I'd been asked by Takashi Murakami to collaborate on something, which was an honor for me. I was really pleased. And then he had me as a guest speaker on his radio show, and we were talking about art. I don't think he knew I was interested in the topic - he was really surprised to find out that I own some original Andy Warhol and Gerhard Richter and Jean-Michel Basquiat works. So, in some ways, I think he simply wanted to see what I have.

Maybe Japan itself is a little similar in that a lot of young people seem to have a little knowledge but not too much depth. I guess my perception of the art specialists in America or in Europe is that the art people are kind of mainly just the art people and that community is self-contained. But in Japan, it mixes with fashion and other things. I'm sure that many authentic art dealers or insiders didn't like the way that we presented our show in this very pop-y, accessible manner - just showing parts of our collections and selling prints and collaborative products.

Maybe something new is even being done by people who see our generation as an enemy. That can create energy as well.

I arrived in Tokyo in around '81. Around that time, I visited London for about two months - it was the period just before Malcolm McLaren released his solo album Duck Rock. I'd met him when he came to Japan, so I visited him in London and spent one evening with him and his girlfriend over at his house. He told me, "London is boring right now. You should go to New York." So he called a friend in New York, who I think was an old assistant or someone who helped him record early hip-hop stuff over there.

I really got interested in the DJ side. I mean, I guess I was some kind of DJ in Japan already, but the hip-hop scene was naturally happening, and I picked up on that style, then brought back from New York the information on records and technique to Tokyo.

I actually came from the fashion side, so maybe I knew more about fashion - and music like hip-hop because I was a DJ - so it was really successful when we mixed it all up together.

In those days, in 80th, people were really hungry for information - and, somehow, I had pretty good access because I had friends in London, New York, Los Angeles, everywhere. I'd been visiting many places and talking with people, so I had a constant flow of new info. I sometimes did articles for magazines and things, and people started to say, "If you want to know what's going on, ask Hiroshi." So that was the beginning with Goodenough.