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.

Tuesday, July 29, 2008

United States Senator Ted Stevens of Alaska has been indicted by federal grand jury on seven criminal counts for making false statements in his Senate financial disclosure forms. The longest-serving Republican in the Senate, Stevens is the highest-profile politician ensnared in the corruption scandal surrounding VECO Corporation and its executives’ attempts to influence politics.

VECO, a subsidiary of CH2M Hill as of September 2007, is an oil pipeline and services company. It is alleged to have funded renovations to the Stevens home in Girdwood, Alaska in 2000. The renovations include a new garage and first floor, a two story wrap-around deck, as well as new wiring and plumbing. In 2007, VECO chief executive Bill Allen pleaded guilty to charges of extortion, bribery, and conspiracy.

The 28-page indictment alleges that Stevens “knowingly and willfully engaged in a scheme to conceal” gifts from VECO, which totaled “hundreds of thousands of dollars worth of things of value.”

A press release was issued by Stevens’ office in response to the allegations: “I am innocent of these charges and intend to prove that.” And Stevens himself commented, “I have never knowingly submitted a false disclosure form required by law as a U.S. senator.” Senator Daniel Inouye, a close friend of Stevens, commented: “As far as he’s concerned, he’s not guilty. And I believe him.”

Stevens was reportedly caught unawares on Tuesday when the indictment charge was filed. “Apparently, the media knew about it before he did,” Inouye stated, adding that he had just talked to Stevens. Ted Stevens was in a meeting with other Republicans when he found out about the charge.

Stevens is the longest-serving Republican senator in history and is up for reelection this November. Calls to his office in Washington for comment were redirected to a voicemail indicating that his “office is closed.”

The United States Department of Justice says it has already obtained seven convictions in the case: Peter Kott, a former Speaker of the Alaska House of Representatives; Thomas T. Anderson, a former state representative; Victor H. Kohring, another representative; James A. Clark, chief of staff to the former governor of Alaska; William Bobrick, a lobbyist; Bill Allen, VECO chief executive; and Richard L. Smith, VECO vice president of government relations.

Saturday, March 26, 2005

Beijing’s city legislature has approved a bill, one year in the making, to safeguard the historical and cultural heritage of old Beijing. The new 41-article set of regulations will come into effect May 1, requiring the city to protect listed heritage sites and unlisted sites deemed of historical or cultural value. It also guarantees protection for the area within the city’s Second Ring Road.

Director of the Beijing Administrative Bureau of Cultural Heritage, Mei Ninghua, said “the most encouraging content of the regulations is that Beijing will pay more attention to protecting the old city’s landscape in its entirety, rather than just focussing on scattered heritage sites.” This means the old city layout, colours of buildings, and the names of houses and lanes will have legal protection.

“We took measures to protect the city’s siheyuan courtyard houses by tagging protection plates on more than 650 of them in 2003, preventing them from being demolished or damaged during the city’s massive housing reconstruction projects,” said Mei.

“Now the new regulations give legal buttress to the protection of siheyuan courtyard homes, as well as other unmovable ancient treasures, that have yet to be listed but are at risk of being demolished during urban renovation.”

Modern Beijing, capital of China for 850 years, was built by Mongul Emporer Kublai Khan in 1267 AD. In the vicinity of the current city once was Ji (?), the capital of the State of Yan (?), a power of the Warring States Period – but it has been lost in the mists of time.

See the discussion page for instructions on adding schools to this list.Tuesday, September 13, 2005

NAICU has created a list of colleges and universities accepting and/or offering assistance to displace faculty members. [1]Wednesday, September 7, 2005

This list is taken from Colleges offering admission to displaced New Orleans students, and is intended to make searching easier for faculty, graduate, and professional students.

In addition to the list below, the Association of American Law Schools has compiled a list of law schools offering assistance to displaced students. [2] As conditions vary by college, interested parties should contact the Office of Admissions at the school in question for specific requirements and up-to-date details.

The Association of American Medical Colleges is coordinating alternatives for medical students and residents displaced by Hurricane Katrina. [3]

ResCross.net is acting as a central interactive hub for establishing research support in times of emergency. With so many scientists affected by Hurricane Katrina, ResCross is currently focused on providing information to identify sources of emergency support as quickly as possible. [4]

With so many scientists affected by Hurricane Katrina, ResCross is currently focused on providing information to identify sources of emergency support as quickly as possible.

Physics undergraduates, grad students, faculty and high school teachers can be matched up with housing and jobs at universities, schools and industry. [5] From the American Association of Physics Teachers, the Society of Physics Students, the American Institute of Physics and the American Physical Society.

If you are seeking or providing assistance, please use this site to find information on research support, available lab space/supplies, resources, guidelines and most importantly to communicate with fellow researchers.

The following is a partial list, sorted by location.

Alabama |Alaska |Arizona |Arkansas |California |Colorado |Connecticut |Delaware |District of Columbia |Florida |Georgia |Hawaii |Idaho |Illinois |Indiana |Iowa |Kansas |Kentucky |Louisiana |Maine |Maryland |Massachusetts |Michigan |Minnesota |Mississippi |Missouri |Montana |Nebraska |Nevada |New Hampshire |New Jersey |New Mexico |New York |North Carolina |North Dakota |Ohio |Oklahoma |Oregon |Pennsylvania |Rhode Island |South Carolina |South Dakota |Tennessee |Texas |Utah |Vermont |Virginia |Washington |West Virginia |Wisconsin |Wyoming |Canada

Thursday, November 18, 2004

In the United Kingdom, the music video for this Christmas’ remake of the charity single Do They Know It’s Christmas? was launched simultaneously today (Thursday) on several UK and Irish television channels including BBC One, BBC Two, RTE 1, ITV1, Channel 4, and Sky One. The debut was made at 17:55 GMT.

The song was originally recorded in 1984 by several of the biggest artists of the time including Bono, Bob Geldof, Paul McCartney and George Michael. This year, in celebration of 20 years since the first single, the song has been remade by over 50 of today’s best selling artists, including Coldplay frontman Chris Martin, Robbie Williams, Bono, Justin Hawkins of The Darkness and Dido.

The song, which is in aid of charity, is already tipped to be the Christmas No. 1 in the UK and Ireland. The song will also be launched as a charity mobile phone ringtone to raise funds for Sudan’s troubled Darfur region. Mycokemusic.com said it was going to put the track on its website from Thursday with all profits to be donated to charity. The single will be available to buy in shops from the 29 November.

Wednesday, August 17, 2005

Vassar Clements, age 77, a legendary fiddle player who took bluegrass music from an obscure cultural art form to a mainstream influence, and who played on over 2000 albums, passed away at his Goodlettsville, Tennessee home August 16th 2005 at 8:35 am Nashville time (CST) from lung cancer which had metastasized to his liver and brain.

Mr. Clements taught himself to play the fiddle at age 7, and though he had no formal training was recognized as one of the world’s most versatile fiddle players and was considered a virtuoso. The first song he learned was “There’s an Old Spinning Wheel in the Parlor”. He described his talent saying, “It was God’s gift, something born in me. I was too dumb to learn it any other way. I listened to the (Grand Ole) Opry some. I’d pick it up one note at a time. I was young, with plenty of time and I didn’t give up. You’d come home from school, do your lessons and that’s it. No other distractions. I don’t read music. I play what I hear.”

He didn’t always earn his living playing music, though. In the mid-1960s he was employed briefly at the Kennedy Space Center in Florida, where he worked on plumbing. He also performed several other blue-collar jobs including work in a Georgia paper mill, as switchman for Atlantic Coast Railroad; he even sold insurance and once owned a potato chip franchise.

In his 50 year career he played with artists ranging from Woody Herman, and the Nitty Gritty Dirt Band to The Grateful Dead, Linda Ronstadt and Paul McCartney, and earned at least five Grammy nominations and numerous professional accolades. He once recorded with the pop group the Monkees by happenstance, when he stayed behind after an earlier recording session. He also appeared in Robert Altman‘s 1975 film “Nashville”.

His 2005 Grammy award for best country instrumental performance was for “Earl’s Breakdown,” by the Nitty Gritty Dirt Band, and featured Mr. Clements, Earl Scruggs, Randy Scruggs and Jerry Douglas.

Mr. Clements, whose last performance was February 4 in Jamestown, N.Y., was hospitalized earlier this year for 18 days to receive chemotherapy and other treatment. He had been diagnosed in March 2005.

Born in Kinard, South Carolina, his musical career began at age 14 when he associated with Bill Monroe, and later officially joined the Blue Grass Boys band where he remained for seven years. In 1957 he joined bluegrass band Jim & Jesse McReynolds where he remained until 1962. In 1967 he returned to Nashville where he became a much sought after studio musician.

After a brief touring stint with Faron Young he joined John Hartford‘s Dobrolic Plectral Society in 1971 when he met guitarist Norman Blake and Dobro player Tut Taylor, and recorded Aereo Plain, a widely acclaimed newgrass album that helped broaden the bluegrass market and sound. After less than a year he joined Earl Scruggs, who first earned widespread renown for playing the theme to sitcom The Beverly Hillbillies.

His 1972 work with the Nitty Gritty Dirt Band on their album Will the Circle Be Unbroken earned him even wider acclaim, and later worked with the Grateful Dead’s Wake of the Flood and Jimmy Buffett‘s A White Sport Coat and a Pink Crustacean.

Though he played numerous instruments, Mr. Clements indicated that he chose the fiddle over guitar recalling that, “I picked up a guitar and fiddle and tried them both out. The guitar was pretty easy, but I couldn’t get nothing out of the fiddle. So every time I’d see those instruments sitting side by side, I’d grab that fiddle.”

Big band and swing music were considerable influences upon his style and musical development, and he said that, “Bands like Glenn Miller, Les Brown, Tommy Dorsey, Harry James and Artie Shaw were very popular when I was a kid. I always loved rhythm, so I guess in the back of my mind the swing and jazz subconsciously comes out when I play, because when I was learning I was always trying to emulate the big-band sounds I heard on my fiddle.”

His last album ‘Livin’ With the Blues’, released in 2004, featured guest appearances by Elvin Bishop, Norton Buffalo, Maria Muldaur and others.

Mr. Clements’ daughter Midge Cranor wrote on his website [1] that “As I was still holding his hand his breathing stopped. I looked at the clock and it was 7:20 am.”

Mr. Clements’ remains have been transported to Bond Memorial Chapel, 1098 Weston Drive, Mt. Juliet, TN 37122; (615) 773-2663.

Thursday, March 16, 2006

Anti-war demonstrators in Sydney, Australia on Thursday dubbed U.S. Secretary of State Dr Condoleezza Rice a “war criminal” and “murderer.” Two protesters were evicted and five people were arrested during protests against the U.S.-led invasion of Iraq.

Dr Rice, on a three-day trip to Australia, said she understood why people found it hard to be positive about Iraq when all they saw on their television screens was violence.

Soon after Rice began her speech at the University of Sydney’s Conservatorium of Music, two protesters shouted from the rear of the auditorium, “Condoleezza Rice, you are a war criminal,” and “Iraqi blood is on your hands and you cannot wash that blood away.” Standing with their palms towards her, the young man and woman repeated their accusation until security intervened to remove them from the hall.

About 15 minutes into Rice’s address, a third protester appeared at a balcony door, interrupting her speech as she referred to freedom. “What kind of freedom are you talking about? You are a murderer,” said the demonstrator before he was quietly escorted from the hall. “I’m very glad to see that democracy is well and alive here at the university,” she said.

In her speech, Rice sought to justify the U.S. occupation of Iraq, describing Iraqis as now more free. One student asked about abuses committed by U.S. forces at the Abu Ghraib prison in Iraq. She said the abuses had made her “sick to her stomach.” However, she defended Guantanamo Bay, Cuba, where human rights groups say detainees are held in inhumane conditions and in detention flouting international laws.

Before Rice began her speech, about 50 protesters were gathered at the front gates of the Conservatorium. The group were confronted by police on horseback and by police dogs. Police used the horses to charge into the group of activists and push them back, as a police helicopter hovered.

A police spokeswoman said the group was blocking pedestrian access to the building and that police had spent more than 20 minutes warning them to move. The police then moved in and pushed the crowd back 20 metres. Police say five people have been charged with “hindering police in the execution of their duties.”

The “Stop the War Coalition” says Rice is a “war criminal” and is not welcome in Australia. The group’s spokeswoman, Anna Samson, says the protest is one of many planned in the lead-up to the third anniversary of the invasion and occupation of Iraq on March 20.

Paddy Gibson, from the University of Sydney’s Student’s Council, says the protest is in opposition to the Iraq war, and to the use of the University of Sydney’s campus to host Rice, “the most powerful woman in the world,” who they say is a war criminal. “They’re saying, ‘… you’ve got Sydney Uni’s support to stand up and peddle your murderous hate speeches,’ which is what we see it,” he said.

“You’ve got 180,000 people killed, as we said, for no other reason than strategic control of the region’s oil resources. And the anti-Muslim racism that’s been whipped up to justify this war is being felt by Sydney University students,” said Mr Gibson.