did in the past. I just figure that he delivered what was expected of him that night in London. Nothing more. Nothing less.
SMC – I know that you have met a lot of music industry peers over the years. Tell us of a pleasant story that you have a great memory of?
Mike – I think the most formidable and imposing person I have ever met was Siouxsie Sioux. My radio show was so popular in the nineties that we presented her band and concerts, The Creatures, in Japan (the station didn’t present that the concert, my program did!) The Creatures had awesome shows. I think one of the best songs of the nineties was the Creatures’ “Second Floor”.
Siouxsie and her then husband Budgie came to the studio at InterFM. She was a dominating, imposing figure. We were all totally intimidated by her. She was a giant twenty-foot tall rock goddess made of marble, ice and ivory.
Into the studio she strode with Budgie right behind and as she sat on her chair, she looked me straight in the eye, lit a cigarette (she knows there’s no smoking in a radio studio), and said to me, “It’s alright if I smoke, isn’t it?”
We all froze. I didn’t know what to say. Wide-eyed, I gulped and stuttered, “Er, uh, the rules do not apply to the queen.”
After that, we then had a great time and a fantastic interview. She was the most awesome, fearsome musician I have ever met. Later on, we all got to hangout backstage with Siouxsie! How many people can say that?
SMC – Are there any charities or organizations that you support or are passionate about?
Mike – I have always supported Children With Incurable Diseases Charity in Japan. It is called, “Nanbyo.net.” “Nanbyo” means “incurable disease.” (Nanbyonet)
SMC – What do you think is lacking in the music industry today?
Mike – Musicians who have business sense as well as musical talent. People hate the business side of things, but a negative attitude towards an integral part of the business and success is self-defeating and short sighted. The most famous musicians knew this. Michael Jackson and David Bowie were astute businessmen.
SMC – Can you tell us your top indie bands that you like to support?
Mike – There are the rock bands from Japan that I like best (Some of these videos I made with Ken Nishikawa):
These are my favorite bands in Japan.
Oh, and my favorite new foreign band of the year are from Australia. A young band that plays their own instruments and rocks out? I’m in love!
SMC – You have delved in music yourself! I remember reading on your blog that an original record of yours sold for a hefty price too! Tell us about your history in music….
Mike – When I was young, I was in a “One-Hit Wonder” Punk Rock Band. The band’s name was “The Rotters.” We played with the Dead Kennedys, Fear, Black Flag, the Germs, Angry Samoans and a bunch of other 1978~79 Los Angeles Punk Band’s whose names I can’t remember. I’ve written about it here: I Was a Teenage Punk Rocker – Why Dedication Beats Fanaticism Anyday! Even for Punk Rock or Success in Any Field!
After that band broke up, I floundered in a few other bands, but never really did anything that was as exciting as the Rotters… I thought. The band I was in after the Rotters? The Wuffy Dogs? I am told that the single we made is now the “Holy Grail” of late 1970s L.A. Punk singles and sells for nearly $1800. Why? I’m guessing it’s because that band had two former Rotters, the guy who would later become the drummer for M.I.A., and the original guitarist for Berlin (who got kicked out of Berlin because he wanted screaming guitars and Berlin wanted to make pop tunes like, “Take My Breath Away.”)
SMC – What was the turning point in going from a music career to film and where you are today with radio?
Mike – After my band broke up, I wanted to stay in Los Angeles. As a suburban boy, I found L.A. exciting as hell. So, one day, I asked Rodney Bingenheimer (Rodney on the Roq – KROQ Los Angeles) if I could be his assistant. I told him I didn’t need to be paid. He said “OK” and so I was an unpaid Gofer for the World-Famous KROQ’s Rodney on the Roq for about 16 months between mid-1980 – 1981. I would clean up and organize albums that were scattered about in some rooms and also carry records for Rodney to and from his car. The best part of the job was answering the door at KROQ for Rodney and greeting guests who came to be on his show. Through that I got to meet Clem Burke of Blondie, the Ramones, and a bunch of other super famous punk stars whose names escape me at the moment. I used to get stoned with Dee Dee Ramone! I wrote about that here: “Belinda Carlisle Naked, The Ramones, Rodney Bingenheimer and Me – Another True Story”
The first time I got to meet Phil Spector was Christmas of 1980 and when he arrived at the door, he didn’t look like a Punk (he looked like my dad!) so I was rude to him (like an idiot!) I didn’t find out until much later who he was!… Doh!
I used to go with Rodney to that all-night diner he lives at (Canter’s Deli) too after almost every show. There I met lots of people who were famous or to become extremely famous later…
I never told people in Japan about that because they wouldn’t believe me. But, one day, Rodney came to Japan and I got to be his tour guide and take care of him for 5 days in Tokyo, so I could pay back, a little bit, all he did for me. (I wrote about that here)
So, had I not been Rodney’s assistant, I probably would have never become a radio DJ.
SMC – I like to ask this question because it means different things to different people: What does ‘Success’ mean to you?
Mike – Being able to live and eat and have a happy family doing what you like. Diana Ross once said, “Show business is not success, it is survival.” So, if you can survive and be happy doing what you want, then that is success.
SMC – Which social media platform are you most active on and why?
Mike – I do Facebook, Twitter, Instagram and I blog. As far as Social Media is concerned, I think one must focus. Social Media is like going to parties. If you are doing too much and too many Social Media (going to too many parties at once), you can’t spend time at any party getting to know people well. I think it’s better to go to a few parties and be able to spend time and talk with friends than having to rush around to a dozen parties, just say, “Hi!” and then leave.
SMC – What are the top attributes you look for when aligning yourself with industry peers for future projects or even simply to network? We all have certain ‘deal-breakers’ when it comes to a certain type of person…
Mike – I like honest people. There are so many dishonest people, it astounds me. And these people are quite easy to pick out as they contradict themselves constantly (though it seems they don’t realize it). I have a bad memory for names and tasks I have to do so I always take notes and I always try to tell the truth. Why? Because, once again, as Mark Twain says, “If you tell the truth you don’t have to remember anything.”
It’s too much trouble lying and then having to remember what you told to who. So, it’s just better to tell the truth.
People who lie habitually, about shit that doesn’t matter, fail to realize it when they contradict themselves. They are their own worst enemy.
May I recommend two very important books?
“The Road Less Traveled” and the sequel, “People of the Lie” by F. Scott Peck. Both discuss telling the truth all the time and the second discusses how some people will go to extreme lengths, even kill, in order to protect the lie. The last few chapters of “People of the Lie” are frightening.
SMC – Okay, final question: What in project you would love to get involved in or work on in future?
Mike – Now I am franchising one of the world’s most famous film festivals and bringing it into Japan. I cannot mention the name of the film festival because I have signed a confidentiality agreement. We are now setting up a consortium of some of Japan’s most famous corporations to support this project. It’s going to be huge news all over the world. We will be able to announce it later this year. Think Big!
Social Media & Media Links for Mike Rogers (click to view)
Save the Cat by Blake Snyder
The Hero with a Thousand Faces (The Collected Works of Joseph Campbell)
The Road Less Traveled by F. Scott Peck
People of the Lie by F. Scott Peck