EzioBy Audrey Johnson - Bscnews.fr/ Meet Ezio, singer/songwriter of Italian origin who lives in England. His eponymous band hasbeen touring since he met guitarist Booga in 1990. His latest album, “This is the Day” gives new breath to a prolific career. Read on to learn about the poeticand just stories told by his songs.

Lire la suite : Ezio : "This is the Day"

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Frank Turner par Greg Nolan Frank Turner's photography by Greg Nolan/ Interview BSCNEWS.FR - Audrey Johnson: Your last album is entitled Poetry of the Deed. Could you explain to our French Readers what it means?
Frank Turner : Yes I would like try to reply in French but my French is not as good as it used to be. It's actually a reference from a Russian philosopher called Mikhail Bakunin who wrote about propaganda of the deed and his whole idea was instead of writing pamphlets on how you think the world should be organised, you should go out and be that way. And that in doing things rather than sitting around theorising about them, that’s the best propaganda. I'm not really interested in propaganda at the moment but was always taken by the idea of action over words, so Poetry of the Deed is an idea that instead of sitting around and reading poetry or writing poetry and wishing one’s life was more poetic; one should go out there and live as adventurous and as poetic a life as possible.

A.J: There is an evolution in your first solo albums from personal to more universal, from sometimes melancholic to something a bit more uplifting and energetic - Is that a conscious decision?

F.T: It’s not a conscious decision, I mean the only conscious part of it is that musically, when I started out the first solo album was basically just me and then hiring people in to play extras when I wanted them, whereas now I have a full live touring band. I think that musically the things are a bit more expansive, although I still write everything. There are now five players on the record rather than one.
But what I write it’s important to me that I don’t analyse the process too hard because I worry that I might break it. I just sit down and close my eyes and I try and write what I think is a good song.
And then I guess it just reflects where I am in my life and I think I’m in a slightly more positive space now – or at least while I was writing the last album – than I was when I made my first one, and that shines through.

A.J: In several of your song,s such as Try This at Home, you encourage everyday ordinary people to make music rather than consume it, would you like to tell us more about this?

F.T: I grew up listening to punk rock music and for me the most exciting and important part of punk rock is the sense of iconoclasm and the sense that there isn’t a dividing line between the people who make music and the people who listen to music; and that actually it’s the same sort of people doing both. And that if it isn’t, then the music is worth less. And for me I don’t like the word “fan”, I don’t like the idea that I’m separate from my audience in anyway. You know, obviously If it’s my show I’m standing on the stage, and for that hour or whatever, it’s fine, I’ll be the focus of the music but as soon as I’ve finished playing then I’m completely the same as everybody else in the crowd as far as I’m concerned - and I wouldn’t want it to be different in any way. And I think that song is just trying to crystallise those ideas of iconoclasm - and not buying into the whole kind of bullshit mythology of rock ‘n’ roll that there’s such a thing as a rock star who’s like this kind of aristocratic breed who are allowed to be arseholes to everybody else... which I always thought was a really stupid idea.

A.J: You're just back from the US and over the years you have pursued a very demanding tour schedule. It's been the subject of a lot of your songs such as Sea Legs, Jetlag, The Road, do you find that your lifestyle has changed the kind of song you want or you like to write?

F.T: I think of it as “The Streets” trap: his first album was genius because he wrote about what he knew which at the time was everyday life as he was unemployed in London and that's a fantastic record. The problem was he became very successful from it and he continued writing about everyday life but his everyday life was being on chat shows. It’s a Catch 22 you know because one wants to continue writing honestly about one's surroundings. So yes I have written a fair few songs about being on the road – reached the point where I'm trying quite consciously not to write too much about it because essentially I don't want to produce albums about being on tour because most people don't spend their life in a band touring the UK. And you know I don't want to lose people but at the same time I try to write honestly about my life. It's a difficult balance to strike and I think particularly with the song The Road I wanted that to be the last word on the subject, at least for little while.

A.J:Do you find being on stage addictive? Do you think you are ever going to stop?

F.T: I love being on stage. I love every aspect of being on tour. I love being in a different town every day meeting new people, travelling. I'm very fortunate because I love my job; I love what I do. A friend of mine said to me the other day, after seeing me play a show (she hadn't seen me play a show for a while), “You look very comfortable up there.” And I thought it was a big compliment for me. How long do I get to do it for will be more dictated by how fickle my audience is rather than how long I want to do it for. I would love to keep doing it forever. Hopefully there will be enough audiences who want to keep me doing it forever and hopefully I'll be able to do that.

Some of your songs are political, speaking about disillusionment with either the anarchist movement or the left, some are calling for action or talking about civil liberties; some are political by nature, like Poetry of the Deed. What’s your relationship with politics at the moment? Are you involved in any way?
This is a difficult question. I have a lot of strong and passionate political views. Put it like that: I went through a poetry of the deedlong period of being disillusioned and apathetic about politics because when I was younger I was very passionate about left anarchism and I fell out of love with it. Basically I spent a lot of time not being involved. I recently reorganised how I feel about it and found a way of thinking about things that still work and have a practical realistic way of action. I don't want to become a political singer; I don't want to be a protest singer. I feel for example that one of the problems with Billy Bragg is that so many people care about his politics and some of his fans don't really care about his songwriting or don't really care about his songs about his personal life, which I actually think are much better than his political songs anyway. If you become a political singer you're expected to turn up at every demonstration. There’s a lot of stuff that I don't really care about. Actually it's funny, a lot of people think that I think rather different things than I do. I have been putting that in a very diplomatic way. I'm interested in freedom and would probably describe myself as a libertarian. I get a lot of people in Che Guevara T-shirts who think that we might have something in common politically and we really don't. I guess at the end of the day as much as I can get passionate about politics I think there are more important things in life than politics and I hope that I can sit down and have a beer with anyone from any political side really and sing and have a good time.

 

Your songs appeal to wide range of individuals and they speak about everyday situations but there are a lot of literary references in them. I'd like to know if literature has had an important role in your life and education and if you still read now?
I read a lot. I wouldn’t describe myself as well read, at all. In literature, I know what I like, you know what I mean. I have a few bits and bobs. Elliot has been an important influence for me, the other one is Philip Larkin; I’m very much in love with his poetry, I think he’s a wizard. He was an English poet, he was from Hull and he died in the 1980s.
He wrote such beautiful, melancholic Englishness, that I’m just an enormous fan of his work.
Lyrically my biggest influences are other singers, there’s a guy called John Samson who sings for a band called The Weaker Thans, who is just a total genius as far as I’m concerned - so I listen to a lot of his stuff. There was a band in the ‘90s which was called Arab Strap - their words just break my heart, every time I hear them. I spend a lot of time listening to and analysing lyrics as well as poetry.

You have a huge crowd of fans, men and women alike, some of whom even tattoo your lyrics on their body. It hasn’t always been this way. How do you cope with being their inspiration?
It's a funny one because on one hand I'm humbled when people have my lyrics tattooed. At the same time I have lyrics from bands tattooed on me and I have bands logos tattooed on me so I understand the motivation for doing it. But I'm quite flattered that it's me that they've chosen to do it for. Like you said there was a long time when I was doing this and people didn't really gave a shit; and it is very rewarding now to know that people do, and also to know that it didn't happen because I signed a major label and they gave me £100,000: it came because I've been on tour for a very long time and just working hard. I’m quite proud of the way of I have achieved my success, hopefully not in an arrogant way. I feel I did it in an honest way and that’s important.

As many of your songs on your first two solo albums had very personal themes, do you often find that your fans feel that they know you? If so, how do you deal with this?

Yes sometimes; most of the time it’s fine because people understand that whilst I write personal things there’s still a degree of detachment and I am not completely and utterly laying out my life on the line every single time I open my mouth. Occasionally I do meet people who think they know absolutely everything one could ever know about me, but at the end of the day it’s a compliment in some way that they’ve been listening that hard. So I just gently have to let them know there’s a little bit more to the story than that.

Your debuts with Kneejerks and Million Dead were very different from your current style. Will you ever revisit that style of music?

I think that what I do now will be the main thing that I do for a long time, but I like the idea of doing a side project maybe. I’ve had conversations with friends of mine about doing this, the problem is more that I haven’t had any time in the last 5 years. But I like the idea of putting together a group with a couple of friends, make a project of it, give ourselves one month to write an album and then wake up and do something else. I still listen to a lot of punk rock and hardcore and all that kind of thing. There is still a little part of me that wants to just play really loud angry music.

What are your plans?

We are going to the studio in January and making album number four. And when that is done, I will then be on tour forever everywhere. I hope very much to come back to France as soon as possible. I love France – it sounds fake to say this to a French publication!

http://www.frank-turner.com/

CherubInterview de Julie Cadilhac - Bscnews.fr / Robert Muchamore, "l'écrivain des non-lecteurs" ( le Monde), est devenu un auteur anglais incontournable de la littérature jeunesse. Ses intrigues sur fond d'espionnage et d'Histoire sont passionnantes et réussissent à accrocher l'intérêt des adolescents réfractaires à la lecture. Sa première série, Cherub, qui a connu un succès phénoménal aux Etats-Unis, narre les péripéties d'agents secrets britanniques recrutés parmi des orphelins et s'expatriant dans le monde entier au service de l'intérêt commun. Henderson's boys est LE nouvel instrument pour attirer dans ses filets les allergiques aux livres. Après avoir lu et largement apprécié son premier tome, L'évasion, nous souhaitions le faire passer au détecteur de mensonges pour lui soutirer les clefs de son succès mais l'ancien détective a gardé quelques techniques de discrétion affutées qui laissent planer le mystère...

Voici l'interview en version originale et les questions traduites par Audrey Johnson.

Hi Robert, the anecdote which explains the beginning of your career as an author is about a nephew who complained about finding nothing interesting to read. As a father of four children, do you write for a target audience that you like?
Yes, I always think very carefully about what my audience likes, and I even have a panel of trusted readers who I use to try out new ideas.

Did your experience as a detective give you a taste for writing with intrigue or the necessity for rigorous and structured writing?
Not really! There are such big differences between fiction and real life. For example, a police officer on TV is always running around, chasing people, doiing dramatic interrogations and other excitng stuff. But most police spend their time sitting in cars and filling in forms and doing boring stuff.
My job was much the same. If I’d based my books closely on the real life experience of a private investigator my readers would probably be asleep by the end of the first chapter!

Writing a saga requires much planning: do you keep huge notebooks filled with important details in your novels? How do you avoid getting mixed up?
I kind of wish that I had done. But with CHERUB I was a new writer, who was just trying to get his first book published. I didn’t make any notes and as a result I’m still disorganised! With Henderson’s Boys, I knew it was going to be a series from the start so I was much more organised and have proper notes and plans for the whole series.

Henderson’s Boys is intertwined with real history: do you think this makes fiction more exciting?Henderson's boysYes, it’s also a great source of story ideas.

Does Henderson’s Boys explain Cherub’s background ?
Yes.

The Escape, the first volume of Henderson's Boys’ trilogy, is rather violent for teenagers. Is telling history to teenagers through novels the best way to develop their awareness of it?
I’m very comfortable with the level of violence in my books. I think as long as you show that violence has real consequences it is not a problem. What I dislike is cartoon style violence where people just get killed or blown up and you never see what the effects are.

Quite quickly you seem to get rid of parents. You said in Le Monde that this was a way to free your little James Bond from constraints. Do you believe that adults quickly tend to stifle their kids, preventing them from blooming and revealing their personalities?
In real life, kids tend to be quite passive. Although every parent has a unique relationship with their child, I think most nurture their children and help to develop their talents. Fiction works by different rules. If every decision in my books had to be discussed with and approved by parents you would slow the stories down with detail that no kid wants to read.

Your novel does not use traditional Manichean plans. Certainly Nazis do torture but it is up to the readers to build their own opinion of the characters. Do you think this is why your books are so popular with teenagers? Have you found the key to their thinking?
I think very young children like to have clearly defined good and bad characters. With older kids, they find it more interesting if they have to work out for themselves who is right and wrong. A good example of this is the Charles Henderson character in Henderson’s Boys. Although he is the main adult character and in theory one of the good guys, he is prepared to do whatever it takes to help the allies win the war, and some of his actions are morally questionable.

Your website is very appealing, with secret codes needed to access it. Do you think you’re making reading fun? Are you a secret teacher?
I think the web has huge appeal to the kids who read my books. I like to think of the websites not just as a way of promoting my books, but to have additional information on them too. Rather like the extras you sometimes get on a DVD.

In September, 2010, the volume 2, Eagle Day, will be available in bookshops. Will our heroes manage to cross to England?
That would be telling ! You’ll have to wait and see.

Do you try to promote reading amongst teenagers? Could you recommend a few other books for them?
One teen book I read recently and enjoyed a lot is The Hunger Games by Michelle Collins. I have no idea if it has been translated into French yet.

Do you feel that reading classics is something off-putting or indispensible for today’s teenagers? Do books aimed at youngsters provide the first step towards reading monumental literature?
I think you have to be very careful about introducting difficult texts to young readers. In Britan kids are often forced to read Shakespere at age 12 or 13. The language is difficult and the curriculum makes them study the text in detail for an entire term. As a young teenager I found this really boring and I’m sure it kills interest in reading for a lot of young people.

Finally, do you have any future projects? Have you considered writing for adults?
I’ve got a new project, but it’s all under wraps until the end of the year. I think writing for adults would be an interesting project, but for now I’d like to concentrate on keeping my existing fans happy.

 

bandonéon

 

Entrevista de Jorge Gonzalez por Julie Cadilhac - Bscnews.fr / Traducción: Mar Arregui Oto Bresson

 

 

¡Hola,Jorge! "Fueye" comporta dos partes diferenciadas: "Fueye" y "Así no más". ¿En qué medida se puede decir que "Así no más" realza, de alguna manera, el relato que usted emprende en la primera parte?.

Los personajes de la primer parte "Fueye" se mueven en su presente, no tienen la distancia que da el transcurrir del tiempo y que les permitiría ser más "autoconscientes". No pueden reflexionar y pensarse como participantes de una época o como una bisagra importante en la historia socio-política de Argentina. Lo mismo ocurre con sus sentimientos, los que tienen que ver con la extrañeza, el exilio y la melancolía, se van desenvolviendo de a poco y sin darse cuenta. Me era necesario contar esos huecos importantes que aparecían en la ficción y la mejor manera que encontré era hablando de los huecos en mi vida en "Así nomás". Comparto una experiencia migratoria más allá de que las épocas sean bien diferentes. Creo que ambas partan cuentan lo que les toca contar, son "cerradas" en sí mismas pero se asocian y complementan en muchos puntos.

¿Cómo explicar el gusto del lector por esta segunda parte?

Encontré a gente que le gustó mucho y a otros todo lo contrario. Lo único que sé es que necesitaba hacerla. Buscaba algo más fresco, como si fuesen apuntes, donde pudiera hablar más en palabras y menos en dibujo, al contrario que en la primer parte. Hay gente que no le gustó y puedo entenderlo, ya sea por el dibujo, por el tema que toca o por sentirla innecesaria. También creo que hay puntos subjetivos que si no enganchan no hay manera que atraiga.

"Así no más" es el diario de a bordo del regreso al país de origen. ¿Tenía pensado publicarlo desde un principio?.

Escribo y dibujo cada día lo que me está rondando en el cuerpo, a veces una palabra te va llevando a otra o a una imagen. Muchas cosas de las que guardo son un relato en sí mismo o también encierran posibilidades de asociarse a otros que van apareciendo. La intención de "Así nomás" es previa al origen libro. Algunas de sus páginas son preguntas y dibujos acerca de lo que tenía ganas de contar y ahora me doy cuenta de que fueron el disparo de la primer parte.

 

Encontramos pasajes profundamente poéticos y filosóficos. ¿Son géneros a los que se dedica habitualmente? ¿Diría usted que el

bandonéon -jorge gonzalez

dibujo y la poesía tienen numerosos puntos en común como, principalmente, la necesidad de brevedad?

 

Hay dibujos o pinturas que evocan infinidad de sensaciones y películas interiores con sólo estar ahí, bien quietas…consiguen "suspendernos". Pasa lo mismo con la poesía. La combinación de dibujos y palabras es muy compleja y la mayor parte de las veces el resultado final pierde intensidad. Cuando estás metido dentro de una historia es muy difícil lograr esa objetividad necesaria para que cada género aproveche su máximo de energía.

Parece existir un deseo de esbozar dos retratos del exilio: el de sus personajes de ficción y el suyo propio. ¿Qué puntos en común tiene usted con esos personajes? ¿Qué diferencias notables?.

Alguna vez escuché a Borges decir que "conteníamos multitudes". En el libro hay muchas de mis "multitudes". Cada una de ellas está preguntando y busca la manera de "explicarse" lo mejor posible incluso generando nuevas preguntas. Ahí está la ficción que ocurre en el pasado en la que intento colocarme en ese espacio que sólo conozco de oídas, de libros, películas y música…¿Cómo hablaban, caminaban, respiraban? La segunda parte es más directa y personal, no hay atajos y apenas rozo la ficción, es preguntar desde cosas que conozco, desde mi propia experiencia, sin pudor ni miedo al ridículo y buscando comprender un poco acerca de mis huecos.

¿Hay que leer la primera parte como una catarsis en palabras y en colores de las desilusiones y de las dificultades del exilio? ¿el retrato de "una familia" y sus desengaños? ¿Existía el propósito de dejar en un segundo plano el paisaje político?

Todos arrastramos, consciente o inconscientemente, el paisaje político...somos seres políticos. Cada personaje tiene su vida, la vive y me importa más centrarme en eso aunque haya momentos en el que se sugiere su presente político. No hay intención de hablar expresamente de ello pero si dejar "claro" que está como ruido de fondo y define en muchos puntos sus acciones y pensamientos.

Sus palabras y sus dibujos están impregnados de nostalgia, se añade a esto la publicación de las cartas de sus padres y de sus recuerdos. ¿la nostalgia es la enfermedad inevitable de aquellos que dejaron su patria? ¿"Fueye" expresa otra nostalgia? ¿la de una época pasada, la de una época mejor en la que todo era más sencillo?

La nostalgia que genera el vacío del camino que dejamos de lado para meternos en otro es un espacio complejo de llevar. Algo así pasa con "Fueye". También es igual de complejo el vacío nostálgico del que prefiere quedarse quieto y no arriesgarse a lo que le pide el deseo. Ese vacío es un imán permanente y aunque va perdiendo fuerza con el tiempo tiene la seducción de la vida posible a la que rehusamos vivir. Eso genera melancolía… El porteño (me incluyo) está siempre rodeado de una nostalgia, de una melancolía a veces insoportable… Buscamos atrás porque nos gusta regodearnos en el ayer y desearlo…pareciera ser que vivimos el presente para que nos quede de inmediato un recuerdo en el que pensar y revivirlo más adelante y constantemente, relatarlo e internarlizarlo cada vez más. Creo que mucha de nuestra nostalgia viene de nuestra herencia histórica y hay cierta inmadurez en cuanto a la dificultad que tenemos por ofrecer más energía en el presente.

Thomas, su traductor francés, afirma que se soportan mejor los defectos de un país que no es el suyo propio. ¿Comparte usted esta idea?

bandonéonSí…pasa igual que con la familia de cada uno...lo que sucede en la propia apenas nos brinda distancia para ser objetivos, todo lo que sucede ataca a los nervios íntimos. Cuesta mucho verse a uno mismo y hay que tener coraje y sabiduría para meterse de lleno para ver que pasa realmente. Es más fácil y gratuito opinar del vecino y verle todos los defectos. El reflejo que recibimos de éste no entra directamente en nuestras vísceras y en el fondo me parece una manera más amable de ir conociendo puertas interiores desconocidas, es más agradable y parecido a un juego, es a veces más intelectual que instintivo.

En el preámbulo su traductor explica que usted utiliza algunas palabras de Lunfardo, es decir la jerga originaria de las clases bajas, del mundo de las prisiones y del tango. ¿Hizo averiguaciones sobre este vocabulario específico o ya eran palabras familiares?.

El lunfardo se habla cotidianamente en Buenos Aires y era algo habitual que alguien te regalase el "Diccionario de Lunfardo". Muchas palabras se han ido perdiendo con el paso del tiempo pero la mayoría están presentes en el día a día y siguen moviéndose y generando nuevas.

Su trazo es singular: cada viñeta es casi un lienzo. Usted juega con enfoques variados y mantiene una "sensación de borroso". ¿es así?. ¿Por qué utlizar esas técnicas? ¿De qué influencias pictóricas ( y otras disciplinas artísticas) nace esta estética?.

Me gusta el lápiz, las manchas cuando paso la goma o el dedo, la forma en que se desliza, su inmediatez. Tenía ganas de sentarme y hacer una página por día, Intentar no detener la mano para corregir. El lápiz tiene esa cosa de empujarte a dibujar sin cuestionarte demasiado y a dejar las cosas tan cual van saliendo. En la pintura me gusta Turner, Ensor, Rothko, Van Gogh…en la historieta, Muñoz, Horacio Altuna, De Crecy, etc …en el cine, Tarkovsky, Welles, Lynch, Lang, Buñuel...

La música parece ser un elemento obsesivo en sus ficciones: ¿qué simboliza? ¿es un medio simple de retomar las raíces en cualquier lugar? ¿un recuerdo omnipresente y que se lleva facilmente?.

La música se me hace natural como disparo y "columna vertebral" de una historia. En "Hate Jazz" el jazz empuja a Nueva York, a los negros, al caos y a la decadencia. En "Fueye" el tango es inmigración, mezcla y nacimiento de una nueva sociedad de Buenos Aires. Es impensable sentir ese Buenos Aires sin la presencia del tango. Sus calles y rostros aún siguen respirando esa música.

Usted compara en "Así no más" España y Argentina, y a través de los dos países Europa y América del Sur. Según usted, ¿qué distingue profundamente a estas dos culturas?.

La gran distancia reside en que Europa posee una cultura que lleva haciéndose desde hace más de 5000 años. En América el devenir de la cultura originaria fue interrumpida por la colonización y ha generado un vacío enorme imposible de llenar. Esa cultura quedó aplastada y lamentablemente se perdió un inmenso potencial. La independencia de Argentina nace a partir de 1810…podría decir entonces que Argentina tiene 200 años. Más o menos lo mismo ocurre en el resto de los países sudamericanos. Haciendo un simplificación muy fácil y hasta ridícula diría que es una relación entre un anciano y un bebé. Si bien cada país tiene su cultura, su manera de ser, también hay cierta inercia o manera de ser del continente al que pertenecen. Está claro que España y Francia o Alemania son muy diferentes entre sí, pero la corriente histórica y los cruces durante miles de años, sus guerras, el colonialismo, el comercio, etc. hacen que compartan muchos nudos y que un alemán y un español tienen más similitudes entre sí que las que hay entre un argentino y un español, más allá de las coincidencias con el idioma y parte de la herencia cultural. El ritmo, las necesidades, etc...son muy diferentes. La huella digital que deja la cultura es de una fuerza casi imposible de contrariar.

Para terminar. Su próxima novela gráfica se titula "Dear Patagonia". ¿Qué está en juego en este nuevo viaje? ¿También dejará una parte de usted? ¿Qué temas (habituales o nuevos) aborda? ¿Cuándo estará en las librerías?."

Dear Patagonia sucederá en la Patagonia Argentina. Es una historia que se inicia a principios del siglo XIX y que llega hasta nuestros días. El guión y dibujo son míos aunque en alguna de las partes del libro van a colaborar Alejandro Aguado, Hernán González y Horacio Altuna. El tema va girando alrededor de la idea de La Patagonia como oxígeno. El oxígeno a veces ayuda a limpiar y a cambiar, otras es veneno y ahoga. Los personajes se moverán en esta zona del sur del país, Buenos Aires y algunos países de Europa. Hay una parte mía, muy muy pequeña y habrá otra que puede tener cierto parecido con "Así nomás" de "Fueye". La escribe Alejandro Aguado, un dibujante e historiador que vive en la zona patagónica y que me ayuda a "poner en tierra" muchos temas que quiero contar. Tendrá unas 300 páginas y aún tengo bastante por hacer. Con suerte lo termino en Enero o Febrero del 2011. Desde hace menos de un año subo casi a diario el "making-oof" del libro en www.dearpatagonia.com

 

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