#interivews

[is-she-suffering]

12/2005 - TWF Magazine "The Butterfly Effect"

[thoughtswordsaction]

Interview: Julia-Sophie

Photo by Siobhan Cox We’re excited to present to you an interview with Julia-Sophie, an innovative UK-based electronic music producer. She recently released “Numb;” a lead single from her upcoming debut full-length album, slated for release on July 26th. We spoke about approaches to songwriting and producing, themes, inspiration, themes, etc. Enjoy! Your debut solo album ‘forgive too slow’ is…

[free-air-for-fish]

[15] Chapter 16 Review Syndicate: The New Guys

I was a little intimidated by this assignment, as Meredith Bagby’s nonfiction book on NASA’s 1978 Astronaut Class 8 is the most comprehensive piece of nonfiction I have ever read about astronauts. I’m also not huge on books about space in general. (I’ve never been a huge space fan.) However, Bagby’s is the most comprehensive, well-researched work of nonfiction I’ve read, which is partly why I was…

[deathdefyinggarlic]

if merlin actually gets renewed i might genuinely die, like the reaction that my body may have will rewire me permanently,,,, i will simply be an open mouthed shape

[fuckyeahgoodomens]

https://www.thetimes.co.uk/article/56b82f5a-612a-11ee-977c-44b3e2b54888?shareToken=0cf51b47e6b4f2d411003991c7bc5267

He began “a big adult novel” — his first since Ocean — but soon gave up because he didn’t want to be stranded midway through it when his work for the screen resumed. But he has started a children’s book he will find a way to finish whatever happens. “I can get up a little earlier, or do what I did with Coraline, just write 50 words every night before bed.”

It has reminded him how much he likes just being a writer. “I’ve realised how much I don’t like showrunning. I love making stuff up. I love writing it down. I love people. I love being on set and I love the casting and the scripting. I don’t love HR. I don’t love budgets. I don’t love dealing with a new batch of execs who have their own issues about stuff. I don’t love that place where art and commerce meet and crash into each other.”

He is looking forward to seeing The Sandman start up again — it had to pause its second run of shows after a fortnight of filming earlier this summer. “And I would love to be in a place where I can write and make Good Omens 3. And then I really like the idea of retiring. Going back to being a bloke who writes books, poems and things.”

[ca-suffit]

Illustrations of fandom racism: 99% of the discussions since we've had new clips have been around Daniel and Armand, based on...nothing. Daniel is just the only white guy there and this fandom needs to center a white man at all times. Then there's this stupid ass ask Nalyra doesn't bother calling out for anything because we all know her view on black people. Every inch of Lestat's abuse is some cunt slay mother shit to these people but Louis is "an ass" for *checks notes* "bullying [Daniel] about his ex wife." Excuse me, I'd like this fandom to remember the things Daniel has said to Louis (regarding his own ex AND his daughter) AND Armand, especially when Armand was Rashid. You're supposed to notice race in this show and understand that the white men aren't coming out on top here on any level and yet this fandom cannot let go of wanting everyone else to believe that so hard. Ask cap under the cut so it's not such a jumpscare.

[lonely-soul-02]

2008 interview to promote Stop All The Clocks

All the Liam bits from the article:

Liam doesn't like me," shrugs his older brother. "He confuses love with hate. 'I love you.' No, Liam, I think you'll find you fucking hate me." Sitting in his management's central London HQ, Noel Gallagher recounts a recent disagreement. Oasis are about to release Stop the Clocks, their first retrospective. In the accompanying booklet, the lyrics for each of the 18 songs appear beside an image. The picture Noel chose to go next to Songbird - the only track written by Liam - was a red brick wall. "Because it's a love song about his bird," explains Noel. "And red is the colour of love."

But Liam, who wrote the song for his long-term partner, Nicole Appleton of All Saints, didn't take it that way. "I got a message on my answer machine," sighs Gallagher. "He was like, 'The colour red? Beside the song I wrote about my missus? Who I've got a child with? How fucking dare you!'" Gallagher tells the tale with a mixture of amusement, resignation and disbelief. "He only had to say he'd like to change it. No problem. But instead it descended into personal abuse." Liam's rant continued until the tape ran out. "I listened to it with my missus," says Noel. "She was going, 'You and your kid are actually insane. It's amazing you've managed to get this far.'"

Gallagher readily concedes his brother's earliest songs weren't great. "But you either say, 'That's shit, fuck off,' and he retreats into his shell. Or you go, 'Look, I'm not into it, but if you believe in it, it goes on - but you're taking the flak for it.' Liam used to say in interviews, 'Noel won't let me write.' But back in the 1990s while I was grafting, he was shooting Stella into his arms 'cos he thought it would mainline into his brain quicker. So I was like, 'Well write one, and we'll take it from there.' I'm glad he's done it, because the great ones are great and the shit ones he gets slagged off for. And there's nothing I like more than reading people slagging Liam off." Gallagher cackles.

"The reason he doesn't like me is that I'm indifferent to him," he explains. "I can come off tour, put the bags down and shut the door. Liam can't do that. He wants to carry on. Plus, he insults me and I don't like being around people who insult me."

The brothers don't exchange Christmas or birthday presents and have only seen each other "two or three times" since returning from tour in March. "I just don't need to be in the gang all the time," says Gallagher.

Presumably he has considered the possibility that Liam's insults stem from jealousy; after all, Noel's the older, brighter one, the one who wrote 17 of 18 songs on Stop the Clocks, the one people respect more. "But he's got nothing to be jealous of. Thing is, you say about the 17 songs, but Oasis is dependent on three equal parts. That's him, me and the songs. It's all about that struggle and it wouldn't be Oasis without him. But Liam can't see that. 'Cos when he has a drink, he's got an enemy complex. And a serious inferiority complex. But, y'know, he is my brother. And although I don't like him, I do love him to bits."

Perhaps, I suggest, you should buy him a Christmas present this year. "Yeah, maybe I will," nods Noel, thoughtfully. "I'll get him a fucking straitjacket."

And here's an interview from the same promotional cycle

19:40 for the bits about Liam

Lot of Noel bravado and projection in both interviews. Coldness and indifference form a key part of Noel's armour and defence arsenal. It's interesting that more recently he told Matt Morgan that he wants to be more empathetic, so at least now he seems to be aware that keeping people at a distance isn't sustainable. Worked when he was young and couldn't give two fucks, not such a great tactic when you're 57 and you don't have as much control over your personal circumstances anymore.

N.B in the article Noel is recounting a recent argument with Liam about the songbird picture. "'I love you' No Liam I think you'll find you fucking hate me." Does this mean that in said argument, Liam told Noel that he loved him? Hmm...

[pr]

listen. i have an interview tomorrow. it is the first interview i have had since november. its for a public relations assistant at a law firm. it is literally so perfect for me. i need this job so fucking bad. so if any of yall have like. magical manifesting powers or can cast spells or just have a direct line of inquiry to god. please help me get this job.

[sunburnacoustic]

"I've gone off the whole thing," he says, recounting the days when they'd hold masked backstage parties for obliging revellers. "I mean, we honestly had a go, we really did try to socialise. We were so overwhelmed that people were into the music, we wanted to turn touring into something that was more than just a gig and more than just a goodbye. It worked for a while, but as we got bigger, the crowds got younger and the parties just turned into signing sessions. And then a few things happened here and there and we had to knock it on the head."

"Besides", he adds, "I can't think of anything more unattractive than someone wanting to have sex with you for what you are onstage"

This makes you wonder how Bellamy is going to deal with the sudden increases in fame and attention that the new album could well bring. He reckons that should things blow up worldwide for the band, he'd go the route of Michael Jackson-("but without children") style eccentricity.

 "I'll go and buy and island and live underwater in a re-breather with Kleenex boxes on my feet," he laughs. "Creatively, though, I'm pretty balanced. I can walk around and still get on with what I want to do, and I'd be worried if that changes."

Kerrang! interview, 5 July 2003

[thenerdsofcolor]

The Women of 'The Boys' on Survival and the Show’s Extreme Moments

It’s tough being a woman — especially a woman of color — in the world of Prime Video’s The Boys. For the six women in the series — Annie aka Starlight (Erin Moriarty), Kimiko (Karen Fukuhara), Vice President-Elect Victoria Neurman (Claudia Doumit), Vought CEO Ashley Barrett (Colby Minifie), and newcomers Sister Sage (Susan Heyward) and Firecracker (Valorie Curry), it’s all about survival in a…

[is-she-suffering]

06/2000 - Dazed and Confused

QUEEN ADREENA WORDS: ROGER MORTON

AGAINST THE HARSHLY LIT BACKDROP OF CALIFORNIA, QUEEN ADREENA’S SEXUALISED ROCK THEATRICS APPEAR AS A WELCOME BEACON OF DARK.

“I think childbirth is pretty fucking amazing,” says Katie Jane Garside. “I think that sex isn’t golden copulation. I think sex is like childbirth really I do. It’s blood, it’s blood and it’s caring and it’s breaking out.” We are trying to draw correlations for Katie Jane’s rock'n'roll band, but somehow even with prompting in the direction of Frida Kahlo and some edging towards Anais Nin, we keep slipping out of highbrow into something more amniotic. It is disconcerting, particularly because the Pre-Raphelite dryad of a singer is intermittently slurping pink slush through a straw with matching coral vampire lips.

If the job of an artist is to make you reinterpret life, then Queen Adreena’s ectoplasmic chanteuse is due for promotion. It’s been a long time since a band came along with such a powerful, prenatural, psycho-sexual aura. Drop the fourth ‘e’ out of their name and you find its derivation in the notorious American dominatrix Queen Adrena, a six foot four giantess who specialises in crushing submissive men. A fascination with the fetish world surfaces again in Martina Hoogland-Ivanov’s Victorian postcard style short films made to accompany the album Taxidermy. In one scene guitarist Crispin Gray crawls on all fours with a bit in his mouth while a naked Garside rides forth. In another, the singer towers spookily, a 12 foot child giantess in a 19th century ballgown.

In less skilled hands the Adreenal vision of insane sex faery rock would be in danger of descending into the dungeon of camp, but Garside and Gray plus bassist Orson Wajih and drummer Billy Freedom have taken extreme pains and a good few years to perfect their current incarnation. In 1991 Gray and Garside were the creative core of the briefly mesmerising Daisy Chainsaw. Their electric chair punk and Garside’s damaged doll charisma made a sizeable impression, but only one album - LoveSickPleasure - emerged before “fragile” Katie ducked out of the spotlight, shaving her head and literally heading for the hills. Most of the '90s was spent recovering. “I haven’t ever not been involved, I’ve always just done music,” says Katie. “It’s the one thing that’s been consistent in my life from the moment I can remember. I’ve always sung and it’s always given me solace, sanctity. It’s what’s kept me safe. Because I think art, or whatever you want to call it, it’s not, in my experience, a choice. If I don’t do what I do, I get very sick. I don’t want to make it sound too melodramatic, but what it does is allow me to be a witness of myself so I’m not absorbed by the other stuff that’s going on around me. That’s what I mean by it keeps me safe.”

In the intervening years before she met with Crispin again and reconciled their differences, Courtney Love had popularised Garside’s ripped petticoat and lace “kinder-whore” chic (“I adore Courtney, I think she’s amazing”). But no one apart from PJ Harvey proved much cop at the lid-off-female-subconscious volition. Backed by a ridiculously great band, Katie Jane is now the most stage-articulate and daring woman performer in music, making Tori Amos look like Sarah Brightman.

In LA, showcasing he Taxidermy album, she terrifies the crowd at the Viper Room. Her voice is now beautifully controlled, cutting from petal-child to succubus harlot. Eyes rolling beneath the flowerpinned snake tresses, she approximates possessed sex with the mic stand and spends half the show upside down. Then she heads to the nearest strip bar to study.

The music and the performance express a version of sexuality that goes against the norm. Is that a political act? “I’m not sure that I want to be political, but I think the true feminine has been denied and is really being written out. It’s got just a tiny little edge of the screen and I think that’s why so many women are so down on themselves. You don’t really witness the true feminine at work very often at the moment, but I know that she’s bubbling underneath, and things like eating disorders, they’re symptomatic of that, because she’s being denied. She’s being forced out of existence, but whenever you repress something or deny something it comes back with such a force.”

Unlike her very distant relatives the goths, Garside does not melt in the tungsten sunshine of LA. She’s of a different shade. Her complexity and the close partnership with Crispin shine through in Taxidermy. “Madraykin” is a blues in calipers; “Hide From Time” a creaking womb; “Sleepwalking” a dreamscape and “Cold Fish” is bloody bones violence. It sounds like Jane’s Addiction fronted by Ophelia. Katie’s addiction however, is not going to fuck her up this time.

There’s a track called “Are The Songs My Disease?” which appears to be saying all this might be bad for your mental health. “Yep, that’s true. But that’s what I meant in the beginning about if you’ve got a choice about this stuff don’t do it. But I’ve got nothing left to lose in a lot of ways. See, when the struggle really comes on, it’s taken me to some really, really crazy places that I wouldn’t have anyone else go to. It’s the place where people become Jim Morrison and Napoleon Bonaparte and where you become God and omnipotent and you think you’re the only thing alive. That’s the most frightening place I’ve ever been to and that’s also a kind of living death because there’s nowhere to go after that.”

[rottengurlz]

Did the full moon make everyone crazy or something this week I feel like I need to stare at a wall for an hour or 2 to heal myself

[thebigqueer]

new episode is almost here. just more than 24 hours left. will i even survive this

[everythingmaxriemelt]

Blast from the past Saturday - Lufthansa Magazin 2015

[sanctaignorantia]

I was wondering if at NYCC we might get another teaser for S2 and then I can get back to my search for the new actors who might be appearing. But if you haven't seen it yet, I have some compiled information about the actors and other things.

-> here 1 | 2 | 3

I believe that if they release another teaser it will be with some quick new footage, but that a final trailer would probably come out at the end of the year or beginning of next year. Any bets?

[spockvarietyhour]

What a fucking dork.