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Published: 06 August 2004

James Walsh (Singer), James Stelfox (Bass), Barry Westhead (Keyboard) and Ben Byrne (Drums) paid Hong Kong a short visit, not just for their concert (11th Dec, 2003), but also for some Christmas shopping at Shanghai Tang.

Starsailor surprised their dedicated fans here in Hong Kong, with their sense of humour, amazing live performance, and grounded attitude. Having the opportunity to talk to bassist James Stelfox, here we find out even more about Britain's best folk band.

Alyson : Having the chance to work with so many legends, or even just recording this album ‘Love is Here’ at Abby Road studio… how d’ya feel?

James : Feel alright!

All : (Laugh)

Alyson : Have you ever imagined even doing this before getting in the business?

James : No… emm… difficult to answer that really… (paused for a minute) I always see people as people really, and I think everyone’s on the same level, I know Phil Spector is a great legendary producer, but to me he’s just another man, and so if I  met Muhammad Ali, it’ll be great to meet him, but he’ll still be another man… but I think… people are people within the same kinda thing, I think people are fortunate to have the opportunity to do things, if you know what I mean… Phil Spector was fortunate to be Phil Spector, Muhammad Ali was fortunate to be Muhammad Ali, have the opportunity and took it, which is great, I’m never overwhelmed by anyone.

Comparing ‘Silence Is Easy’ to ‘Love Is Here’:

James : When we did the first record, I think we were quite young and naïve, really… and when everything happened… and I think on the second one, we’ve traveled the world, twice over, seen a lot of great things, different cultures from Asian to American, to French, to German, and it change the way we looked at things, really… and we were happy… to be doing the best job in the world, I think.

Favorite from the two albums:

James : Oh well, probably emm… ‘Telling Them’. (As for the first album) ‘She Just Wept’.

Others : Any reason why you like these songs?

James : Emm, I always liked slow songs really… and… I think we write better slow songs than better fast songs… it’s just the way we write.

Favorite albums of year 2003:

James : Emm… The Strokes ‘Room On Fire’… Elbow…and ours…

On Coldplay:

James : Oh you said that word… you said the word! (I feel) Numb! I think Coldplay is a good band, I really do, I really do think Chris Martin is gentleman with talent, the band is working really well, but I think we’re absolutely nothing alike! The only difference is we’ve got four heads, and so have they! But… I do like them, I think they’re alright, ‘Politik’ is a good song.

On American Music:

James : I think now Americans have the greatest music scene in the world! Their hip-hop and their R&B are unbelievable, from 50 Cent to Destiny’s Child… If you look at the British rappers or the British girl bands, for example, Atomic Kitten is the biggest British girl band at the moment, compared to Destiny’s Child… there’s no comparison really. I think Americans are doing music a lot better, I think the producers in America are quite far ahead than the British at the moment.

Music that you listen to:

James : I listen to 50 Cent… I like Eminem, I like some of Beyonce’s stuff, like solo stuff.

Others : Can we look for hip-hop remix of a Starsailor’s track?

James : You’ll never know! I’ll tell you what! It’ll be great to work with Dr. Dre, ‘coz Dr. Dre is like the Phil Spector of this era. He’s definitely got his hands on the… on his brain.

On impact to teenagers:

James : You’ll have to ask them! I don’t know… emm… when I was younger, we liked bands that’d give you hope… if you know what I mean…

Others : Wanna be remembered?

James : Yeah… otherwise there’s no point.

On Starsailor’s emotional growth:

James : I think we’ve come together more on this record, I think on the first record, we’re just like rabbits caught in head lights really… we were like starting really… we were like “what’s happening!”… we sold a million records… and on this one, everything’s changed really… everything about us has changed. Personally, for me… I look at the band members differently than what’s on three years ago.

On the next record:

James : I think we’re absolutely writing heavier stuff at the moment, I think a lot of music gets a bit more rock orientated.

Alyson : What are your plans for 2004?

James : We’ll be in America for three months, than back in the UK, we’ll only start recording an album till December this year, which is a shame, we’d rather record now, instead of touring really. To be like the days of Led Zeppelin or The Doors when you can release two albums a year, instead of one every two years, I think it’s all wrong now with the promotion, no offence to you all, it’s very strange of me sitting down and talking about records, when I wanna do another one. This one’s old to me now.

Alyson : Really? New materials are coming out already?

James : Yeah, oh yeah! We’ve got four albums worth materials now.

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Published: 06 August 2004

New York’s Freak Scene Is Alive & Kicking. “The  ‘freak scene’ is still alive and thriving through the efforts of a few. And you see lots of interesting kids appearing all the time.”

Chatting to Skrufff from Manhattan this week, ex-pat Englishman-in-New York Boy George revealed he’s been impressed by the vibe he’s found in Manhattan club-land, since relocating from London this September.

“We did a gig with The Twin at Stingray at the Coral Rooms and it lured all the young weirdoes out as well as some of the diehard premier freaks,” said George.

“It was especially fun because I have fallen madly in love with a boy who swims in a big fish tank in the wall and it’s the small things that make a night out. New York is different but so is London- them youth are very conservative, on the whole.”

Skrufff (Jonty Skrufff): How’s Taboo going?

Boy George: “Taboo is going well so far, most nights are full, the crowds stand up at the end and they all seem to love it. Of course, theatre is unpredictable and January is a treacherous month so who knows, but it seems to be ticking over nicely. My legs are also looking sexy because I have to climb three flights of stairs, about seven times during each show and I’m quite pleased to have shed a few inches. The show is both fun and hard work because of all the make-up changes and costume dramas.”

Skrufff: Where are you spending Xmas Day?

Boy George: “I will be in Connecticut with some English pals and I’m vegetarian so no turkey for me. I imagine it’ll involve lots of eating and lazing around because Boxing Day doesn’t happen here in America, meaning it’s back to work on Friday.”

Skrufff: What do you make of this year’s new marketing buzzword ‘metrosexual’?

Boy George: “I thought metrosexuals were people who wore make-up on tube trains. For me it’s just another pointless label since sexuality is a grey area with pink spots and it’s omnipresent. People talk about sexuality as if it’s some battery pack that you can switch on and off. I would say we are all as gay as we are straight and what you choose as a major preference is no more important than preferring one kind of cheese against another. Of course, this is a very basic response because I feel the sexuality issue is colossal and complex and every time you reach an understanding something pops up to contradict it. I’m actually presently working on a photo-book of men right in all sorts of homo-erotic poses and outfits and it’s very interesting how far people will go.”

Skrufff: Do you have any tips for men wishing to wear make-up?

Boy George: “I think you should always wear what makes you feel comfortable and pretty and f**k fashion, because everything is eventually revived. If you ignore fashion, you stay ahead of it.”

Skrufff: What’s happening with your ‘Do I Look Like a Slut proteges Avenue D?

Boy George: “Avenue D are doing gigs here and there and we are about to release ‘Slut’ with a remix in the UK. I am also about to record a new track with Avenue D and The Twin and we’ve also done a cut-up mix of Here Come The Girls combined with ‘Slut’ which should be floating around soon. They are always up to something, dragging me along to see bands and them disappearing to Florida to paint walls. They always full of positive energy and great fun. I hear ‘Slut’ in almost every bar and club I go to and it still sounds much better than Camel Toe.”

Skrufff: What’s ahead for 2004?

Boy George: “I’m still working on final tracks for the Twin DVD and shooting porn stars and other interesting things. This beauty (on the picture above) is called Johnny Hazzard and he’s a f**king babe and very free with his body. Nothing like myself of course.”

Interview by: Jonty Skrufff (Skrufff.com)
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Photo: The Twin

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Published: 06 August 2004

PV and Toneman elite Austrian producer Mike Tales has not had an easy path to follow to enter the dance industry and shedded some incredibly personal feelings with regards to just what it takes to make a name for yourself these days.

It seems the old English proverb “Too many cooks spoil the broth” applies only all too well these days and that “Too many DJs spoil the broth” is an ever recurring conscious thought in clubland. He proves the constant battle between balancing shift work, studio work and family life is not everything you may have imagined behind every successful producer, DJ and artist, more an image that has been hidden and hung out to dry by the glossy media. Like every other performing art, it’s talent, dedication and how determined you are to get where the rest of the industry will let you prosper, that will ultimately spell out your career path for you.  DJ Alixir spoke to Mike about life, love and borderline house/techno music just before his hectic Christmas and New Year’s schedule beckoned.

Al:  Hello Mike, just where and when did the DJ trip begin for you? What made you want to become a DJ?  How long have you been doing this now?

MT: Because of a friend, I had my first contact with records and turntables.  It intrigued me and tried it all by myself. After some time, and quite a lot of hard work, I had the chance to prove my flawless abilities in an amazing club. After a successful debut performance I was quickly hired as the resident DJ for the venue. Now I have practiced it since 1998.

Al:  What was your first major gig and what style of music were you playing?  How did it go?  Were you nervous?

MT:  My first Major gig was in Croatia in the year 2000. It was at a fortress near the sea, it was a wonderful Location. I was very nervous at the beginning of the set, but after some time I became more confident cause the people were in a good temper and freaked out!

I started with groovy minimal techno and than I raised into driving party techno and the guests celebrated. It was a really formative experience. I will never forget.

Al:  How would you explain the Mike Tales DJ experience to others?

MT:  In the first 3 years I never had to ask if I could play in a club or at a party because I had a good reputation, and so I got to know a lot of acquaintances.  The other thing is that I also played a different style to the others and so I got a lot of bookings without asking.  I´m very proud of that.  Today, it’s not so easy anymore.

Al:  Do you hold any residencies in any clubs at the moment?  Do you have a busy schedule for DJ'ing?
 
MT:  No, because I live in a city with about 130,000 inhabitants and there is no longer a Techno club.  It has been closed for 1 or 2 Years. The next good club is about 2 and a half hours away and it´s too far away to play there for bad money the whole year.  In this time I mail some demos around and contact them per email and so I try to get my gigs.  I’m still looking for a good booking agency.  It’s not so easy these days.

Al:  You must have played with some very well known European DJs, who have you played with and who would you like to play with if you had the
choice?

MT: I played with DJs like Pascal F.E.O.S., Monike Kruse, Massimo,..The Last good gig was in one of the best clubs in Germany called “Nachtwerk – Electric Delicate” with Monika Kruse. That kind of gig I like very much. That was a really good party!!  If I can choose I would like to play together with Carl Cox.

Al:  What is the club scene like in Austria at the moment?  Where are the best clubs to play?

MT: At the moment I have less bookings in Austria. There are some good clubs over the other side of Austria and there are some parties with good headliners like Sven Väth, Chris Liebing, u.a.  In Clubs like Flex – Vienna, Cazin Club – Linz,... .  I’m at the wrong side Austria!

Al:  Have you DJ'd outside of Europe yet?  Where would you like to go?

MT: I’ve played in Germany, Switzerland and Croatia already.  I hope that I will also get some bookings out of those countries.  I don’t like the Austrian scene and I would rather live in Germany-Frankfurt or England–London, but it’s too chancy for me to emigrate cause I think the whole techno scene is very bad these days.

Al:  Being a producer and a DJ must be very time consuming!  How do you find the time for studio work?

MT:  I have got a “shift work” full time job, so i can produce one week in the morning and one week in the evening. If i have to work between the times 1 pm to 10 pm, I wake up at 6 am and drive at 7 a.m. I then go to my studio and produce there until 11.30 am and then I have to go to work. In the other week it changes.  Long and hard work, but if you want to be someone you have to do so!

Al:  You've had a lot of successful releases on Toneman, PV, Decomplex Audio and featured on a Global Compilation mixed by Carl Cox amongst
numerous others, are you going to continue releasing on these labels?

MT: We always want to update our sound and want to keep up with the times so we produce some songs we like and then we mail it to those labels associated with that sound.  They pick out the songs they like and release them. If they don´t find some tracks then we make a few new and mail them again.  Up to now the labels have always found something, so I think that we will continue releasing on the labels we have had success with.

Al:  You must be proud to have a track on the Carl Cox mix, which track is it and is it one of your personal favourites?

MT:  Yes, I am very proud of it because it was my first release and was selected for the cd of the famous DJ Carl Cox. What an honour!!
This track is also one of my personal favourites. It’s not too hard sounding but grooves and it´s not too straight. I like it!
 

Al:  Your production partner is Garry Trace, how did you come to release tracks with him?  Have you known each other long?  Are you old
friends?

MT:  Garry founded a record shop in Innsbruck which is where I bought my first records. We found out that we had the same interests and nearly the same talent. Both produced tracks on the computer with a tracker programm. After some time I bought my fisrt synthesizer and then we built a studio to work more professionally together in 2000.
 
Al:  When producing, do you use hardware and software?  What's your favourite hardware and software?

MT:  I use both. My favorite hardware is my “Waldorf Pulse”! As for software, we use Logic with many plug-ins and I also like the programm “Remix”. So I produce.

Al:  Do you use sample CD's?  If you do use samples off of sample CD's, do you put them through Recycle or use them as they are?

MT:  I use a lot of samples. I re-process it completely. I Copy, pitch and effect the samples until they groove.

Al:  How long would it normally take you to finish a track?  Do you engineer and master the tracks yourself?

MT: For one track, we sometimes need about one and a half weeks, because we try to make it perfect.  Garry always does the engineering and mastering because he likes it<grins>

Al:  Personally, I love "The Game", it's just so different from any other track you have produced.  How did this track come to be?  Was it inspired by the sample of the woman?  Who is the woman!

MT:  I don’t know who the woman is! Also some samples off of a cd. We tried to make this track like each others, but suddenly it wanted to become more and than the voices, perfect, different from any other.

Al:  What future releases do you have coming out?  What is next from Mike Tales and Garry Trace?

MT: Now there is a small release stop cause of the economy. There is no money around and we have to wait a little bit until the whole scene recovers itself.  But something is in arrangement. We´ll never stop!!

Al:  Thankyou so much for talking to HKCLUBBING.COM, it's been a pleasure!

MT:  It’s been a pleasure too!

Interview by: Barry Hinselwood

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Published: 06 August 2004

 The Bush Administration Are the Biggest War Criminals of the 21st Century.  â€œThe club crackdown affects me more than the kids, because the kids seem very chilled out and somehow unaware of what is really going on. They’re not even conscious they’re tuning out, they just seem to be totally absorbed by TV.

For me and my immediate friends, though, it’s a rough call, because what we see today is fascism; we see Hitler in a double breasted suit.”

Detroit techno legend Derrick May has long been known as being one of dance culture’s most talented and outspoken characters, and chatting the line from his beloved Motor City today, he’s typically passionate about exercising his free speech.

“I never thought I’d live to see an American government, who totally disregard public feelings and opinions, using- on top of everything- fear tactics to stop people saying how they feel,” he continues.

“I think the Bush administration are the biggest was criminals of the 21st century.”

US elections issues aside, though, May’s focus remains electronic music, with his primary interest right now being Detroit’s massive Movement Festival (DEMF), the city’s annual three day street parade, which he’s recently taken control of. There’s also the small matter of his return to London next week (February 7) to spin a 3 hour DJ set at Turnmills though he admits he’s nowadays more ambivalent about coming back.

“There was a time when I considered London to be my second home in the late 80s and early 90s and at that time it always felt like a special place,” he says.

“Then the sensational and the populist became popular again in London and the music took a polite back seat, which meant I stopped seeing it as quite the same place it used to be. When I say populist and popular I’m talking about the age of the superclub, the Mixmag (type) magazines and that whole over-rated drug culture. People lost focus.”

“It changed when the money came in and people started knowing they could get their pictures in the magazines. There’s nothing wrong with that; I love to get paid for what I do; I love to make a lot of money; I do make a lot of money and I love to be appreciated too, but what happened was, a lot of guys started believing their shit don’t stink.”

Skrufff (Jonty Skrufff): Your playing at London’s Turnmills next weekend and Split’s flyer says they’re distancing themselves from the ‘moody trainspotter” blokes often associated with modern techno, how  do you view these characters?

Derrick May: “I remember the crowd from the very first time I went to Europe and I noticed even back then, that as soon as I started playing, the guys moved up to the front pushing the girls away. I remember thinking that this wasn’t a good thing at all. That night really defined my future attitude to DJing, because every time I saw that happening, I started purposely play a record that I knew was going to piss the guys off, something fluffier, more tender, that would be better received by girls.”

Skruffff: How do you feel about techno nights usually attracting far more men then women?

Derrick May: “I don’t like women to be disconnected from music. I think that if techno has this macho image, it’s because women have not been involved as much as they should have been. The female element is vital to the art and the life; women bring an honest opinion to the music; they bring life to this planet and they hold the secret of life. I always prefer to play to a chick who’s intrinsically knowledgeable about life, than a shirtless, sweaty guy who’d dance to anything that has a beat.”

Skrufff: You’ve just signed a deal to run Detroit’s Movement Festival for the next five years, what’s your vision for the event?

Derrick May: “We want to bring as much attention to the city of Detroit as possible, because I think this may be the last chance that we may be able to do it through techno music. I don’t know if there’s going to be a next generation of young musicians coming through to follow up in our footsteps. Our intention is to make it like Sonar (Barcelona’s world renowed music and arts festival), in some ways, to showcase and give exposure to, not just local young talent, but also to artists from across the country. We’re also hoping to bring those who’ve already made musical history, bands like Tangerine Dream, Kraftwerk, even someone like Ruichi Sakamoto, just to show that there is a next level, and it’s not over just because you leave dance music. Electronic music has many other aspects and levels beyond dance music.”

Skrufff: Going into your own days as a young face on the scene, your old Detroit contemporary Kevin Saunderson used to DJ at college fraternity parties in his pre-techno days, did you also go to university in the 80s?

Derrick May: “I was a runner (sprinter), I used to run 100m or 200m, so I started off with a college scholarship, did six months or so and then left when I realised it wasn’t for me, I had lost focus. I actually got booted out; I wasn’t University material. I was quite introverted too, and never socialised much.”

Skrufff: Did you go clubbing much then, or visit clubs in Chicago or even new York’s Paradise Garage, for example?

Derrick May: “No, I didn’t go to Paradise Garage, I went to places like the Music Box run by Ron Hardy and The Power Plant run by Frankie Knuckles, which clubs in Chicago. I was just a kid then, I didn’t make music or anything, but I was captivated by the atmosphere I found in those places. When Frankie played an electronic track the whole vibe of the place changed from ‘one love’ to ‘angelic’. You could smell nature against this electronic backdrop. It was almost supernatural. You were transported somewhere different. I’ve always thought that if I had the chance to re-live a moment in my life, that’d be it. Ron was a very radical DJ, mixing high pitched records, re-mixing Stevie Wonder tracks, he was future then, and he would be future now.”

Skrufff: America’s entire nightlife and club culture seems to be under direct threat from the Bush Administration right now, what’s your take on what’s going on?

Derrick May: “Well, if anything the crackdown effects me more than the kids, because the kids seem very chilled out and somehow unaware of what is really going on. They’re not even conscious they’re tuning out, they just seem to be totally absorbed by TV. For me and my immediate friends though, it’s a rough call, because what we see is fascism; We see Hitler in a double breasted suit. I never thought I’d live to see a government who totally disregards public feelings and opinions using on top of everything fear tactics to stop people saying how they feel.

Our fathers, the previous generation, wouldn’t have allowed this to happen, while my generation, people in their 30’s, seem to be totally unaware and hopeless. But it’s the new generation, those around 25 and under, that really worry me, and the way they’re being bred to cope with the new system. They’ve been given all the possible choices under the umbrella of consumerism and that’s all they’re into; their MTV, VH1, Nike, Prozac, videogames, whatever. Even the psychologists sitting around the President’s office make decisions according to demographic figures. For example, they may take into account that 50 million kids bought a Playstation last year, and they know exactly where these kids live, since all Playstations are barcoded. So they know where they live, they know what they’re buying and they know how to centralise these people out of control. They also have the power to influence the creators of these videogames to make more games about soldiers, and marines, all that USA kicks ass stuff…”

Skrufff: You sound quite pessimistic about the future, are you?

Derrick May: “I am optimistic, but I’m also a pissed off black man. What makes me optimistic is the belief that there’s already some five year old kid out there who’s like Kevin Saunderson was when he was five. Someone who, when he sees a shade of pink is going to say ‘that doesn’t look like pink to me’ or when he sees blue says ‘that doesn’t look blue, that looks more like turquoise’. Or ‘you know what? I don’t want to watch TV today, I wanna’ go outside’. That’s what makes me optimistic- to believe that there’s someone out there right now who’s going to think with his or her own head. And he may not even make music, he might be a fucking garbage man, but he’ll be somebody different, somebody interesting.”
Skrufff: How much do you believe in fate and destiny?

Derrick May: “I believe in it completely. I believe everything happens for a reason, I believe in timing, I believe that if I tap you on the shoulder and I talk to you even for a couple of minutes, I’ve altered your life and you’ve altered mine. We don’t know how, be we’ve altered each other’s lives. I’ve pretty much always believed this.”

Skrufff: How have your attitudes changed as you’ve aged?

Derrick May: “There was one period when I made a lot of money when I started believing I had already done my part. In fact, I was being ridiculous, I didn’t understand anything, Id simply lost my focus, got angry and forgot what my mission was for a minute. But I’m on it right now, I got my mission back.”

http://www.turnmills.com (Derrick May, Guy Called Gerald, Chris Finke etc @ Split etc: Turnmills, Saturday February 7: tickets £12 in advance)

http://www.movementfestival.com (May 29-31, Hart Plaza, Detroit)

http://www.transmat.com (Derrick’s label Transmat)

Interview by: Jonty Skrufff (Skrufff.com)

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Published: 06 August 2004

Yoko Ono on John Lennon, Clubbing and War: Give Peace Another Chance

Yoko Ono was so important for taking John Lennon from being that Beatle-in-a-suit pop star to becoming the John Lennon that everyone reveres today. She was the one who told him he should do something worthwhile with his fame. She was years ahead of the British public and it€™s only now, thirty years on, that people are realising, €˜Hang on a minute, she was right.

Crushed amongst the camera crews and clubbers watching Yoko Ono€™s recent performance at Nag, Nag, Nag, S Express/ superstar DJ Mark Moore admits he was blown away by the 70 year old artist€™s presence

€œIn my eyes Yoko is still exactly the same Yoko, shes one of the last of a dying breed, says Mark.

She€™s a person who stuck to her convictions and sat out on a limb and I think to myself, How many people are sitting out on a limb today? In most peoples eyes she was this weirdo who did strange art and strange music and she had to cope with that mob mentality attitude against a weirdo- lets burn the witch. She was an outsider and underdog in a strange kind of way and they tore her to shreds.

Not at the London club date, but equally enthusiastic about Yoko€™s legacy is Keir from avant garde electronic experimentalists The Black Dog.

€œShe should be recognised as one of the world's most accomplished conceptual artists, but she married a guy more famous than her, so she's screwed,€ he says.

I think many artists recognise and credit Yoko for her influence and inspiration, though ironically it will probably take decades for this to reach public consciousness, and final media recognition. I doubt this troubles Yoko, though, as with any truly innovative artist she is more concerned with the work than the profile it receives.

For Yoko herself, however, what does concern her beyond her art is the issue that she€™s become irrevocably linked via some of John Lennons most popular songs, namely war, or more accurately peace. At the Nag show, she€™d been roundly cheered when holding up a placard declaring €˜Imagine Peace and chatting to Skrufffs Jonty Adderley the next day, she€™s both passionate and fearless.

“We have to keep on protesting and we have to avoid staying at home being scared or just raising your fist in your mind to the politicians,” says Yoko.

€œThey dont care about us, they€™re not thinking about anyone else, they€™re thinking about their own ideas and we have to be like that too, instead of just watching the TV news which is fed to us. We have to stop being constantly angry about politicians who don€™t listen to us. I think we should create our own power, a power from the people, to create a beautiful powerbase internationally. To achieve that, we need to reach out horizontally, not vertically. If we behave in the way of saying ‘Daddy, listen to me!€™ then Daddy will come down on us.

That a 70 year old multi-millionaire born into Japanese royalty has the energy and even inclination to still fight the Wests war mongering leaders is pretty impressive, as is her willingness to promote the re-release of her seminal New York club record, Walking On Thin Ice. Recently remixed by superstar producers The Pet Shop Boys, Danny Tenaglia, Felix Da Housecat and Francois K, the 1979 track became one of Larry Levan€™s anthems at the Paradise Garage, ironically during the period Yoko herself stayed away from clubs, as she mourned the 1980 murder of John Lennon. Two decades on, though, shes as happy to talk about John as she is her renewed love of clubbing.

“Club culture is it; its the only thing that€™s really alive, in a way. People dance and they connect with their bodies through dancing, which is so important- body to body.

Skrufff (Jonty adderley): What did you make of Nag Nag Nag as a club?

Yoko Ono: “I felt that we connected with the crowd and touched base and it was great. I kept saying give love a chance when I was on stage because I felt that feeling in the club, I felt a big love.

Skrufff: What do you think of today's club culture?

Yoko Ono: “Club culture is it, its the only thing that€™s really alive, in a way. People dance and they connect with their bodies through dancing, which is so important- body to body. That connection used to exist in rock & roll during its early days but rock & roll has got more sophisticated over the years, with stadium gigs and big events where you see whats going on giant video screens because the stage is so far away. Its a different game so its so nice to be in a small place where you're all together exchanging vibes. My artwork has also always had an audience participation side to it and clubbing definitely has that aspect where everybody participates with the music in a very active way. It€™s good, I love it.”

Skrufff: You'€™re 70 years old, an age when many others are taking it easy, what drives you to still go to clubs?

Yoko Ono: €œI think its like magic, its beautiful. I like the particular vibe you find in clubs, I'm really drawn to it, probably because I'm on the same wavelength. It€™s always like that, isn't it? When you walk into something, you walk in there because you agree with the vibe. Its as simple as that. I also feel that I went through sexism and racism in the past and I survived, though now I€™m facing ageism, I suppose. But I don't feel it, I€™m just me. I€™d like to say to others feeling scared about clubbing, its good, it feels beautiful, you shouldn'€™t be scared of it. Somehow my world is lighter now, my senses are sharper and more acute and dancing has a lot to do with it. Even in the 70s, John and I would say ‘its so important to move your butt (body) through dance€™. Poetry of course is important and we managed to put the poetry together with music so it reached a wider world. Poetry is just reading but when its combined with music, it travels further. Now we have to do it with the body. Dancing is so important, we can dance together; that's the key.

Skrufff: What is Walking On Thin Ice about specifically?

Yoko Ono: “It was one of those songs that came from above, it was very strange and a prophetic song. After I wrote that song and recorded it, suddenly my life changed and became like walking on thin ice. Nowadays, all of us are walking on thin ice and it’s a very strange thing. We have to somehow get through it and come out on the other side. It€™s a kind of song that brings your true emotions out.

Skrufff: You held up a board at Nag last night saying the slogan Imagine Peace, you also campaigned heavily against the Iraq war before it started, what do you make of the situation now?

Yoko Ono: We still have to carry on. When the Vietnam War was happening, it took over two and a half years before people started protesting whereas now we€™ve started to protest before the war so that's pretty good. We have to keep on protesting and we have to avoid staying at home being scared or just raising your fist in your mind to the politicians. They don't care about us, they€™re not thinking about anyone else, they€™re thinking about their own ideas and we have to be like that too, instead of just watching the TV news which is fed to us. We have to stop being constantly angry about politicians who don€™t listen to us. I think we should create our own power, a power from the people, to create a beautiful powerbase internationally. To achieve that, we need to reach out horizontally, not vertically. If we behave in the way of saying Daddy, listen to me!then Daddy will come down on us.

Skrufff: How do you create a beautiful powerbase?

Yoko Ono: €œWe should really create a mutual understanding that will make us come together. The more clearly we understand things, the faster we can come together. The only thing that's stopping us, and this is something that we have to fear, is fear itself, and confusion and ignorance. We'€™re all partly ignorant because they€™re confusing us, theyre blocking people€™s understanding and they€™re very effective at doing it, it€™s working for them. We need to exchange ideas, to tell people ‘actually, did you know that this is happening?’ then through it all, we can finally have the right picture of what€™s going on. That'€™s very important. And what€™s going on is an enormous thing.

The plan that is laid out in front of us, is an enormous one and somehow, I'm sure we can make everything better and make it well. That€™s because, when you're thinking peace and you'€™re at peace yourself, you'€™re already part of the peaceful world. What it means is that each one of us is a being who has an unlimited power. So there are billions of us with unlimited power but what is stopping us? The only thing that's stopping us is those things that they feed us; fear, confusion and ignorance. There are specific ways of reaching each other too. I'€™ve just put together a project, for example, called ‘Peace Event with John Lennon.

Skrufff: You survived the infamous fire storms of Toyko during the Second World War in 1945, when the Allies bombed the city and killed hundreds of thousands of people, what was that experience like?

Yoko Ono: €œPeople used to say to me Don'€™t talk about the Second World War, because that will date you whereas these days I'€™m almost regretful that I don’t know about the First World War. It’s great to know and the fact that I experienced that war is very important in my life. There were times during the war when I couldn't find food for my younger brother and sister and Id be travelling from village to village to find food for them. It was scary.”

Skrufff: How was the bombing experience itself?

Yoko Ono: “They always say We don'€™t kill civilians when they bomb cities, Fuey! no, of course they do! Every night ther'd be a siren then the bombers would be flying overhead and we'€™d have to rush into the bomb shelters and in the shelters we'd be praying as the bombs went Boom! boom! Boom! as they landed. The bombs would penetrate the earth and the shelters were built in the earth so you'd really hear them  Whoom! Whom! Whom! getting nearer and nearer, then fading away as they passed, like music. Then we'd come out of the shelters saying ‘We live for one more day, we€™'ve got one more day, it€™s great€™. That€™s how it was- every day there was a chance we could have been killed.€

Skrufff: During the early 70s you and John were the highest profile peace protesters in the world, what happened to all the people who seemed highly conscious in the 60s?

Yoko Ono: “The thing is, we€™'re all human and humans have a tendency, which is actually a beautiful tendency, to block things out. Even now, people don't want to know about the Iraq war because its so painful, so they don'€™t want to turn their TV on, which in a way is good. John and I are both war children (born during war) and in that sense we always had a real fear about war, and its uselessness.€

Skrufff: Much of the rest of the world outside America sees the Bush administration as the bad guys€™, do you ever think about leaving New York?

Yoko Ono: “I think of it from time to time but I have my little apartment there, which I love and thats how it is at this point. Thats my powerbase in a way, my little studio where I have my deck and computer, which overlooks the park (Central Park). It€™s a comfortable workspace that I'€™ve created for myself. If I go somewhere else, then that involves me using up a lot of energy so as of now, I'm still happy with where I am. It sounds strange to say happy but its true.

Skrufff: Did you used to go to New York clubs like Studio 54 back in the 70s?

Yoko Ono: We never did because as John used to say €˜we€™re two people who are proud to have never been to Studio 54’, because all of our friends used to go. We were people then who preferred to make a cup of tea and read books at home. In the 80s I was still in shock after John passed away. People used to say to me €˜do you know they're playing Walking On Thin Ice in clubs but I€™d be like, €˜that's nice€™ but it was in my peripheral vision at the time.

Skrufff: I€™ve always though the song Woman had a premonition vibe in it, would you agree?

Yoko Ono: Oh yes, and what about Watching the Wheels? There were lots of premonitions in lots of the songs. The things he said to me, made me feel (afterwards) almost like he was preparing for it. It made it easier for me in some ways afterwards (after John Lennons death).

Skrufff: John touched millions of people with his music and accomplished an enormous amount as an individual, can anyone do the same with the right motivation?

Yoko Ono: “John is still alive in all of us. Each and everyone of us has a certain power and energy and inspiration from John and we€™re all connected in that way, So John is here. As John said, this is not a time when one hero can solve everything. The situation is so complex. John had to jump out of where he was to create an enormous power base. All of us are part of him as he is part of us.

Yoko Ono’s Walking On Thin Ice is released on April 21 on Mind Train Records/ Parlophone.

http://www.instantkarma.com (Yoko Onos Peace Event for John Lennon: €˜This is a call for all countries and their people who wish for World Peace.You, the carrier of good tidings, be proud, swift and wise. By being in peace, you are already part of the peaceful world)

By: Jonty Adderley (Skrufff.com)

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