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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, October 4, 2005

Dr. Stephen Schoenthaler, a Professor of Criminal Justice at the California State University in Stanislaus, has long argued that there is a link between a healthy diet and decreased aggressive behaviour, as well as with increased IQ and school performance.

Dr. Schoenthaler is well-known for a youth detention center study where violations of house rules fell by 37% when vending machines were removed and the cafeteria replaced canned food by fresh alternatives. He summarizes his findings by saying that “Having a bad diet right now is a better predictor of future violence than past violent behaviour.” In a very large test, Schoenthaler directed a study in meals at 803 New York City schools, in low-income neighbourhoods, finding that the number of students passing final exams increased by 16%.

Critics have questioned some of Dr. Schoenthaler findings, due to the lack of placebo control groups. However, more recent work by Dr. Bernard Gesch, a physiologist at the University of Oxford, has placed some of the work on a more scientific footing. Dr. Gesch found that nutrition supplements produced a 26% drop in violations of prison rules over a placebo, and a 37% decrease in violent offences. The Netherlands has embarked on a wider scale dietary research program in 14 prisons.

The short term behaviour consequences of ingesting sugar are well understood: an initial burst on energy, followed a sugar low in which your body produces adrenalin, which makes you irritable and explosive. However, Schoenthaler and Gesch suggest that there are long term impacts over and above the short term consequences of blood sugar variations.

Sunday, November 15, 2009

Sudanese-born British mobile communications tycoon Mo Ibrahim told a news conference in Tanzania today that some African countries are too small to keep functioning independently, and need to integrate in order to survive.

Ibrahim, speaking at the beginning of a two-day-long event encouraging good governance on the continent, commented that “some of our countries, and I’m really sorry to say this, are just not viable….We need scale and we need that now — not tomorrow, the next year or the year after.”

“Intra-African trade is 4–5 percent of our international trade. Why? This is unacceptable, unviable, and people need to stand up and say this,” he continued. “Who are we to think that we can have 53 tiny little countries and be ready to compete with China, India, Europe, the Americans? It is a fallacy.”

“We are poor, we are hungry, we are going without. Something is drastically wrong. I think we have the right to ask our leaders: are they really serious?” he said.

A reporter for the BBC suggested that the tycoon was talking about economic, not political, integration.

Ibrahim also surprised many African leaders when he did not give out his Ibrahim Prize in October, worth US$5 million. The prize is given to former sub-Saharan African leaders whose governance has been deemed good. Prize judges didn’t say why it wasn’t given out this year. Former presidents Joaquim Chissano of Mozambique and Festus Mogae of Botswana both have received the prize in the past.

Wednesday, June 9, 2010

A circus elephant managed to escape from her handler on Sunday night in the city of Zurich, Switzerland before being recaptured by local police and circus animal keepers. The 26-year-old female elephant, named Sabu, is from Switzerland’s Zirkus Knie. She was able to make her escape just before being put into a trailer, while the keeper was not paying attention.

Around 1930 local time (1730 UTC), Sabu was seen wading in Lake Zurich for a short time before walking back onto city streets. Zurich police said that Sabu wandered along the Bahnhofstrasse avenue of Zurich, which is known as the city’s most exclusive shopping street. She also passed by Zürich Hauptbahnhof (the city’s main rail station) and Paradeplatz, a square of Bahnhofstrasse, where both Credit Suisse Group AG and UBS AG have headquarters.

For nearly an hour, police chased the elephant around the city before she was finally peacefully recaptured in the Talstrasse section of Zurich. Circus officials and police followed Sabu, but a circus spokesperson said that she did not respond to their calls. Sabu was also said to have been moving so fast that police had difficulty keeping up with her. At about 2000 local time (1900 UTC), a keeper was able to control the animal and load her onto a truck to take her to Winterthur, where the other circus animals were. There were no reports of any damage or injuries during the incident, and although police held back onlookers, at least one bystander managed to capture video of the event.

The circus said that Sabu may have escaped after being frightened by storms near Zurich. After returning to the circus, she was said to be tired, but “pleased to be back.”

Monday, February 25, 2013

Carbon monoxide poisoning is thought to have been the cause of the deaths of three people and one Jack Russell dog in a caravan park in Cornwall in South West England. Cornwall Fire and Rescue Service (CFRS) were alerted to the incident in Tremarle Home Park in the town of Camborne at 12:56 UTC on Saturday.

Inspector David Eldridge said Devon and Cornwall Police were alerted to the caravan park incident after “a helper had been unable to get a reply from an elderly couple who lived in the caravan”. He said that upon their arrival, “We were able to see that there was a figure sat in a chair but they were unresponsive to knocks at the door.” CFRS workers called to the area “forced entry into the property and found that the three occupants were all dead”, Inspector Eldridge said. A hazardous material advisor was also present at the scene in North Roskear. The Health and Safety Executive is now investigating the incident but the deaths are not considered as being of a suspicious nature.

The three fatalities have been identified as Audrey Cook, aged 86, her husband Alfred, aged 90, and Maureen, their 46-year-old daughter. David Biggs, a member of Camborne Town Council, said the incident came as “a shock” to him; Tremarle Home Park is “a well established facility and is very well run”, according to him. Biggs described the loss of three lives as an “appalling tragedy”.

The incident came five days after Cornwall Council announced its Family Placement Service would launch a joint venture with Cornwall Fire and Rescue Service to place carbon monoxide detectors in the houses of foster carers. The programme, entitled ‘Be Gas Safe’, has seen 200 carbon monoxide detectors and 2000 leaflets to raise awareness about carbon monoxide being given to CFRS. Mark Blatchford, Group Manager of CFRS, said: “We have seen a big increase in the number of carbon monoxide incidents in Cornwall over recent years”. He described carbon monoxide detectors as being “as important as a smoke alarm as it provides a valuable early warning”.

Carbon monoxide is a poisonous, colourless, tasteless and odourless gas which is created when such carbon-based fuels as oil, gas, coal and wood are not completely incinerated. The human body’s capacity to hold oxygen in the blood can be reduced by inhalation of the gas, which in turn may cause death. The Gas Safe Register has said dizziness, headaches, queasiness, lack of ability to breathe, fainting and losing consciousness are all symptoms of a person experiencing carbon monoxide poisoning.

Sunday, April 27, 2008

Police have arrested the owner of a mattress factory in Hay Hassini, Casablanca, Morocco which burned down in a disaster that claimed 55 lives. His son, who was the factory’s manager, was also arrested.

Those killed — 35 of whom were women — were trapped inside by locked fire exits, which were barricaded to stop theft during working hours. “The people who died were either asphyxiated or burned,” commented a firefighter. 17 were wounded. Moustapha Taouil of the Casablanca civil protection service said the blaze was triggered by an inadequatly maintained electric saw on the ground floor. The initial fire quickly engulfed all four storeys of the building.

The Rosamor factory was clearly operating unsafely, officials said. “It’s a building with a ground floor and three upper floors specialising in making furniture, therefore there were highly inflammable products,” said Taouil. “We confirmed during our examination that the owners of the premises failed to respect legal requirements for this kind of industry including staff training… the owner in contravention of the law, locked staff inside the plant apparently to prevent theft of raw material. It was this that prevented them getting out. The fire was caused by lack of proper maintenance of certain machines and electrical installations.” He said a short circuit on the ground floor, which was filled with power saws, triggered the disaster.

As a result of the investigatons, “The plant’s owner, Adil Moufarreh, and his son Abdelali Moufarreh, who was the manager, have been taken into custody after having been questioned by police,” said an official.

28-year-old factory employee Fadila Khadija said “There was no emergency exit, the extinguishers were empty and the working conditions were difficult.” One source said that windows were also unusable as they were covered with iron bars. 20-year-old survivor Omar Elaaz said “I was working on the first floor as an upholsterer. The smoke came up from the ground floor where the foam rubber, wood and glue are stored. I used a gas bottle to break the wire mesh that protects every window.” 31-year-old upholsterer Hakim Hakki told of his own lucky escape and its effect on him from hospital: “I jumped from the third floor with four other colleagues while the women, who didn’t dare to follow us, perished in the inferno. God saved me but I’ll never forget those who died.”

The father of deceased 19-year-old Abdelazziz Darif said his son was paid 250 dirhams (20 euro/31 US dollars) per week and did not have social insurance.

Tuesday, January 30, 2007

Scientists have uncovered the largest Neolithic settlement in the United Kingdom at the Durrington Walls and believe that the village was inhabited by the people who built the Stonehenge monument.

Scientists say that the village was built around 2,600 B.C., roughly when Stonehenge was believed to have been constructed, and housed over 100 people.

Inside the areas which would have been the interior of houses at the time, scientists also found outlines of what they think were beds and cupboards or dressers. Pieces of pottery and “filthy” rubbish around the site. Animal bones, arrowheads, stone tools and other relics were also discovered.

“We’ve never seen such quantities of pottery and animal bone and flint. In what were houses, we have excavated the outlines on the floors of box beds and wooden dressers or cupboards,” said Sheffield University archaeologist Mike Parker Pearson.

So far, the dig has revealed at least 8 houses roughly 14-16 feet square, but scientists say that they think there may have been at least 25 altogether.

The site was likely to have been occupied only seasonally rather than year-round and evidence suggests that a lot of “partying” went on at the location.

“The animal bones are being thrown away half-eaten. It’s what we call a feasting assemblage. This is where they went to party – you could say it was the first free festival. The rubbish isn’t your average domestic debris. There’s a lack of craft-working equipment for cleaning animal hides and no evidence for crop-processing,” added Pearson.

The Durrington Walls are approximately 2 miles from the Stonehenge site.