For reasons I won’t bother you with right now, I recently was propelled to search for a Kurt Cobain interview where he spoke about British music and in particular, Blur’s horrendous ‘There’s No Other Way’ record. What I came across was a video where all three members of Nirvana do their best to answer the most banal and as I soon realized, shittest questions I’ve ever heard posed. The atrocity in question is embedded below. It’s interesting to me of course, because, the main part of this site deals with interviews with artists and GOD FORBID I should ever show myself up for being the amateur I am with any similar line of questioning. You, dear reader, can be the judge of that. In short, I thought why not publish a list of the cringiest and most pathetic attempts of journalistic interviews that YouTube has to offer, or at least the ones I could find and remember as being my personal favorites. Enjoy.. or at least endure the many times when journalists are awful… or in some cases, the interviewee is being abnormally difficult. Again, for you to decide.
Jordan Peterson VS Cathy ‘so what you’re saying is’ Newman
The complete saga of Harmony Korine on Letterman (and why he got banned for life)
Brian May has had enough, before things get started (What’s that in Dutch?)
Oliver Reed Interview – Saving the greatest interview of all time till last.
As part of Radiohead’s wider live lockdown releases (of which there have been many) Thom Yorke has now released the full 4 song-20-odd minute recording of his From the Basement session…. which is breathtaking, perhaps an indie funeral march for those of us drawn to such composition. Enjoy.
It appears that Sparke brings her own peronal experiences to her music (never!), highlighting the spaces between the polarity of softness and grit. Pulling from her experiences of addiction, of healing, of queerness, of heartbreak, of joy, of connection, of the softness and of the grit alchemizing it all into tenderness through her music, she conjures up a myriad of feelings that is undeniably potent.
Born in the belly of Sydney, Australia straight into the heart of a family with music in their bones. Her parents, a jazz singer and a musician, named her after the Duke Ellington song ‘Mood Indigo’, and her childhood was spent serenaded by a rich soundtrack of Joni Mitchell and Neil Young. From a young age Indigo felt called to the stage, attending a performing arts high school, and followed it with three years in an acting school, working as an actress before embedding herself and heeding the call to the path of music.
It was in 2019 that Indigo lived and travelled across America, in many hotel rooms and amidst the vast stretching landscapes on the never ending highways, channeling her creative energy into the completion of her latest album, Echo.
Of the song and video for new single ‘Colourblind’, Sparke says “I think there was a period of time when I was almost laughing at how sad I was in the space of ambiguous liminal love. If you don’t start laughing, you just cry more. Its a feeling when you are kind of sick to your stomach and anxious but excited and not knowing what the fuck is going on. The space of waiting. Waiting to know someone else’s truth, or waiting to see someone, or waiting to see what the future holds for you and that person, or waiting to see if it’s even real. Everything becomes that person, everything reminds you of that person, everything speaks that persons name. It’s a bittersweet thing.”
We hope to feature an interview with Ms Sparke very soon.
The Specials emerged from an era of British music like few others; one that combined the influences of both homegrown political dissidence and Jamaican dance-house music. In the late 1970s, The Specials produced the first and finest combination of multi-racial (and also collaborative) music that the UK had ever seen, inventing the term ‘Two Tone’ in the process. Many since then have tried to hold the cue, but few have managed to do so or execute with such originality. I do doff my hat to those who have tried. In terms of being related to the quality of ‘ska’ music The Specials dealt (and continue to deal) in, I can only raise the name of the Fat White Family, a band who seldom sound in the same genre, but do very much carry the energy, wave of originality, popular tunes, humour, and indeed political messages of The Specials. The common political message can be left up to the reader to decide.
Horace Panter was in the Specials and played Bass in their original and current line up. These days, he’s very eager to get The Specials back touring (COVID forgiving) and also spends his time working with his own Pop-Art, adapting to being a ‘technophobe’, whilst also on the verge of being a grandfather. Felten Ink caught up with Mr Panter to discuss such matters.
Horace, what is the difference between being a ‘musician’ and an ‘artist’?
Being a musician gives instant feedback. If you’re doing good, an audience applauds or your bandmates acknowledge you. If you’re doing bad, you know about it pretty quickly too. There is a lot of adrenaline involved! With painting, the satisfaction and contentment is something internal. I guess, to use a pop psychology word, it’s ‘mindful’. The validation from an audience comes more slowly but it is there. I get a kick every time someone buys one of my paintings.
To me your own artwork looks like it would come under the term ‘pop art’?
Yes, I’d say I follow the Pop tradition. I take everyday objects and paint them, elevating the mundane. Andy Warhol had his soup cans, I have my cassettes, Japanese Vending Machines, American diners. I don’t mind people putting structure around my work – it doesn’t affect how or what I paint.
Do you look at everyday things and feel the need to make something?
I look at all genres of art (which is why I miss being able to go to galleries/exhibitions). Everything inspires me: it could be a colour or a shape or an object that suddenly takes on a specific meaning that I think could be transferred to a painting. A fellow artist once said to me ‘lots of people can draw/paint to a level that is extraordinarily but, as an artist, you have to have an idea’. I’d say it’s far harder to have an idea than it is to be technically brilliant. I don’t want to follow trends in art though I’m aware of them. I guess my strongest influences come from Pop Art, given that I was a child of the 60s when everything ‘cool’ came from across the pond: pop music, art, fashion. I love Peter Blake’s work but he was also influenced by American Pop culture.
What has being a musician taught you (if anything) about your own exploration into making your own art – to me your artwork doesn’t seem too personal?
As a musician, I’m a team player. I need a drummer and other musicians to create my music; it’s collaborative. I always refer to my art as ‘my solo album’. The work stands or falls on its own merit and by my own efforts. I have done a few pieces of ‘personal’ art but I keep them for myself!
I would love you to share some… I’ll keep it a secret, I promise. When is the best time for you to work, create, and why?
I prefer to paint in the daylight (natural light) which has been difficult with the short winter days. After walking the dog I spend most of the day in the studio but I do go out to see my printer or framer a couple of times a week. I try to take a break at weekends but if I’m on a roll, that often goes out of the window. The painting itself dictates how I work I guess.
It seems to me there are perhaps few other modern bands continuing the work of The Specials. Do they exist?
Where are the new Specials? I think various aspects of The Specials are observable in a lot of British music – the reggae/ska influence, the dance style, but nothing has come that close. Jerry (Dammers) once said he thought that Galliano were like The Specials. There are, of course, bands that, lyrically, resemble the band, but I think our USP was the message and the dance. Our message was serious but our music was uplifting.
I once read you saying nice things about Sleaford Mods (not my bag, to be honest). Personally, I think Fat White Family are one of the greatest bands currently on earth who at least share the attitude of a band like The Specials. What else is are you into musically?
I’m not familiar with Fat White Family – I’ll look them up – but Terry thinks highly of them. I thought the Sleaford Mods were mesmeric performers and it was great to have them on tour with us. I don’t listen to too many new acts (where do you find them these days if you don’t have Spotify… I don’t because I’m a bit of a technophobe!). I think my vast knowledge of rock’n’roll is something of a millstone around my neck. Everything I hear seems to sound like something else – spot the influence if you will. I have tickets to see The Drive By Truckers in June in London, re-scheduled from last year… I hope they play. Bands send me stuff on social media and, now and again, I prick up my ears and listen to a song all the way through. These days I’m quite impatient, if it sounds generic in the first few bars, I’m gone. I’m not cynical, maybe just have too many tunes in my head already!
I first got into the Specials in the days of indie dance floors back in my late teens/ early 20s (a long time ago now). Why do you think The Specials continue to be so important for newer generations?
Well, firstly: The tunes are great. The lyrics are easy to sing and are still relevant. The rhythms are irresistible. The live shows are full on – 100% full tilt celebration. Got your ticket for the 2021 gig yet?
Not yet, but… How has this ongoing lockdown treated you and have you been able to develop or at least maintain yourself as an artist, i.e. your own artwork and with the band?
All the Specials’ work for 2020 was rescheduled for 2021. Then, even our 2021 tour was put back from March/April to September/October. Between the lockdowns I did three small gigs, two with a Cajun/Zydeco outfit and one with a Blues band. They were all great and made me realise how dependent I am on performing as a release. During this current lockdown I’m one miserable mother-fucker. There’s only so much you can practice playing the bass! Art-wise, I’ve never been busier. There are new projects and new opportunities, making it an exciting time. Counter-intuitively, people have still been buying art, which is great for me. I’ve managed to paint a whole new series of cassettes which will be exhibited in the next couple of months. Obviously, the exhibition will be virtual which takes some of the fun out of it as it’s nice to build up to a physical exhibition and to meet people at the opening. Nothing is as usual though is it? I stay home, walk my dog in the countryside twice a day and do everything I can to stay sane!
What has this current situation given you that normal life would have restricted?
We (my wife and I) moved house a week before the first lockdown, from Coventry to a small village in Warwickshire. Love it. We have spent our time since then exploring the area, finding remote places to walk the dog (border terrier called Mijj!), had builders in, who have been great company… builders always are aren’t they! As well as concentrating on painting, I’ve had lots of time to read and think. Our son and daughter-in-law moved from South London to Warwick just before Christmas. It is a huge frustration that we can only see them in a socially-distanced situation, so no long boozy dinners together! I miss playing Blues/Cajun/Zydeco in pubs. Socialising in general. Visiting museums and art galleries. I was planning a road to trip to visit friends in the USA so god knows when that will be possible!
I don’t want to spend too much time on COVID but as it’s affecting everyone – what are your own thoughts on how the UK is dealing with it? Will we get back to normal (I tend to think aside from pubs and gigs, normality was overrated)?
I don’t think there was a single country in the world that was prepared for the virus (except perhaps Taiwan). We had to make it up as we went along didn’t we. There were always going to be conflicting interpretations of scientific data and weighing up the economic consequences. I don’t think we’ve felt those consequences fully yet. The performing arts industry has been decimated. The current debacle about musicians/performers needing permits to perform in Europe is a farce that needs to be fixed. Maybe bands like The Specials can take that on the chin, given they have a management structure capable of sorting all that out. It is young bands and musicians (including choirs, small opera companies, etc) that will feel it as they often go out on a shoestring budget and they won’t be able to absorb the extra costs. I’m just hoping to play in pubs again!
I’m now in my mid-30s and feel it – does one chill out more as they get older – You’re 67 now so what does age do to you?
Haha! It makes me jealous of anyone who is 30 years younger! Stuart Copeland once said to me “musicians stay younger longer” – I hold to that thought constantly!!Less angry, sure. More chilled, sure. Without the mist of anger I have been able to think more deeply about things like politics… I’m less reactive and more contemplative. I look for context in everything, despite the fact that context is often obscured. I see that MSM and social media are designed to make me angry so I back off. I’m going to be a grandfather this year and that gives me a deep sense of joy. The personal stuff, family, friends, etc., is the important stuff.
In terms of your artwork, I love your cassette art in particular – how do you choose who to stick on there. I was thinking you should do a mixtape version and link to a playlist on Spotify… with the help of the one they call ‘Alexa’?
With the cassettes there are self-imposed boundaries. Circa 1970 – Circa 1995 are the boundaries. Having said that, more bands are recording and releasing cassettes as they have achieved a kind of iconic status. All the cassettes are the same dimensions. The interesting bits are small, overlooked factors like the screws (do they have screws?), or the window. Are there numbers folded into the front place under the window? (what use were these anyway?). These small factors inform how the cassette looks. Yes, I only do bands I like. No way would I do an Abba cassette – or Queen! Don’t even mention Queen! Having said that, my new series doesn’t feature bands/songs; it celebrates the object alone and I’ve concentrated on design/colour. The idea of Alexa scares me shitless!
I agree with you on ABBA, God forbid Alexa decided to play me that. Are you ever bored with making music?
Never! Music is such a wonderful thing to be able to perform. I can’t possibly imagine my life without it. Now and again I get fed up with a painting I’m doing so I’ll put it aside or scrap it. I never get fed up playing music!
Are you cynical about older bands getting back together to tour or make new music? I don’t wish to be crude, but making money is important – thoughts?
Well, at my age, I ain’t in it for the travel and I do have a family to support. I would by lying to you if I said that the money didn’t matter. You might be surprised that I still have a mortgage and I don’t have a pension plan, or even a new (or old) BMW! I have never been close to being a millionaire, more’s the pity haha! My accountant says that in a good year I make about the same as the average builder. The Specials is a big band with a large crew, the cost of doing a tour is eye-watering. Regardless, I love it! Being with Terry (Hall) and Lynval (Golding) and the gang is like being with family… we have decades of history!
Interview with Horace Panter – January 2021. To be continued…
Samir Guesmi’s directorial feature debut is described as being a ‘rites of passage’ in which a father and son will slowly grow to know and understand each other when ‘botched robbery’ and the need to satisfy older friends offer no end of conflict. Newcomer Abdel Bendaher plays Ibrahim, a youth hell-bent on finding himself and others at the same time. Here, Abdel Bendaher answers some questions about the role itself, working with director Samir Guesmi and finding his own feet in when dipping his toes into the world of filmmaking.
Abdel, How did you end up being a part of this project?
It was a bit of an eventful Sunday for me and my friends: we went to watch a friend – totally outclassed by older players – play a football match. At half time we dropped our ball near the spot where Samir Guesmi was. I felt he was staring at me. With his motorcycle helmet in hand and big as he is, we thought he was a cop! He introduced himself, and explained he was a director and actor. We didn’t believe him. He had to show us his Wikipedia page with a photo before we took him seriously. Then he asked if he could film us. Weeks went by and Christel Baras, the casting director, contacted me. I did a test with her first, then more casting sessions. I gave myself completely each time, because I felt the pressure mounting and I wanted to believe in this. When I found out I’d got the part I was really happy!
What was your relationship with cinema before this experience?
I only went to the cinema to watch American blockbusters. But with my best friend we often fantasied about making a film about our friendship and the bullshit we used to come up with together. Now I’ve started to watch French cult films, I’m opening myself up to cinema and it fascinates me.
Do you remember your reaction when you read the script of IBRAHIM
I remember feeling it was really alive. I was immersed and I believed in everything I was reading. I quickly identified with Ibrahim, who is a high school student like me. He’s shy and reserved too. It was easy to project myself into this role. I liked the friendship between Ibrahim and Achilles as I much as his relationship with his father and the connection he develops with Louisa.
What did you tell yourself about Ibrahim? The truth?
Nothing! I told myself I was going to play Ibrahim as I am. I understood that’s why I had been chosen, that I should stay as close to who I am in life to play the role of Ibrahim. I just thought he was an unlucky boy, not a victim. He wants to do things right and avoid problems, but his mate Achilles involves him in his bullshit and exerts a big influence on him. I also think he and his father love each other very much, but don’t dare tell each other. Ibrahim is a very observant character… Like me! I tend to observe a lot and am careful to not be noticed. I’m a champion at looking away if someone I’m looking at turns his head towards me. So I had no trouble finding the right attitude for Ibrahim, and Samir helped me a lot too. He guided my gaze, sometimes even during scenes.
How did Samir direct you, in other respects?
He told me to not act, to be natural. The fact that he himself is an actor helped me. During the first weeks we shot the scenes in Ibrahim’s and his father’s apartment. They were complicated scenes, because their relationship is complicated. The first days, Samir didn’t want to talk to me. He had warned me that the beginning of the shoot would be tough, and he piled the pressure on me. That’s how I felt about it anyhow, and it did help me to find the right emotions for the film. At first I concentrated on my character; I was in my corner and repeated the lines to myself, I was hunched up, like Ibrahim. I quickly felt I was the character. Bit by bit I understood this was Samir’s strategy, but I didn’t hold it against him. All the more so since at the end of the first week he came to talk to me and explained why he had talked to me so little at first. Little by little I started to feel more at ease with everyone.
Did you manage to forget the camera?
Only after several days. I got used to it gradually. I also had to get used to the crew, I was a bit overwhelmed by all these people around me. What helped me was being invited to participate in the location scouting. I got to know some technicians and quickly felt accepted. But on set, I was intimidated. It was really intense, and I felt there was no room for mistakes. I didn’t know that films were made like that. I thought you shot in front of a green screen with dialogues written on cards! Those first days were crazy – hallucinated the first few days: no comparison!
How did you find your character physically? Did the wardrobe help… the chapka hat for example?
Yes, even if at the beginning I thought that the shoes I had to wear were lousy! These must have dated from the time of Louis XVI, these trainers! I swear to God! I wore a chapka hat, a coat, had a green bag… At first when we shot the scenes at the high school, with kids around us who hadn’t necessarily understood we were shooting a film, I was a little ashamed in these ugly clothes! But it allowed me to feel like Ibrahim. The chapka hat physically defines his character. He wears it all the time, he’s attached to it. When Ibrahim takes it off the people who look at him feel they are discovering a new face.
Did you see Samir’s short film, C’EST DIMANCHE! before the shoot?
This short film helped me. It doesn’t describe the same father-son relationship but it gave me clues.
How did you work with the other actors?
They were all older than me and had experience on films. They acted like big brothers and sisters to me. They helped me a lot and made me feel at ease, by rehearsing my lines with me between takes, for example.
Were you able to leave this role easily? How did you emerge from this first film experience?
When I went back to school after filming, I was shyer than before, as if Ibrahim had rubbed off on me. But that changed quickly, particularly when I was back with my friends. It’s funny, because at the beginning, I was in a hurry for this shoot to be over with. But at the end, I was sad and wanted to start again as soon as possible. I really want to carry on acting. I know how lucky I was to have met Samir. I’ve always loved the idea of trusting my destiny. Samir arrived at the right time: I had bad grades in third grade, I wasn’t sure which way to head. This film has changed everything for me. I’m like a new person, in a way, thanks to this film. It is also the first step towards the professional world. When I finished the shoot, I was a bit proud of myself, without having become big-headed. Just proud to have taken on a challenge and to have been able to play a part in a beautiful film.