«To the insular Japanese, the West was a giant wellhead of art, experience and information from which to guzzle like punks gate-crashing a wine tasting; a gulp of this, a wee dram of that, downing whichever had the most appealing scent. Unlike the British and American scenes, whose musicians were expected - by the press and fans alike - to keep more or less to their own musical turf, the Japanese allowed ... nay, expected their musicians and composers to embrace a wide variety of wildly different musical genres. This meant that much of the best and most vitally experimental of Japanese rock came not from rock'n'rollers at all, but from the underground jazz scene, from the musical ensembles of experimental theatre companies, and from progressive university musical faculties well stocked with electronic gear. Furthermore, several singular but highly successful 'experimental rock' projects came together with an actor or pop singer as its figurehead, as in the case of newly enlightened mainstreamers Yuzo Kayama, Mickey Curtis, Yuya Utchida and Akira Fuse, all of whom successfully acted as conduits or gateways between their audiences and these new mysterious underground rock sounds.»
pág. 14, ainda vou no começo... (Francisco Ferreira, onde quer que estejas, isto é "o" livro para ti)
