Japanese Counterculture: The Antiestablishment Art of Terayama Shuji

Notes

· 187 · Notes Introduction 1. Renate Klett, telephone interview, Berlin, July 2002. 2. Terayama writes about Jim Haynes in “Rondonkko nara dare demo Jimu Hēnzuoshitteiru,”inYōroppareinen(Tokyo:MainichiShinbunSha,1970),119–34. 3. Terayama recounts his visit to Algren in “Neon no kōya: Shikago,” in Chika sōzōryoku: Hyōronshū (Tokyo: Kōdansha, 1971), 91–107. 4. Terayama’s conversation with Michel Foucault is reprinted in several books, most recently in Terayama Shūji, ’70s Terayama Shūji (Tokyo: Sekai Shoin, 2004), 25–40. The dialogue was first published in the April 1976 issue of the journal Jōkyō. 5. J. Milton Yinger, “Contraculture and Subculture,” American Sociological Review 25, no. 2 (October 1960): 629. Yinger will later move toward seeing the culture–counterculture dialectic as the core force driving social change in “Countercultures and Social Change,” American Sociological Review 42, no. 6 (December 1977), 833–53, and later expand those ideas to find this same dynamic in nearly all elements of life and across centuries of history in his book Countercultures: The Promise and Peril of a World Turned Upside Down (New York: Free Press, 1982). 6. Talcott Parsons, The Social System (Glencoe, Ill.: Free Press, 1951), 355, 522. Yinger, following up on Parsons’s footnote, traces Lasswell’s use of “countermores ” back as far as 1935 (in World Politics and Personal Insecurity [New York: McGraw-Hill], 64) before dismissing as analytically unclear Lasswell’s fairly apt description of “culture patterns which appeal mainly to the id” as seen in “revolutionists, prostitutes, prisoners, obscene and subversive talk.” Yinger, “Contraculture and Subculture,” 629n10. 7. Theodore Roszak, “The Counter Culture: Part I—Youth and the Great Refusal,” The Nation 206, no. 13 (March 25, 1968): 400–407; “The Counter Culture : Part II—Politics of the Nervous System,” The Nation 206, no. 14 (April 1, 1968): 439–43; “Counter Culture: Part III—Capsules of Salvation,” The Nation 206, no. 15 (April 8, 1968): 466–71; “Counter Culture: Part IV—The Future as Community,” The Nation 206, no. 16 (April 15, 1968): 497–503. 8. Theodore Roszak, The Making of a Counter Culture (Berkeley: University of California Press, 1969), 5–22. 9. Takahashi Akira, “Amerika no shin-sayoku to wa nani ka: Tenkanki ni okeru chishikijin,” Sekai 254 (January 1967): 106–7. Takahashi is engaging Ronald 188 NOTES TO INTRODUCTION Aronson’s “The Movement and its Critics,” Studies on the Left 6, no. 1 (January– February1966):3–19heredirectly,usingAronson’sterm“counter-style”todescribe the antihierarchy position taken by the bulk of the New Left organizers. 10. Terayama Shūji, Sengoshi (Tokyo: Kinokuniya Shoten, 1965), 71–87. 11. Ibid., 77–78. 12. This film was shot in 1962 but not edited or publicly screened until 1969. The date listed in the title sequence, 1964, has been repudiated by Hagiwara Sakumi, who is credited with editing the film in 1969. Nakajima Takashi, ed., Terayama Shūji: Seishōjo no tame no eiga-nyūmon (Tokyo: Dagereo Shuppan, 1993), 120. 13. Norman Mailer, “The White Negro: Superficial Reflections on the Hipster,” Dissent 4, no. 3 (Summer 1957): 278. The first Japanese translation (by Ōhashi Kichinosuke) of “The White Negro” was available by February 1960 in the journal Mita bungaku. This version would be included in an anthology compiled by Saeki Shōichi and published in 1961 on the topic of “new literature,” which included a chapter on the United Kingdom’s “Angry Young Men” (another interest of Terayama ’s). Terayama quotes from Mailer’s essay in his critique of postwar poetry, Sengoshi, mentioned previously. Terayama playfully refers to himself as a jazzobsessed “Yellow Negro” in “Ierō niguro datta koro,” in Ōgon jidai: Terayama Shūji hyōronshū (Tokyo: Kyūgei Shuppan, 1978), 260–62. 14. Yomota Inuhiko, Haisukūru 1968 (Tokyo: Shinchōsha, 2004), 128. 15. TheearlybiographicalinformationisprimarilydrawnfromOgawaTarō’sTerayama Shūji, sono shirazaru seishun: Uta no genryū o sagutte (Tokyo: San’ichi Shobō, 1997), the result of a thorough series of interviews Ogawa conducted with Terayama ’sfamilyandacquaintancestofact-checkthedetailsofTerayama’stwodubiously autobiographical works, Keshigomu, which was first serialized in Yomiuri shinbun between November 10, 1976, and December 3, 1976, and was later reprinted in Ōgon jidai, cited previously, and Tareka kokyō o omowazaru, first serialized in the journal Shinpyō between July 1967 and April 1968 and later published as a book in 1968 by Haga Shoten (Tokyo). I have cross-referenced as many of these details as possible with other sources, such as Takatori Ei’s recent Terayama Shūji: Kageki naru shissō (Tokyo: Chūsekisha, 2008...