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Paul Interview In Animal

#1 Guest_Luca_*

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Posted 02 November 2011 - 03:32 PM

Half of this interview sounds made up to me. Doesn't really sound like Paul said all these words.

HERE

(And there's a copy and paste FAIL)

#2 User is offline   EtoileMaris 

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Posted 02 November 2011 - 08:28 PM

I'm not sure some parts are made up. I`m also not sure he did the whole interview in English.

I`ll tell you why I think that. When you speak/think/breathe/sleep in more than one language, how you express yourself and what you share in them becomes very different. It's almost like the language defines your sharing/communicating process.

I`m sure they switched to some parts in Spanish. I think he truly loves the Spanish language and has an honest love and affinity for them. Hence why it's easy for him to get excited and speak passionately about music.

I think with the American press, he's gone through the wringer and he's done with it.

Thanks for sharing this. I really enjoyed this read. Felt honest.

#3 User is offline   Crispy D 

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Posted 02 November 2011 - 10:26 PM

Wow, I knew the Henry Miller quote right away, and he wasn't talking about singing, he was comparing writing to singing, and his work to a song. He was telling a story... "singing like a canary."
I'm surprised that eluded Mr. B considering I the whole reason I read Tropic of Cancer was because he said it was one of his favorites. I just finished it, maybe that's why; it's still fresh.
Anyway, a fun read nonetheless! The book and the article, haha. :lol:

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Posted 03 November 2011 - 04:55 AM

Thanks for posting.

#5 User is offline   Master Tsukai 

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Post icon  Posted 21 November 2011 - 12:16 AM

Scans of this magazine.

http://i20.photobucket.com/albums/b227/Tsukai_Banks/pag1.jpg

http://i20.photobucket.com/albums/b227/Tsukai_Banks/pag2.jpg

http://i20.photobucket.com/albums/b227/Tsukai_Banks/pag3.jpg

http://i20.photobucket.com/albums/b227/Tsukai_Banks/pag4.jpg

http://i20.photobucket.com/albums/b227/Tsukai_Banks/pag5.jpg

http://i20.photobucket.com/albums/b227/Tsukai_Banks/pag6.jpg

http://i20.photobucket.com/albums/b227/Tsukai_Banks/pag7.jpg

http://i20.photobucket.com/albums/b227/Tsukai_Banks/pag8.jpg

http://i20.photobucket.com/albums/b227/Tsukai_Banks/pag9.jpg

http://i20.photobucket.com/albums/b227/Tsukai_Banks/pag10.jpg

#6 User is offline   Master Tsukai 

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Posted 21 November 2011 - 12:21 AM

And of course... the cover :P

http://i20.photobucket.com/albums/b227/Tsukai_Banks/animal.jpg

#7 User is offline   obstaclespecialist 

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Posted 21 November 2011 - 09:19 AM

I can't believe he likes to go cycling in NYC. Damn, damn, damn, damn ;) B)

#8 User is offline   elfyz 

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Posted 21 November 2011 - 11:47 AM

I really like the photos, especially the cover, thanks for posting them and the scan Master Tsukai!
But I can't read Spanish (and I can't read the scan either, blurred) so could someone briefly, if possible, tell us what Paul said in this article. Sorry if there is an English version of it that I don't know of if so could someone give the link?

#9 User is offline   Master Tsukai 

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Posted 21 November 2011 - 01:23 PM

View Postelfyz, on 21 November 2011 - 10:47 AM, said:

I really like the photos, especially the cover, thanks for posting them and the scan Master Tsukai!
But I can't read Spanish (and I can't read the scan either, blurred) so could someone briefly, if possible, tell us what Paul said in this article. Sorry if there is an English version of it that I don't know of if so could someone give the link?


HERE IT IS http://www.revista-a...sinenglish.html

#10 User is offline   elfyz 

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Posted 21 November 2011 - 01:31 PM

View PostMaster Tsukai, on 21 November 2011 - 07:23 PM, said:

HERE IT IS http://www.revista-a...sinenglish.html


Thanks a bunch for the link! I should have read the beginning of the thread ... :blush: Too focused on Paul's pix and then only then on the interview itself...

#11 User is offline   LolaE Taylor 

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Posted 22 November 2011 - 05:05 AM

View PostMaster Tsukai, on 21 November 2011 - 06:23 PM, said:

HERE IT IS http://www.revista-a...sinenglish.html

A thanks from me 2 for this Master Tsukai didn't see the english version either :rolleyes:

#12 User is offline   JimLavaLamp 

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Posted 30 December 2011 - 01:56 AM

I just can't get over that he was listening to Odd Future at the same time as me.

#13 User is offline   CrisRJtakes 

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Posted 30 December 2011 - 12:06 PM

¬*¬

Sitting (Comfortably ) like a Boss. B)

Quote

TL: Which is your favorite album of all four? (Or all five, including Julian Plenti.)
PB: I wouldn’t place Julian Plenti in the same category. But in terms of the band… my favorite is…

ooohh! the suspense -_-

i hate when it happens! -_-


Quote

I joined the band because I heard Carlos and Daniel play and I was very drawn to them, attracted like a magnet.

:wub: :wub:

#14 User is offline   EtoileMaris 

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Posted 30 December 2011 - 12:51 PM

View PostCrispy D, on 02 November 2011 - 10:26 PM, said:

Wow, I knew the Henry Miller quote right away, and he wasn't talking about singing, he was comparing writing to singing, and his work to a song. He was telling a story... "singing like a canary."
I'm surprised that eluded Mr. B considering I the whole reason I read Tropic of Cancer was because he said it was one of his favorites. I just finished it, maybe that's why; it's still fresh.
Anyway, a fun read nonetheless! The book and the article, haha. :lol:


I'm reading the Tropic of Capricorn at the moment. I'm at the last 100 pages and I'm not exactly into it. I find it very vulgar, sexist and racist. When he's not talking about fucking and cunts, he's a fantastic writer, but otherwise I'm not impressed. His writing almost feels like he's slipping into and out of consciousness. Does that make sense?

#15 User is offline   Crispy D 

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Posted 30 December 2011 - 11:34 PM

View PostEtoileMaris, on 30 December 2011 - 11:51 AM, said:

I'm reading the Tropic of Capricorn at the moment. I'm at the last 100 pages and I'm not exactly into it. I find it very vulgar, sexist and racist. When he's not talking about fucking and cunts, he's a fantastic writer, but otherwise I'm not impressed. His writing almost feels like he's slipping into and out of consciousness. Does that make sense?

That's about right. Good to see things haven't changed much. :lol:
Don't worry, you'll get used to it. "Desensitized" is the word I like to use, I don't know... maybe it was all part of Henry Miller's plan, an experiment in desensitization. I'd buy that; I believe true art isn't just about what you see- or read- at first. ;)

Anyway, enjoy! I should like very much to move on to that one next. Say, is it more about him traipsing about the world, homeless? I found that fascinating, especially how he could get laid so much in such a situation. ^_^

#16 User is offline   EtoileMaris 

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Posted 30 December 2011 - 11:51 PM

View PostCrispy D, on 30 December 2011 - 11:34 PM, said:

That's about right. Good to see things haven't changed much. :lol:
Don't worry, you'll get used to it. "Desensitized" is the word I like to use, I don't know... maybe it was all part of Henry Miller's plan, an experiment in desensitization. I'd buy that; I believe true art isn't just about what you see- or read- at first. ;)

Anyway, enjoy! I should like very much to move on to that one next. Say, is it more about him traipsing about the world, homeless? I found that fascinating, especially how he could get laid so much in such a situation. ^_^


Well in my quest to understand why in the bloody world am I so obsessed with this band (because really, I'm not even an iota of a fan of anything else.) I plan on reading the tome you are going through right now. I just picked up Capricorn because it was on Kindle for $1. (I'm cheeeeeeeeeeeeap).


Thus far it's like a mish mash of his life as a married man and then he steps back into childhood, then back into an odd time in his life where he's a hobo. I'm at the hobo part where he's getting so much ass... I really doubt any man - short of being a celebrity or rock star - could get that much. I don't think it's even human. Even a sex worker would need a break from all that fucking at some point.

#17 User is offline   San 

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Posted 31 December 2011 - 04:20 AM

Yaeh, somebody who wants to read article now can't do it, because those lonks to version in english doesn't work now :P and scans are too small to read anything :P Can somebody copy article in english like part of a post. I would be grateful!

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Posted 31 December 2011 - 03:49 PM

View PostEtoileMaris, on 31 December 2011 - 04:51 AM, said:

Thus far it's like a mish mash of his life as a married man and then he steps back into childhood, then back into an odd time in his life where he's a hobo. I'm at the hobo part where he's getting so much ass... I really doubt any man - short of being a celebrity or rock star - could get that much. I don't think it's even human. Even a sex worker would need a break from all that fucking at some point.


I cracked up so much after reading this. :lol: I didn't read Tropic of Capricorn. I did listen to a snippet from Tropic of Cancer, the Germaine part on youtube because I was curious about Henry Miller and why Paul Banks chose him as a favorite writer. After listening to it, I wasn't much impressed. Maybe the content was considered too shocking during its time. I must admit I did laugh when I heard the use of "rosebush". :lol:

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Posted 31 December 2011 - 03:58 PM

View PostSan, on 31 December 2011 - 09:20 AM, said:

Yaeh, somebody who wants to read article now can't do it, because those lonks to version in english doesn't work now :P and scans are too small to read anything :P Can somebody copy article in english like part of a post. I would be grateful!


Luckily Google cache had it stored in this link.

Copy and pasted just in case if the cache content disappears. (Some parts of the interview are repeated in the article in the link maybe due to a mistake):

An Interview with Paul Banks

By Tatiana Lipkes / Mexico
Photography: Mauricio Alejo.
Production: Mayra Brito.

I first met Paul Banks during the summer of 1999, in Mexico City, and visited him a couple of months after, in New York. I remember he had this bookshelf in his apartment that seemed to reach up to the sky, and I remember him pulling a CD off one of the shelves and showing it to me. It was Moguai’s “Come On Die Young”. He told me his band had opened for them at one of their concerts. He asked if I would like to hear the music he’d been making, so I said yes.

I can’t honestly remember what it sounded like, but I do remember Paul telling me he had a number of gigs lined up and that made him very excited. We continued to visit each other several times over the years. By the time he finally came to Mexico with his band, Interpol, in 2005, their songs were known all over. We went to the WTC concert, but the date for the second concert was postponed and the location changed. Interpol ended up playing in the Palacio de los Deportes, an important auditorium in Mexico City. Needless to say, the place was packed and I finally understood the phenomenon… The rest is history.
Tatiana Lipkes: Let’s get started. Would you rather I interview you in English?*
Paul Banks: Yes, it’s easier for me and you’re translating it anyway aren’t you?
TL: Yes. So how do you feel about Interpol’s success?
PB: I feel lucky… When our first CD came out we spent a lot of time on tour. We traveled all over Europe; we did a whole world tour when we were barely starting. This was very important because these concerts made us connect with our fans, who have remained loyal all these years. We can travel to many countries and it always feels like home away from home. We have a solid group of people who feel our music and feel connected to it. We’ve worked a lot and it’s worked out well. Now we have a group of fans that care about our music. It’s a true privilege to travel to different countries and have people waiting for you.
TL: You started out working for Interview magazine. When did you actually decide to quit your job as an editor and dedicate yourself to music full-time?
PB: I had an epiphany one day… In fact, I wasn’t working at Interview any more, I was working at Gotham, another magazine which wasn’t as popular as Interview, but I was working with the same guy I worked with at Interview, he was the editor-in-chief and I was the magazine’s first employee. He was launching the magazine. I pretty much sucked at what I did and was working 80 hours a week, had problems back at home and kept missing my rehearsals with the band. I was going down… The epiphany was realizing that if you want to do it all, you have to commit. There are no ways of guaranteeing you’ll be successful but there is an admission fee, you can’t enter the bet unless you are completely committed with what you’re trying to do…
You can spend your whole life working in the dark… So, I stopped working in magazines and scored a half-time job at a café. I looked for something that wouldn’t take up more than 40 hours a week or demand any intellectual work, like magazines. I was walking home one day and thought: I have to commit. I rather be the guy who didn’t make it but tried his entire life, than someone who always has a plan B, emotionally and all… I chose no plan B.
TL: When did you decide there would be no plan B? Or, rather, when did you feel something had changed? When you were on tour?
PB: I realized I’d made the right decision when… When I decided not to have a plan B the band didn’t even have a record deal. So nothing was really going on, there were no signs that anything would work out. I decided to commit without an alternate plan. Then, about a year after I made the decision, we signed a record deal. We were basically rewarded a year later, we signed the contract and started the tour, we did way better than anyone expected, we sold-out. That’s when we kind of felt something was going on… In dates, I’d say it was in 2001 when I decided not to have a plan B and by 2002 we’d signed the deal.
TL: Would you say you’ve reached a point where the music you make is the music you want or are you trying to please your fans?
PB: It depends… For me there’s two different things. There’s my work as a soloist and my work as a band. My work with Interpol is collective and good… No one in the band has really asked himself what our fans want. We believe in integrity, out of respect for out fans. The right thing is to not compromise our music, to not do something we aren’t feeling just for the sake of being popular. To me that’s not success or integrity. We just do what we like and we hope the fans will like it too, that way at least it’ll have integrity and the fans will give you credit for that, not for doing things the easy way. I know that Daniel, who writes our songs, is never worried about what people expect from us. We’ve always shut out what doesn’t interest us. If we don’t like it, we won’t do it. We try to never repeat ourselves; we try to create new things.
TL: Which do you enjoy more? Playing on your own or being part of the band?
PB: They’re both very different. I could never write an Interpol song on my own. It’s a true privilege to work with people as talented as Daniel and Sam. When I write a song, I’ll write out the guitar part and the bass part, and the whole song will come from the same spot. When I try and write a guitar part for one of Daniel’s songs, or one of Sam or Carlos’ songs I somehow come up with something they wouldn’t have done when I was in the band. Its harder to be surprised when you’re working on your own, but when you work with someone you admire, you’ll always be surprised by the creative and contrasting energy that is born.
TL: Which is your favorite album of all four? (Or all five, including Julian Plenti.)
PB: I wouldn’t place Julian Plenti in the same category. But in terms of the band… my favorite is…
TL: Or song, or line…
PB: I always liked “The New” from our first album. At that time we’d barely started writing our own songs and were very open to everything. That song started out completely different from how it ended. I remember thinking those were the kind of crazy things I wanted to write about. It’s the kind of music I think of as a challenge, so full of adrenaline, right at the edge. I’ve always been a fan of that song.
TL: What was it like to work with David Lynch?
PB: We didn’t actually work together. We met and were hoping to work together but in the end we sent him a song (“Lights”), and he suggested a character. He said that if we were interested in making a video we could use his character. We liked the idea and decided to create an animation for the song. I don’t really know if he listened to several of our songs or if he only liked the one we sent him. I don’t know how much of the animation is influenced by our music, he gave us the freedom to use his character, but I don’t know if the song inspired him or if he created the animation expecting us to play it when we played the song. What matters is we got to work with Lynch, he’s got such energy… I mean, after meeting someone like him you feel less bored, he inspires you to do more.
TL: Have you listened to his “Crazy Clown Time” record?
PB: No, I’m gonna look for it…
TL: In what way has living in Mexico influenced you?
PB: Sometimes I think I should wait and write a book because… It was totally mind-blowing … I mean, this is going to sound like I’m trying to sound good since I’m being interviewed for a Mexican magazine. The impression Mexico left in me is so great you’re going to think I’m trying to fool you. It really changed my life. The people I met and the influence they’ve had on me… I don’t think I’d be the artist I am today and I wouldn’t be standing where I am now if I hadn’t lived here. I always considered myself creative, but it wasn’t until I lived in Mexico that I developed a real sense of aesthetics and learned how to be critical. It was a complete refinement of taste, and that’s the direct result of the people I met in Mexico. They listened to such good music and knew so much about art… They were a whole community of people –you know many of them–. I lived in Spain but I wasn’t interested at all in art back then, I was too young. Before I lived in Mexico I lived in the States but it was pretty boring. And when I came to Mexico… It was a very stimulating experience. Many of the people I met weren’t artists, but their personalities were works of art per se… I think having met them was a landmark to my creativity and it put me on a whole new road.
TL: Do you get the same feeling every time you come back to visit?
PB: Yes. I talk about the people but I also feel that Mexico’s culture is very special and that there’s an art scene and a group of very refined people. When I mentioned writing a book it was because I’m still processing these thoughts. For example, when I went to Berlin, I fell in love with the fashion, which is really special over there, like Alexander McQueen… Or… I’m not sure how to explain this… It’s like when you gather a group of very creative and energetic people who have such good ideas and they exchange them to create things… In Mexico, people are very refined when it comes to art, and that’s something I haven’t encountered anywhere else, even though I haven’t lived in all the places I’ve visited. Maybe its real, I don’t know, but there’s something very special about Mexico. I don’t know if I see things the way I should, but it feels like people are less pretentious and like to have more fun. I think fun is the key to any artistic movement.
TL: What about on a personal level?
PB: It’s the most welcoming place I know. For example, if you tell someone you like their sweatshirt their automatic response will be, “you can borrow it any time”. To me, that’s part of a welcoming culture. Things don’t work that way in many other places I’ve been to. It’s something that doesn’t feel forced, on the contrary, it feels sincere. That’s the kind of thing that makes me think the people and their culture are amazing.
TL: If Interpol was to split up, what idea would you hang on to?
PB: The idea of talent. I never wanted to be part of a band, I had my own plans as an artist. I joined the band because I heard Carlos and Daniel play and I was very drawn to them, attracted like a magnet. I think that the whole process of writing a song and jumping from one rehearsal to the next made me realize one can’t possibly do it alone, and that in doing it together ideas work and magic happens. I think of it in terms of chemistry. Sometimes, if you try to create a molecule, you may have all the right ingredients but the wrong formula, but other times things just work out. That’s kind of what happened with the band. We haven’t always gotten along, but when we write a song our feelings change and it becomes very exciting. We work really well together. I’ve always respected everyone’s talent very much and I think people don’t often meet and respect each other’s talent this way.
TL: What would you be if you weren’t a musician?
PB: I don’t know… I’m interested in all the arts. If I weren’t a musician I’d be a painter… I’d try to be a painter or a writer. But if I had to choose something that didn’t have anything to do with art I guess I’d be a volunteer somewhere…
TL: What have you been listening to lately?
PB: I’ve been listening to the music I’m working on. I like to record demos of the music I’m making and listen to them. Other that that, I’m listening to Madlib and J Dilla a lot; they’re both hip-hop producers. Dilla is actually dead but he made such good beats that other rappers still take samples from his songs and make new ones from them. I’ve also been listening to The Odd Future, they’re new, and to Mike G who’s part of the collective… It’s weird, when you play music every day, listening to it becomes a very different experience. I don’t really spend much time looking for new sounds, your ears become very sensitive. I rather listen to older things that I’m
familiar with, they make me feel good. It’s sort like owning five records and listening to them over and over again. In my case, two of those are by J Dilla.
TL: And what have you been reading?
PB: I read Melville’s second book called Omoo, I also read Typee, his first, and really enjoyed it. Omoo is like a lesson about adventure at sea. It’s a great way to escape, because I spend so much time on a bus, but I still get to read about what it’s like to live among tribes and think about ships and whale hunters.
TL: I’m going to read you a quote… Let’s see if you can guess who wrote it: “To sing you must first open your mouth. You must have a pair of lungs, and a little knowledge of music. It is not necessary to have an accordion, or a guitar. The essential thing is to want to sing. This then is a song. I am singing.”
PB: Who is it by? A man or a woman?
TL: A man. It’s a novel.
PB: Who?
TL: Henry Miller, Tropic of Cancer.
PB: But he wasn’t a singer!... It reminds me of a chapter in one of his books where he’s with a friend who draws for art magazine and they’ve run out of alcohol and he claims that he doesn’t need any alcohol because he can get drunk with water, and he drinks a glass of water and starts acting like a madman. What you just read reminds me of that aspect of his personality, all you really need in life is to let go, that’s what kept him moving…

#20 User is offline   Crispy D 

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Posted 31 December 2011 - 07:21 PM

It really is a great book, Tropic if Cancer; if you can make it to the end you will find your life enriched. I didn't think I was going to like it at first, either, but I stuck it out because I felt like I was getting to know Paulie a little better. And I do. I totally see why he likes this book; it is very "him."

#21 User is offline   EtoileMaris 

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Posted 01 January 2012 - 01:17 PM

View Postsfive, on 31 December 2011 - 03:49 PM, said:

I cracked up so much after reading this. :lol: I didn't read Tropic of Capricorn. I did listen to a snippet from Tropic of Cancer, the Germaine part on youtube because I was curious about Henry Miller and why Paul Banks chose him as a favorite writer. After listening to it, I wasn't much impressed. Maybe the content was considered too shocking during its time. I must admit I did laugh when I heard the use of "rosebush". :lol:


Glad I made you laugh :) and yes, his books were on the US and Canadian government black lists for vulgarity. It's somewhat graphic but pop videos today makes his books sound very vanilla.

View PostCrispy D, on 31 December 2011 - 07:21 PM, said:

It really is a great book, Tropic if Cancer; if you can make it to the end you will find your life enriched. I didn't think I was going to like it at first, either, but I stuck it out because I felt like I was getting to know Paulie a little better. And I do. I totally see why he likes this book; it is very "him."


Okay then. :) I'll persevere through.

#22 User is offline   Karlaaa 

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Posted 03 April 2012 - 10:21 PM

Great interview :)

#23 User is offline   EtoileMaris 

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Posted 04 April 2012 - 08:35 PM

View Postsfive, on 31 December 2011 - 03:49 PM, said:

I cracked up so much after reading this. :lol: I didn't read Tropic of Capricorn. I did listen to a snippet from Tropic of Cancer, the Germaine part on youtube because I was curious about Henry Miller and why Paul Banks chose him as a favorite writer. After listening to it, I wasn't much impressed. Maybe the content was considered too shocking during its time. I must admit I did laugh when I heard the use of "rosebush". :lol:



View PostCrispy D, on 31 December 2011 - 07:21 PM, said:

It really is a great book, Tropic if Cancer; if you can make it to the end you will find your life enriched. I didn't think I was going to like it at first, either, but I stuck it out because I felt like I was getting to know Paulie a little better. And I do. I totally see why he likes this book; it is very "him."


I forgot to follow up on this. I did read Tropic of Cancer too. Although I read them "in the wrong order", I'm kind of glad I did. The books are good and pushed me to go deeper. I can see how Banks and Henry Rollins are hold his writings in high regards. He manages what authors normally make vulgar into very "matter-of-fact" statements. Nothing dirty, nothing bad, just that it is.

Miller is a brilliant writer, sex obsessed, but it was the big taboo. He pushed the enveloppe. He'd probably jizz his pants every 5 minutes watching MTV videos nowadays.

I picked up some Anais Nin as a result - since she preface one of his books - but I started reading the cliff notes (sorry, I just need to know what I'm getting myself into) and quite frankly, I'm turned off again. Nin fucking her dad, voluntarily, that's just messed up, in a seriously bad way. How is that revolutionary feminist writing? I'm fucking my abuser for empowerment... Err, no. Anyways, going off on a tangent.
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