Friday, September 28, 2007

Bat for Lashes is the doppelgänger band ego of one of the leading millennial lights in British music, Natasha Khan. Caroline Weeks, Abi Fry and Lizzy Carey comprise the aurora borealis that backs this haunting, shimmering zither and glockenspiel peacock, and the only complaint coming from the audience at the Bowery Ballroom last Tuesday was that they could not camp out all night underneath these celestial bodies.

We live in the age of the lazy tendency to categorize the work of one artist against another, and Khan has had endless exultations as the next Björk and Kate Bush; Sixousie Sioux, Stevie Nicks, Sinead O’Connor, the list goes on until it is almost meaningless as comparison does little justice to the sound and vision of the band. “I think Bat For Lashes are beyond a trend or fashion band,” said Jefferson Hack, publisher of Dazed & Confused magazine. “[Khan] has an ancient power…she is in part shamanic.” She describes her aesthetic as “powerful women with a cosmic edge” as seen in Jane Birkin, Nico and Cleopatra. And these women are being heard. “I love the harpsichord and the sexual ghost voices and bowed saws,” said Radiohead‘s Thom Yorke of the track Horse and I. “This song seems to come from the world of Grimm’s fairytales.”

Bat’s debut album, Fur And Gold, was nominated for the 2007 Mercury Prize, and they were seen as the dark horse favorite until it was announced Klaxons had won. Even Ladbrokes, the largest gambling company in the United Kingdom, had put their money on Bat for Lashes. “It was a surprise that Klaxons won,” said Khan, “but I think everyone up for the award is brilliant and would have deserved to win.”

Natasha recently spoke with David Shankbone about art, transvestism and drug use in the music business.

DS: Do you have any favorite books?

NK: [Laughs] I’m not the best about finishing books. What I usually do is I will get into a book for a period of time, and then I will dip into it and get the inspiration and transformation in my mind that I need, and then put it away and come back to it. But I have a select rotation of cool books, like Women Who Run With the Wolves by Clarissa Pinkola Estés and Little Birds by Anaïs Nin. Recently, Catching the Big Fish by David Lynch.

DS: Lynch just came out with a movie last year called Inland Empire. I interviewed John Vanderslice last night at the Bowery Ballroom and he raved about it!

NK: I haven’t seen it yet!

DS: Do you notice a difference between playing in front of British and American audiences?

NK: The U.S. audiences are much more full of expression and noises and jubilation. They are like, “Welcome to New York, Baby!” “You’re Awesome!” and stuff like that. Whereas in England they tend to be a lot more reserved. Well, the English are, but it is such a diverse culture you will get the Spanish and Italian gay guys at the front who are going crazy. I definitely think in America they are much more open and there is more excitement, which is really cool.

DS: How many instruments do you play and, please, include the glockenspiel in that number.

NK: [Laughs] I think the number is limitless, hopefully. I try my hand at anything I can contribute; I only just picked up the bass, really—

DS: –I have a great photo of you playing the bass.

NK: I don’t think I’m very good…

DS: You look cool with it!

NK: [Laughs] Fine. The glockenspiel…piano, mainly, and also the harp. Guitar, I like playing percussion and drumming. I usually speak with all my drummers so that I write my songs with them in mind, and we’ll have bass sounds, choir sounds, and then you can multi-task with all these orchestral sounds. Through the magic medium of technology I can play all kinds of sounds, double bass and stuff.

DS: Do you design your own clothes?

NK: All four of us girls love vintage shopping and charity shops. We don’t have a stylist who tells us what to wear, it’s all very much our own natural styles coming through. And for me, personally, I like to wear jewelery. On the night of the New York show that top I was wearing was made especially for me as a gift by these New York designers called Pepper + Pistol. And there’s also my boyfriend, who is an amazing musician—

DS: —that’s Will Lemon from Moon and Moon, right? There is such good buzz about them here in New York.

NK: Yes! They have an album coming out in February and it will fucking blow your mind! I think you would love it, it’s an incredible masterpiece. It’s really exciting, I’m hoping we can do a crazy double unfolding caravan show, the Bat for Lashes album and the new Moon and Moon album: that would be really theatrical and amazing! Will prints a lot of my T-shirts because he does amazing tapestries and silkscreen printing on clothes. When we play there’s a velvety kind of tapestry on the keyboard table that he made. So I wear a lot of his things, thrift store stuff, old bits of jewelry and antique pieces.

DS: You are often compared to Björk and Kate Bush; do those constant comparisons tend to bother you as an artist who is trying to define herself on her own terms?

NK: No, I mean, I guess that in the past it bothered me, but now I just feel really confident and sure that as time goes on my musical style and my writing is taking a pace of its own, and I think in time the music will speak for itself and people will see that I’m obviously doing something different. Those women are fantastic, strong, risk-taking artists—

DS: —as are you—

NK: —thank you, and that’s a great tradition to be part of, and when I look at artists like Björk and Kate Bush, I think of them as being like older sisters that have come before; they are kind of like an amazing support network that comes with me.

DS: I’d imagine it’s preferable to be considered the next Björk or Kate Bush instead of the next Britney.

NK: [Laughs] Totally! Exactly! I mean, could you imagine—oh, no I’m not going to try to offend anyone now! [Laughs] Let’s leave it there.

DS: Does music feed your artwork, or does you artwork feed your music more? Or is the relationship completely symbiotic?

NK: I think it’s pretty back-and-forth. I think when I have blocks in either of those area, I tend to emphasize the other. If I’m finding it really difficult to write something I know that I need to go investigate it in a more visual way, and I’ll start to gather images and take photographs and make notes and make collages and start looking to photographers and filmmakers to give me a more grounded sense of the place that I’m writing about, whether it’s in my imagination or in the characters. Whenever I’m writing music it’s a very visual place in my mind. It has a location full of characters and colors and landscapes, so those two things really compliment each other, and they help the other one to blossom and support the other. They are like brother and sister.

DS: When you are composing music, do you see notes and words as colors and images in your mind, and then you put those down on paper?

NK: Yes. When I’m writing songs, especially lately because I think the next album has a fairly strong concept behind it and I’m writing the songs, really imagining them, so I’m very immersed into the concept of the album and the story that is there through the album. It’s the same as when I’m playing live, I will imagine I see a forest of pine trees and sky all around me and the audience, and it really helps me. Or I’ll just imagine midnight blue and emerald green, those kind of Eighties colors, and they help me.

DS: Is it always pine trees that you see?

NK: Yes, pine trees and sky, I guess.

DS: What things in nature inspire you?

NK: I feel drained thematically if I’m in the city too long. I think that when I’m in nature—for example, I went to Big Sur last year on a road trip and just looking up and seeing dark shadows of trees and starry skies really gets me and makes me feel happy. I would sit right by the sea, and any time I have been a bit stuck I will go for a long walk along the ocean and it’s just really good to see vast horizons, I think, and epic, huge, all-encompassing visions of nature really humble you and give you a good sense of perspective and the fact that you are just a small particle of energy that is vibrating along with everything else. That really helps.

DS: Are there man-made things that inspire you?

NK: Things that are more cultural, like open air cinemas, old Peruvian flats and the Chelsea Hotel. Funny old drag queen karaoke bars…

DS: I photographed some of the famous drag queens here in New York. They are just such great creatures to photograph; they will do just about anything for the camera. I photographed a famous drag queen named Miss Understood who is the emcee at a drag queen restaurant here named Lucky Cheng’s. We were out in front of Lucky Cheng’s taking photographs and a bus was coming down First Avenue, and I said, “Go out and stop that bus!” and she did! It’s an amazing shot.

NK: Oh. My. God.

DS: If you go on her Wikipedia article it’s there.

NK: That’s so cool. I’m really getting into that whole psychedelic sixties and seventies Paris Is Burning and Jack Smith and the Destruction of Atlantis. Things like The Cockettes. There seems to be a bit of a revolution coming through that kind of psychedelic drag queen theater.

DS: There are just so few areas left where there is natural edge and art that is not contrived. It’s taking a contrived thing like changing your gender, but in the backdrop of how that is still so socially unacceptable.

NK: Yeah, the theatrics and creativity that go into that really get me. I’m thinking about The Fisher King…do you know that drag queen in The Fisher King? There’s this really bad and amazing drag queen guy in it who is so vulnerable and sensitive. He sings these amazing songs but he has this really terrible drug problem, I think, or maybe it’s a drink problem. It’s so bordering on the line between fabulous and those people you see who are so in love with the idea of beauty and elevation and the glitz and the glamor of love and beauty, but then there’s this really dark, tragic side. It’s presented together in this confusing and bewildering way, and it always just gets to me. I find it really intriguing.

DS: How are you received in the Pakistani community?

NK: [Laughs] I have absolutely no idea! You should probably ask another question, because I have no idea. I don’t have contact with that side of my family anymore.

DS: When you see artists like Pete Doherty or Amy Winehouse out on these suicidal binges of drug use, what do you think as a musician? What do you get from what you see them go through in their personal lives and with their music?

NK: It’s difficult. The drugs thing was never important to me, it was the music and expression and the way he delivered his music, and I think there’s a strange kind of romantic delusion in the media, and the music media especially, where they are obsessed with people who have terrible drug problems. I think that’s always been the way, though, since Billie Holiday. The thing that I’m questioning now is that it seems now the celebrity angle means that the lifestyle takes over from the actual music. In the past people who had musical genius, unfortunately their personal lives came into play, but maybe that added a level of romance, which I think is pretty uncool, but, whatever. I think that as long as the lifestyle doesn’t precede the talent and the music, that’s okay, but it always feels uncomfortable for me when people’s music goes really far and if you took away the hysteria and propaganda of it, would the music still stand up? That’s my question. Just for me, I’m just glad I don’t do heavy drugs and I don’t have that kind of problem, thank God. I feel that’s a responsibility you have, to present that there’s a power in integrity and strength and in the lifestyle that comes from self-love and assuredness and positivity. I think there’s a real big place for that, but it doesn’t really get as much of that “Rock n’ Roll” play or whatever.

DS: Is it difficult to come to the United States to play considering all the wars we start?

NK: As an English person I feel equally as responsible for that kind of shit. I think it is a collective consciousness that allows violence and those kinds of things to continue, and I think that our governments should be ashamed of themselves. But at the same time, it’s a responsibility of all of our countries, no matter where you are in the world to promote a peaceful lifestyle and not to consciously allow these conflicts to continue. At the same time, I find it difficult to judge because I think that the world is full of shades of light and dark, from spectrums of pure light and pure darkness, and that’s the way human nature and nature itself has always been. It’s difficult, but it’s just a process, and it’s the big creature that’s the world; humankind is a big creature that is learning all the time. And we have to go through these processes of learning to see what is right.

Wednesday, April 14, 2010

Japanese auto maker Toyota is to temporarily suspend sales of its luxury Lexus GX 460 SUV following an unfavorable verdict from Consumer Reports, which concluded “Don’t Buy: Safety Risk,” the first such warning in almost a decade.

After conducting its standard emergency handling tests on the 2010 version of the Lexus GX 460, Consumer Reports became concerned that the rear of the vehicle had a tendency to slide out, which in real life situations could lead to rollovers. However, the consumer organisation is also unaware of any such incidents with the 5000 GX 460s sold since its launch three months ago.

Already embattled with ongoing safety issues with its vehicles, Toyota has been quick to act, though it did claim that the car was safe to drive and that it had passed internal safety standards. According to Toyota, “Lexus’ extensive vehicle testing provides a good indication of how our vehicles perform and we are confident that the GX meets our high safety standards.”

Monday, May 12, 2008

Irena Sendler, a Polish humanitarian who saved the lives of 2,500 Jewish people during World War II, died on May 12 in a Warsaw hospital. She was 98.

In 1942, when the Germans began liquidating the Warsaw Ghetto, Sendler, who had been active in the ?egota underground organisation dedicated to helping Jews in Nazi-occupied Poland, smuggled children out by drugging them and placing them in body bags as typhoid fever victims. She then placed them with Polish families and in convents, hiding their records in jars so they could have their identities re-established after the war.

She was arrested by the Gestapo Gestapo in 1943 and sentenced to death after being tortured in Warsaw’s Pawiak prison. Her colleagues from ?egota saved her by bribing her German captors before the planned execution.

Born on February 15, 1910 in Otwock, Poland, Selndler had been a front-runner for the Nobel Peace Prize, and had been recognised by Israel’s Yad Vashem institute as one of the Righteous Among the Nations for her work.

In 2007, she was honoured by the National Assembly for organising the “rescue of the most defenceless victims of the Nazi ideology: the Jewish children.”

Monday, January 25, 2010

An elderly woman has died in a house fire in South Yorkshire, England. The woman, who is currently remaining unidentified, was blind and 93-years-old when her bungalow in Sheffield caught fire as a result of an accident in her kitchen yesterday afternoon.

An internal investigation into the fire has suggested that while the woman was cooking, she dropped a towel onto one of the stovetops while attempting to move a pan on the cooker. The towel then set alight. When she attempted to put out the fire, the towel dropped to the side of the cooker, alongside some plastic bags.

A smoke alarm sounded; a nearby resident heard the alarm and went to assist. The neighbour managed to break into the bedroom window of the bungalow in order to be able to get inside the building. The person made it to the hallway but had to double back upon seeing the fire and the smoke. It is believed that the woman was overwhelmed by the fumes given out from the plastic which was burning.

At around 1350 GMT, fire service workers entered the elderly lady’s residence to find her collapsed inside the kitchen. People investigating the incident have come to the conclusion that this particular fire was an accidental one. A spokesperson for the South Yorkshire Fire and Rescue Service noted: “Neighbours who tried to enter the property were fought back by smoke and flames.”

Saturday, April 17, 2010

Journalist, counselor, painter, and US 2012 Presidential candidate Joe Schriner of Cleveland, Ohio took some time to discuss his campaign with Wikinews in an interview.

Schriner previously ran for president in 2000, 2004, and 2008, but failed to gain much traction in the races. He announced his candidacy for the 2012 race immediately following the 2008 election. Schriner refers to himself as the “Average Joe” candidate, and advocates a pro-life and pro-environmentalist platform. He has been the subject of numerous newspaper articles, and has published public policy papers exploring solutions to American issues.

Wikinews reporter William Saturn? talks with Schriner and discusses his campaign.

Monday, September 5, 2005

Brazil — The Post Office and Vote Buying parliamentary commissions of investigation unanimously approved on Thursday (1) their first joint preliminary report of activities. The text was prepared by their redactors, Osmar Serraglio (PMDB) and Ibrahim Abi-Ackel (PP), from Post Office and Vote Buying commissions respectively.

The deputies cited in the report are: Carlos Rodrigues (PL–RJ), José Janene (PP-PR), Pedro Correia (PP-PE), Pedro Henry (PP-MS), Sandro Mabel (PL-GO), João Magno (PT–MG), João Paulo Cunha (PT-SP), José Borba (PMDB-PR), Josias Gomes da Silva (PT-BA), Paulo Rocha (PT-BA), Professor Luizinho (PT-SP), Romeu Queiroz (PTB-MG), Vadão Gomes (PP-SP), Vanderval Santos (PL-SP), José Mentor (PT-SP), Roberto Brant (PFL-MG), José Dirceu (PT-SP) and Roberto Jefferson (PTB-RJ).

The report indicts 18 Brazilian deputies and the former deputy Valdemar Costa Neto [who resigned on August 1]. They are accused of illegal campaign finance activities, of placing cronies in strategic positions in government enterprises and getting kickbacks from them, and of receiving cash payments in exchange for voting in line with the government in the Brazilian Congress.

The redactors called the allegation made by some parliamentarians that the resources were used to settle debts with electoral campaigns a “lame excuse”. According to them it is “perfectly plausible” that the loans taken by the businessman Marcos Valerio at the Banco Rural and the BMG for the ruling Workers’ Party (PT) were false and created to make the illegal funds seem legal.

In regards to the denunciations done by deputy Roberto Jefferson (PTB) the report says:

• Everything which he said that could be investigated showed to be true, including confessions against himself .
• Everything that must be compared to other testimonies showed a great degree of truth. As a matter of fact, all of who, hurriedly, questioned him, saw their defenses collapse, before the successive discoveries.

According to the report, the businessman Marcos Valério is a not reliable person because of his contraditory testmonies.

The report says that several documents were identified and reviewed proving that large sums of money were withdrawn from agencies of the Rural Bank, in Brasilia and Belo Horizonte, as well as from bank accounts of the enterprises SMPB and DNA Propaganda. According to the documents the beneficiaries were federal deputies who received the money in person or through relatives, advisers, or persons nominated by Marcos Valério.

The report affirms that it is possible that some payments were made on a monthly basis, and others more or less frequently. Nevertheless, according to the report the periodicity of the payments is the less important fact.