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sophaeros · 2 months ago

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the strokes for rockin'on buzz, october 2006 / fuji rock, naeba

The band and the crowd have a symbiotic relationship. If the crowd isn't having fun, it's hard for us to smile.

The Strokes lit up the field at their first Fuji Rock festival! Fab shares his enthusiasm for the show

The Strokes are known for rarely giving interviews during their tours, but this time we managed to catch up with Fab just before they arrived at Naeba! We were able to talk to them mainly about their live performance. They delivered a fantastic performance on the big stage at Fuji, with playability, energy, and passion, which is no exaggeration to say is the best performance ever for a band. As the following comment states, that glorious glow was a truly precious "light" born from the solid bond between the band's strength, their mental fulfillment, and the hearts of the audience. If any one of these elements had been missing, that positive uplifting would not have been possible. Of course, they will continue to improve their skills as a band and continue to perform excellently. It is certain that the number of audiences attending will increase, and they will create a larger-scale live experience. With that in mind, the Fuji Rock performance is just one page in the ongoing history of The Strokes, but I think the Japanese fans were very happy to share the one and only time on July 30, 2006, and to witness a document that condensed everything they had learned and accumulated in the five years leading up to First Impressions of Earth. That night's live performance will surely become a "foundation" or reference point for them as well. I hope you look forward to the new Strokes story that begins from here.

●Yesterday at Fuji it was raining and the conditions were bad, but the audience was fired up. And today will be the Strokes' first appearance at Fuji Rock. Please tell us your aspirations for the headline at 8:20pm on Sunday.

"First time, and as a headliner...that's crazy. You're making me so nervous."

●No no, that’s not what I meant. (laughs).

"Yeah, it's fine really (laughs). I'm really looking forward to it. To be honest, we've performed at quite a few festivals before and have a lot of experience, so I think performing at Fuji Rock came at the perfect time. We've practiced hard, the band is in great shape, and on top of that, we're incredibly happy to be here now. Actually, before coming to Japan, we were in Korea. And, of course, Korea was amazing too, but a lot of things were brand new for us. So... I never thought I'd say this, but I'm happy to be back in a place that's so familiar to me (laughs). It's so much fun to be back in Japan and go to restaurants that I know."

●And what are your goals for tonight?

"We just have to do it our way. I don't know what else to do. But we're determined to give it our all."

●The Strokes' live performance at Summer Sonic three years ago was truly amazing, but how do you think you have grown as a live band since that summer three years ago?

"I don't know, but it feels like a really long time has passed since then. Of course, that's just how I feel now, and when I'm 60 or so years old and look back, I'll probably think it all went by in the blink of an eye, but for me at this point, it really does feel like a long time has passed. I think all of the band members have evolved as musicians, and the record we made recently was a huge challenge in terms of arranging, playing, and how we function as a band. So I think all of that development we've made as a band is reflected in our live performances. We're tighter as a band than before, and our focus is more concentrated. But at the same time, we still have the same energy we had back then, that we've always had."

●Since the release of "First Impressions of Earth," you've been on the road for almost half a year now. Have you become able to perform the songs 100% in a live setting?

"I think that the songs on that album really show their true potential in a live performance. The way we recorded the songs on this album was quite different from the previous two. The way we created the sound, too... For example, when we play the songs on "Is This It" or "Room on Fire" live, even though we try to play them exactly as they were recorded, the sound ends up being richer.

“In other words, with the previous two albums, the live performance and the record were completely different creatures. But with this album, we really thought about how we would play it live during the recording stage, so sonically the record and the live performance are very close. We've managed to get the record a little closer to the live sound of this band... Also, I think that in a live performance, our movements and the element of actually playing on the spot are added."

●Which songs from 'First Impressions' have changed/grown more than they did when you recorded them by playing them on tour, or songs that you discover something new about while playing them?

"Well, maybe there aren't many of those... We're more focused on making the songs we've completed during the recording stage sound as accurate as possible. At least, we try to do that, and it's something we take pride in. Because, in the shows I've seen, there are very few songs that I'm happy to have turned out differently from the records.

“Pearl Jam, especially Eddie Vedder, are one of those few bands because he does really cool things with that voice, but most of the time I think, "Oh, I wish he'd sang it the way I know it, just like on the record."... Don't you think there are times like that? So, how can I put it... I think there are definitely some aspects of a live performance that are really strange, like the vibe, the intensity of the songs, that are hard to convey on a record.. When you actually play on stage, I think it feels like those parts start to breathe in the song."

●By the way, which song do you feel that particularly?

"For example, 'Vision of Division' has a crazy solo by Albert. At first, I was really nervous about playing this song live... because it's a song that requires a lot of unity as a band. But with each performance, I gradually got more comfortable with it and started to have fun. So now I feel like I've grasped the core of what this song is all about, and it feels like everything is growing from that one point."

●Do you actually get that feeling in real time on stage?

"First of all, when I start playing, it's like I'm armed and ready for battle. Then, as I slowly approach my target, the moment I'm about to take it down is incredibly intense, and when it's over, it's like I've taken a deep breath of fresh air and exhaled, 'Ahhhhhh!' I hope that the audience will feel that same way, even if unconsciously, and experience it with me."

●I see. By the way, do you change the song selection for each tour? When I saw the first concert, I got the impression that there were very few songs from the second album (only two).

"Yeah, we didn't play much from that album. I think it was just one song... I'm not sure. Oh, maybe two songs after all."

●Will it be the same for this tour?

"It depends on the time and the situation."

●What do you mean?

"Basically, we like to play the same set list over and over again. This may be a personal opinion, but we think of the show as one package, including the gaps. In other words, the time when we're not playing a song is important, and the transitions between songs, such as whether we finish one song and then immediately start the next, make the show more interesting. On the other hand, there are times when it's better to have a little pause, especially when we're suddenly jumping from one theme to a completely different theme. So for us, playing one set list over and over again, practicing it and learning it, is very interesting. But when we're playing two nights in a row at the same venue, we always try to change things up a bit, just in case there are people who come to both shows. But Fuji Rock probably won't be that different from Hyde Park. I think we've got the hang of pacing ourselves for festivals."

●So what do you focus on when creating a set list?

"First, we're going to play all the singles we've released so far. Then we'll play songs that we enjoy playing live. Then we'll play songs that we think sound good when we play them live... that's about it. I actually want to delve deeper into the songs from Room on Fire, but to do that we need to rehearse and reexamine each song, so we need a little more time."

●Okay. Now, moving on to the next question, in the Strokes' live shows, I had the impression that Julian looked uncomfortable, but in recent live performances, I feel that he is finally starting to enjoy his role as frontman/singer, standing on stage and connecting with the band and the audience. Do you feel this positive change in Julian, as you are on stage with him?

"Umm……Yeah, but I think maybe everyone has changed a little bit. I think I understand what you're saying. It feels like he's started to truly embrace the joy of being on stage a little more than before. But I think he's always been like that, actually. I think it was probably due to that show. Julian is, so to speak, a very sensitive creature. Very sensitive. On the days when the audience is really enthusiastic and it's the best, I really feel like I'm dancing with everyone, but on the other hand, when the audience is a little cold, I feel like I have to prove myself, and the other members feel the same way. However, it doesn't directly affect the performance, I still perform the songs well, but I think it makes me feel a little uneasy emotionally."

●By the way, what changes have you seen in yourself?

"Obviously, in my case, it's not as obvious because I don't have a microphone and I'm not the one communicating with the crowd (laughs). But now that I've been doing this for a long time, I probably feel more comfortable going on stage than I did before. I still get really nervous, of course, but it used to be a lot worse, and I'd be so nervous every night before going on stage that I would throw up. Compared to then, I still get nervous, but by the time I go on stage I've calmed down."

●I see. Also, I thought that "Ask Me Anything" was one of the highlights of the Hyde Park gig.

"I agree. I think that's a great song to play live (laughs)."

●(smiles) ?

"You know why? Because I don't have to do anything, hehehe."

●Ahahaha! Putting aside its merits in that sense, I felt that the addition of that song allowed The Strokes' live shows to express all the emotions, making them a more total emotional experience.

“I see. I think that’s a really beautiful insight.

Yeah, that's a really great way to look at it. I'd never thought of it that way myself, but it definitely changes the dynamic of the whole show. It's like the horizons of the show are broadened by the addition of that one song, and it draws a whole new ridge, and the mountains and valleys become more clearly visible. Anyway, it's a good song, it's very honest, Nick is playing a different instrument than usual, it shows a new side of the band, and I think that song makes the show even more interesting. Yeah, I think so.

●What are the points that you use to judge whether a live show is good or bad? There are live shows where it's okay to make mistakes, but what are the points that make you feel like "tonight's show was good" or "it was crap"?

"There are three things that make a show good. First, we have to perform as perfectly as possible. Of course, that doesn't mean just hitting every note mechanically, but it has to be entertaining, so it also includes feeling the vibe of the show. Second, we have to feel like we're all there together. That is, if someone is unhappy, you can usually sense that. If we can all smile, that's great. And third, and I think this is probably the most important, is the audience. If the audience doesn't accept the band, if they're not enjoying being there, it's going to be very hard for us to smile. After all, the band and the crowd have a symbiotic relationship, and we're there feeling each other, and the audience. So, to have a great show, you need all three."

●So tonight, all three of those things will come together and you will headline Fuji's Green Stage with a great live performance that will be the finale to our best memories!

"It's okay, I have a good feeling about this. I mean, I'm pretty sure it'll happen, so I hope it does. We'll do our best too..."

●I think the audience is also fully prepared.

"Got it. It'll be great then."

●Also, you haven't had a proper Japan tour since the tour for your first album, so please do a full-scale Japan tour this year!

"Yes, we’ll come as soon as possible."

●I'll be waiting.

"Thank you!"

#my scans #bands #the strokes #fab moretti #julian casablancas #nick valensi #albert hammond jr #nikolai fraiture #fioe era #rockin'on buzz #fuji rock festival #my translations #sorry about the smudges on the pages i was in a rush and had to use my school's scanner during exam season so i was terrified..#cute lil interview :)

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the-ace-with-spades · 1 year ago

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(another unfinished post i found on the way to glasgow - that was the longest train ride in my life - I'm sorry in advance)

When Ice finally passes away, at the age of 73, in his sleep, Bradley moves Mav into their house the same day.

He gets the call in the morning, while trying to simultaneously cook Jake's breakfast and try to make their daughter put on a rain jacket. It's not Mav, but someone from the hospital. Jake doesn't know this — Bradley's face twitches only for a second and then he's back to the nagging, relaxing tone and telling their daughter it's raining and it won't stop. Jake only finds out when he comes back home from the school drop-off and Mav is already there on their couch. Jake doesn't even get the full explanation until that night, just a quick, "Ice passed away overnight."

There's only their three youngest living with them at the time — their 18-year-old daughter who attends UC San Diego, and their 15-year-old son who is still in high school, and their 7-year-old daughter — so Mav takes one of the vacant bedrooms.

The first few nights, Bradley sleeps in the same bed with him. Neither of them looks like they get much sleep. They don't really eat, either, just drink coffee and nibble on the crackers.

The kids start coming back home, and their oldest helps Jake arrange most of the things for the funeral, at least for the first few days. Mav is... numb, not really there, and Jake understands — he would, too, if he woke up one day and his husband died in his sleep next to him. Bradley is silent, mostly, the way he usually rambles to fill out the silence, the way he hums, the way he sings at any given time when there are no words spoken, it's all gone and Jake doesn't know how to fill out the silence either, how to ask, how to make it better without asking.

Bradley doesn't cry, or at least not the way he knows Mav does — he can see Mav's red eyes every morning — but there's something empty in his gaze, in the way his eyes follow Mav and in the way he melts whenever Mav is around, always close, always brushing against him. Mav spaces out a lot, doesn't talk much, doesn't—well, doesn't do much. Every time he tries to help with something, paperwork, the funeral arrangements, the hospital bills, even just sorting out the kids' school leave or Jake's own work leave, he fumbles a bit, not really able to focus on anything for long, and it's like his mind is completely scrambled. Jake doesn't know how to help him — doesn't know if they even can.

The kids, well, did not take it well, as expected. The oldest two try to be brave and help Jake with everything, keep the house going, but their youngest daughter doesn't really understand why her pops isn't back, the middle kids don't understand why now — Ice was in remission, in good health, would go hiking with them once a month, play with them in the backyard, talking about plans for the future with them, nothing that would tell them to expect their pops passing away. Mav and Ice had taken care of all of them for years, while Jake and Bradley were still deployable, and helping out as much as they could. Ice was a huge part of their lives, since the very beginning.

Bradley is certainly not doing any better but one couldn't be able to tell if they didn't know him well enough. He's always been more for packing his feelings into a tight neat box, compartmentalizing until there is too much and it all overflows in some explosive way. His focus is mostly on Mav and the kids, trusting Jake to take care of anything he can't.

Jake can't even ask him how he's doing until the night before the funeral.

Mav tells Bradley he wants to be alone that night and Bradley lands in their bedroom.

He acts normal — checks the kids are in bed, checks on Mav, prepares stuff for breakfast in the morning, has a shower. Only when he sits down in their bed, their dress blues, cleaned and pressed sitting on the hangers hooked up on their wardrobe, right in front of him—only then he freezes, a blank stare still on the uniforms.

Jake sits down next to him on the bed. "Talk to me, Bradley."

"I knew it was going to happen at some point, I just," "I just thought we would have a few more years."

Bradley sleeps curled up on his chest — he sleeps the whole night, soundlessly, and Jake is almost settled.

Almost. Mav is a couple doors down, alone.

Ice's been—had been retired many years now, but he had been high enough in the ranks that the Navy still insists on making a military funeral. Jake tried to take away as much of the flashy bullshit as possible, but there are still things leftover — the sailors with the flag, the flyover. But there's no one who wasn't close with the family at the ceremony, there's no speeches, and no one tries to hand either Mav or Bradley a flag.

The wake has an even smaller amount of people, all packed in their house — Mav hasn't been at his own house since — and thanks to Slider, mostly, and his 'the bastard wouldn't want us to mope around', it's less sad and quiet.

Mav eats two slices of cake, which is the most Jake's seen him eat since, and even laughs at some stories about Ice people are exchanging.

Ice had a good life. A big family. A big happy family that loved him.

But life goes on without him. Jake goes back to work first, then the kids have to go back to school, then Bradley has to back to work. After a couple of days alone at their house, Mav starts bringing up moving back to his own house.

He's not really doing great. He's still quiet, still spaces out more often than not, still forgets himself sometimes, still freezes whenever he tries to say something and the we he uses is one person short. He's—lifeless, for a lack of better word, and seems like he's noticing it now that Bradley isn't with him most of the waking hours.

"That is our home," Mav tells them. "I can't abandon it forever, I'd be abandoning him, too, if I—"

Jake—Jake gets it. He doesn't like it, but he gets it.

Bradley's been fielding off any suggestions of Mav moving out but he's pretty sure that soon Mav is going to pack his stuff and up and leave without asking for permission.

"If he wants to move back home, we can't exactly hold him here. against his will."

"Jake," Bradley says. "I feel like—if we let Mav go back there alone, he's going to die of a broken heart and I won't have either of them anymore."

"Sweetheart—"

"I know it's selfish," he interrupts, "but I can't lose him, too. Not now."

Jake can't make Mav stay with them — so he finds the best solution he can and instead, they all move in with Mav. Hell with it, he's going to try to get everyone to live their lives to the end. They'd done it before, Mav, Ice, Bradley, Jake and their two kids under one roof, when their oldest two were their only two kids.

The two of them and two of their youngest; two of their kids move into their house so they don't have to sell it.

Mav lives on. They try to occupy his mind by throwing their youngest at him — ask him to take her to school, pick her up from school, take her to her gymnastics class, do her homework with her, teach her how to play piano. The other kids pick up on it, too, and their high schoolers would wrap Mav into doing math workbooks with them, or ask him to drive them to their friends' house, and the kids that have moved out ask Mav to go to lunch together or call him to ask him things about car and house repairs that don't exist.

Mav gets brighter every day. Never as bright as before, but no longer so numb.

Their daughter ends up never moving out and so do they.

They all get older but Mav holds up pretty well. He does break his hip when trying to wash the windows, had a limp and terrible back ache ever since, had to stop driving because he can't see shit, had to stop piloting even sooner, and his memory is also shit, but Jake is pretty sure his cholesterol is lower than his own and he has better blood pressure than Bradley. Bradley and Mav are the ones cooking after all, Jake is the one eating all the tasty but not healthiest food, and Mav's life revolves around spoiling his cute great-grandkids and Bradley's is filled with the constant stress of managing Navy's top flying school.

For his ninetieth birthday, Mav flies a fighter jet as a passenger, the oldest person to ever do that — his youngest granddaughter is the one to take him up in the air, a junior grade lieutenant herself. They have a birthday party held at their house, Mav falls asleep in the armchair, Bradley makes fun of him and promptly falls asleep on the couch, too. Jake loves them both so much and still kind of can't believe he has this — house full of grown-up kids and grandkids of his own, his graying husband of over thirty years, his father-in-law coming to an age he wanted to see his mother at.

They're cleaning up, their two daughters who still don't have kids and didn't need to go home helping, and Mav tells them he's going to get some fresh air on their veranda. "I've got a terrible headache," is all he says.

Half an hour passes, they've packed all the clean and dirty dishes, and Bradley huffs to himself. "He fell asleep on the bench again, didn't he," and goes outside.

Bradley shouts for him in less than a minute. The ambulance is there in eight. Within the half-hour and a CT scan in the hospital, the neurologist tells them Mav is too far gone to survive the day. Within six hours, every single person from their family has come to say goodbye. When they pass the seven hours mark, Jake stands up from the plastic chair behind Bradley — he's not about to tell Bradley he should rest, but he's been holding Mav's hand since the minute they admitted Mav to the ward and hasn't eaten or drunk anything all day. He tells him he'll go grab them a coffee and bagels and gets a little nod and a smile.

Jake comes back twenty minutes later and Bradley doesn't even look up from where he's gripping Mav's hand.

"Can you get the nurse for me?"

#this isn't really about Ice's death or Mav's death #but more about getting old in a family #sorry in advance #dunno if this made sense #idk felt some way when i wrote it #my nan had a stroke around that time and as a person who works mainly with critical stroke patients it hit hard #i didn't get into detail here but stroke patient at the end of their lives are very emotional sight for relatives #icemav #hangster #angst #pete maverick mitchell #tom iceman kazansky #bradley rooster bradshaw #jake hangman seresin #tgm #charlie writes #op

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