Friday, September 28, 2007

Bat for Lashes is the doppelgänger band ego of one of the leading millennial lights in British music, Natasha Khan. Caroline Weeks, Abi Fry and Lizzy Carey comprise the aurora borealis that backs this haunting, shimmering zither and glockenspiel peacock, and the only complaint coming from the audience at the Bowery Ballroom last Tuesday was that they could not camp out all night underneath these celestial bodies.

We live in the age of the lazy tendency to categorize the work of one artist against another, and Khan has had endless exultations as the next Björk and Kate Bush; Sixousie Sioux, Stevie Nicks, Sinead O’Connor, the list goes on until it is almost meaningless as comparison does little justice to the sound and vision of the band. “I think Bat For Lashes are beyond a trend or fashion band,” said Jefferson Hack, publisher of Dazed & Confused magazine. “[Khan] has an ancient power…she is in part shamanic.” She describes her aesthetic as “powerful women with a cosmic edge” as seen in Jane Birkin, Nico and Cleopatra. And these women are being heard. “I love the harpsichord and the sexual ghost voices and bowed saws,” said Radiohead‘s Thom Yorke of the track Horse and I. “This song seems to come from the world of Grimm’s fairytales.”

Bat’s debut album, Fur And Gold, was nominated for the 2007 Mercury Prize, and they were seen as the dark horse favorite until it was announced Klaxons had won. Even Ladbrokes, the largest gambling company in the United Kingdom, had put their money on Bat for Lashes. “It was a surprise that Klaxons won,” said Khan, “but I think everyone up for the award is brilliant and would have deserved to win.”

Natasha recently spoke with David Shankbone about art, transvestism and drug use in the music business.

DS: Do you have any favorite books?

NK: [Laughs] I’m not the best about finishing books. What I usually do is I will get into a book for a period of time, and then I will dip into it and get the inspiration and transformation in my mind that I need, and then put it away and come back to it. But I have a select rotation of cool books, like Women Who Run With the Wolves by Clarissa Pinkola Estés and Little Birds by Anaïs Nin. Recently, Catching the Big Fish by David Lynch.

DS: Lynch just came out with a movie last year called Inland Empire. I interviewed John Vanderslice last night at the Bowery Ballroom and he raved about it!

NK: I haven’t seen it yet!

DS: Do you notice a difference between playing in front of British and American audiences?

NK: The U.S. audiences are much more full of expression and noises and jubilation. They are like, “Welcome to New York, Baby!” “You’re Awesome!” and stuff like that. Whereas in England they tend to be a lot more reserved. Well, the English are, but it is such a diverse culture you will get the Spanish and Italian gay guys at the front who are going crazy. I definitely think in America they are much more open and there is more excitement, which is really cool.

DS: How many instruments do you play and, please, include the glockenspiel in that number.

NK: [Laughs] I think the number is limitless, hopefully. I try my hand at anything I can contribute; I only just picked up the bass, really—

DS: –I have a great photo of you playing the bass.

NK: I don’t think I’m very good…

DS: You look cool with it!

NK: [Laughs] Fine. The glockenspiel…piano, mainly, and also the harp. Guitar, I like playing percussion and drumming. I usually speak with all my drummers so that I write my songs with them in mind, and we’ll have bass sounds, choir sounds, and then you can multi-task with all these orchestral sounds. Through the magic medium of technology I can play all kinds of sounds, double bass and stuff.

DS: Do you design your own clothes?

NK: All four of us girls love vintage shopping and charity shops. We don’t have a stylist who tells us what to wear, it’s all very much our own natural styles coming through. And for me, personally, I like to wear jewelery. On the night of the New York show that top I was wearing was made especially for me as a gift by these New York designers called Pepper + Pistol. And there’s also my boyfriend, who is an amazing musician—

DS: —that’s Will Lemon from Moon and Moon, right? There is such good buzz about them here in New York.

NK: Yes! They have an album coming out in February and it will fucking blow your mind! I think you would love it, it’s an incredible masterpiece. It’s really exciting, I’m hoping we can do a crazy double unfolding caravan show, the Bat for Lashes album and the new Moon and Moon album: that would be really theatrical and amazing! Will prints a lot of my T-shirts because he does amazing tapestries and silkscreen printing on clothes. When we play there’s a velvety kind of tapestry on the keyboard table that he made. So I wear a lot of his things, thrift store stuff, old bits of jewelry and antique pieces.

DS: You are often compared to Björk and Kate Bush; do those constant comparisons tend to bother you as an artist who is trying to define herself on her own terms?

NK: No, I mean, I guess that in the past it bothered me, but now I just feel really confident and sure that as time goes on my musical style and my writing is taking a pace of its own, and I think in time the music will speak for itself and people will see that I’m obviously doing something different. Those women are fantastic, strong, risk-taking artists—

DS: —as are you—

NK: —thank you, and that’s a great tradition to be part of, and when I look at artists like Björk and Kate Bush, I think of them as being like older sisters that have come before; they are kind of like an amazing support network that comes with me.

DS: I’d imagine it’s preferable to be considered the next Björk or Kate Bush instead of the next Britney.

NK: [Laughs] Totally! Exactly! I mean, could you imagine—oh, no I’m not going to try to offend anyone now! [Laughs] Let’s leave it there.

DS: Does music feed your artwork, or does you artwork feed your music more? Or is the relationship completely symbiotic?

NK: I think it’s pretty back-and-forth. I think when I have blocks in either of those area, I tend to emphasize the other. If I’m finding it really difficult to write something I know that I need to go investigate it in a more visual way, and I’ll start to gather images and take photographs and make notes and make collages and start looking to photographers and filmmakers to give me a more grounded sense of the place that I’m writing about, whether it’s in my imagination or in the characters. Whenever I’m writing music it’s a very visual place in my mind. It has a location full of characters and colors and landscapes, so those two things really compliment each other, and they help the other one to blossom and support the other. They are like brother and sister.

DS: When you are composing music, do you see notes and words as colors and images in your mind, and then you put those down on paper?

NK: Yes. When I’m writing songs, especially lately because I think the next album has a fairly strong concept behind it and I’m writing the songs, really imagining them, so I’m very immersed into the concept of the album and the story that is there through the album. It’s the same as when I’m playing live, I will imagine I see a forest of pine trees and sky all around me and the audience, and it really helps me. Or I’ll just imagine midnight blue and emerald green, those kind of Eighties colors, and they help me.

DS: Is it always pine trees that you see?

NK: Yes, pine trees and sky, I guess.

DS: What things in nature inspire you?

NK: I feel drained thematically if I’m in the city too long. I think that when I’m in nature—for example, I went to Big Sur last year on a road trip and just looking up and seeing dark shadows of trees and starry skies really gets me and makes me feel happy. I would sit right by the sea, and any time I have been a bit stuck I will go for a long walk along the ocean and it’s just really good to see vast horizons, I think, and epic, huge, all-encompassing visions of nature really humble you and give you a good sense of perspective and the fact that you are just a small particle of energy that is vibrating along with everything else. That really helps.

DS: Are there man-made things that inspire you?

NK: Things that are more cultural, like open air cinemas, old Peruvian flats and the Chelsea Hotel. Funny old drag queen karaoke bars…

DS: I photographed some of the famous drag queens here in New York. They are just such great creatures to photograph; they will do just about anything for the camera. I photographed a famous drag queen named Miss Understood who is the emcee at a drag queen restaurant here named Lucky Cheng’s. We were out in front of Lucky Cheng’s taking photographs and a bus was coming down First Avenue, and I said, “Go out and stop that bus!” and she did! It’s an amazing shot.

NK: Oh. My. God.

DS: If you go on her Wikipedia article it’s there.

NK: That’s so cool. I’m really getting into that whole psychedelic sixties and seventies Paris Is Burning and Jack Smith and the Destruction of Atlantis. Things like The Cockettes. There seems to be a bit of a revolution coming through that kind of psychedelic drag queen theater.

DS: There are just so few areas left where there is natural edge and art that is not contrived. It’s taking a contrived thing like changing your gender, but in the backdrop of how that is still so socially unacceptable.

NK: Yeah, the theatrics and creativity that go into that really get me. I’m thinking about The Fisher King…do you know that drag queen in The Fisher King? There’s this really bad and amazing drag queen guy in it who is so vulnerable and sensitive. He sings these amazing songs but he has this really terrible drug problem, I think, or maybe it’s a drink problem. It’s so bordering on the line between fabulous and those people you see who are so in love with the idea of beauty and elevation and the glitz and the glamor of love and beauty, but then there’s this really dark, tragic side. It’s presented together in this confusing and bewildering way, and it always just gets to me. I find it really intriguing.

DS: How are you received in the Pakistani community?

NK: [Laughs] I have absolutely no idea! You should probably ask another question, because I have no idea. I don’t have contact with that side of my family anymore.

DS: When you see artists like Pete Doherty or Amy Winehouse out on these suicidal binges of drug use, what do you think as a musician? What do you get from what you see them go through in their personal lives and with their music?

NK: It’s difficult. The drugs thing was never important to me, it was the music and expression and the way he delivered his music, and I think there’s a strange kind of romantic delusion in the media, and the music media especially, where they are obsessed with people who have terrible drug problems. I think that’s always been the way, though, since Billie Holiday. The thing that I’m questioning now is that it seems now the celebrity angle means that the lifestyle takes over from the actual music. In the past people who had musical genius, unfortunately their personal lives came into play, but maybe that added a level of romance, which I think is pretty uncool, but, whatever. I think that as long as the lifestyle doesn’t precede the talent and the music, that’s okay, but it always feels uncomfortable for me when people’s music goes really far and if you took away the hysteria and propaganda of it, would the music still stand up? That’s my question. Just for me, I’m just glad I don’t do heavy drugs and I don’t have that kind of problem, thank God. I feel that’s a responsibility you have, to present that there’s a power in integrity and strength and in the lifestyle that comes from self-love and assuredness and positivity. I think there’s a real big place for that, but it doesn’t really get as much of that “Rock n’ Roll” play or whatever.

DS: Is it difficult to come to the United States to play considering all the wars we start?

NK: As an English person I feel equally as responsible for that kind of shit. I think it is a collective consciousness that allows violence and those kinds of things to continue, and I think that our governments should be ashamed of themselves. But at the same time, it’s a responsibility of all of our countries, no matter where you are in the world to promote a peaceful lifestyle and not to consciously allow these conflicts to continue. At the same time, I find it difficult to judge because I think that the world is full of shades of light and dark, from spectrums of pure light and pure darkness, and that’s the way human nature and nature itself has always been. It’s difficult, but it’s just a process, and it’s the big creature that’s the world; humankind is a big creature that is learning all the time. And we have to go through these processes of learning to see what is right.

Wednesday, October 22, 2008

Monday saw the latest edition of the vetted version of Wikipedia, which is aimed at educational use, go quietly online. The extensively revised version covers over five thousand topics, targeting the eight to seventeen years age group. Partnerships with the Shuttleworth Foundation and the Hole in the Wall project will see it distributed in South Africa and India as well as copies being available globally via the offices of SOS Children UK’s umbrella organisation, SOS Kinderdorf worldwide.

First launched in 2006 as a 4,000 article edition, the extract of Wikipedia has employed hi-tech distribution methods, as well as offering a website version which has steadily climbed up in ranking to above other reviewed Wikipedia rivals and copies; the 2007 version was available on the BitTorrent peer to peer network to keep distribution costs down and was equivalent to a fifteen-volume printed encyclopedia. Monday’s release is compared to a twenty-volume print edition.

Key to the process for selecting articles is the English National Curriculum and similar educational standards around the world. The initial vision was to bring this wealth of knowledge to schools where access to the Internet was poor or unavailable, but copies of Wikipedia for Schools can be found on many first world school intranets and web servers. Among the compelling reasons to adopt the project are the vetting and additional study materials which overcome the oft-publicised concerns many educators have with the million article plus Wikipedia that anyone can edit.

In today’s press release announcing the launch, Wikimedia Foundation Executive Director Sue Gardner expressed delight at seeing the project bring out a new version, “Our goal is to make Wikipedia accessible to as many people as possible around the world, and SOS Children is a great partner that helps us make that happen. Wikipedia is released under a free content license so that individuals and institutions can easily adapt, reuse and customize its content: we encourage others, like SOS Children, to do exactly that.”

Running 192 schools in the developing world, SOS Children sees Wikipedia for Schools as a key piece in fulfilling the educational aspect of their mission. SOS Children’s Chairwoman, Mary Cockcroft gave us an introduction and, a Wikipedia administrator himself, the charity’s CEO Andrew Cates spoke to Wikinews at length about the project.

You are part of SOS-Kinderdorf International, can you explain a little about how this works in terms of distributing funds raised in the UK and involving UK citizens in work outside the country?

Mary Cockcroft: SOS Children[‘s Villages] is a “club” of member charities in 130 countries helping orphans and vulnerable children. The club elects SOS-Kinderdorf International as secretary. SOS is a large organisation whose members in aggregate turned over $1bn in 2007, and whose projects include owning and running 192 schools and family-based care for 70,000 children. However much of these funds are raised locally, with for example the member charities in each of India, Pakistan and South Africa raise considerably more funds in their own country than SOS UK does from the UK. Nonetheless SOS Children UK principally raises funds to finance projects in the developing world, and has only financially small projects in the UK (such as the Schools Wikipedia, which is very low cost because of extensive use of volunteers). This year we expect about 80% of our UK income will leave the UK for overseas SOS associations, and some of the remaining 20% will pay for project oversight. We do not spend money in the UK on Direct Mail or TV advertising. Our UK office is involved in overseeing projects we finance and a small number of high-skilled volunteers from the UK help overseas. However around 98% of SOS staff worldwide are local nationals, as are most volunteers.

((WN)) How much work does the UK charity actually carry out within the home country? Are there failings within the government system for orphans and other needy children that you feel obliged to remedy?

MC: We are deeply unhappy about the situation of children in out-of-home care in the UK. However our care model of 168 hour-a-week resident mothers does not fit with the UK philosophy for children without parental care. Internationally SOS always has a policy of sharing best practice and we are working to improve understanding of our way of working, which appears to us to have far better outcomes than the existing one in the UK. Ultimately though the legal responsibility for these children lies with government and we cannot remedy anything without their invitation.

((WN)) Who first came up with the idea of doing a vetted Wikipedia extract? What was the impetus? Was it more for the developing world than first world?

Andrew Cates: I honestly cannot remember who first suggested it, but it came from somewhere in the Wikipedia community rather than from the charity. The original product was very much pitched at the developing world where the Internet is only available if at all over an expensive phone line. I worked in West Africa 1993-1996 and I know well at how thirsty for knowledge people are and how ingenious they will be in overcoming technical obstacles if the need for infrastructure is removed.

((WN)) In reading past year’s announcements there’s some pride in the project being picked up and used in the first world, was this expected or a pleasant surprise?

AC: It was a pleasant surprise. I don’t think we had realised what the barriers schools faced in using the main Wikipedia were. It isn’t just pupils posting material about teachers or meeting strangers: the “Random Article” button on every page could potentially deliver an article on hardcore porn. We had already started when discussion broke on banning Wikipedia from classrooms and I am sure we benefited from it.

((WN)) Can you give an outline of the selection and vetting process? Is it primarily Wikipedians working on this, or are people from the educational establishment brought in?

AC: It was a long and painful process, even with a really good database system. Articles were taken into the proposal funnel from three main sources: direct proposals for inclusion from Wikipedians, lists which came from the Release Version team and proposals drawn up from working through National Curriculum subjects by SOS volunteers. In a few cases where we felt articles were missing we asked the community to write them (e.g. Portal:Early Modern Britain, which is a curriculum subject, was kindly written just for us): These “proposals” were then looked at by mainly SOS volunteers (some onwiki, some offline). Our offices are in the middle of Cambridge and we get high quality volunteers, who skim read each article and then compared two versions from the article history by credible WP editors a significant period apart (this picks up most graffiti vandalism which runs at about 3% of articles). Once they had identified a “best” version they marked any sections or text strings for deletion (sections which were just a list of links to other articles not included, empty sections, sex scandals etc). A substantial sample of each volunteers work was then doubled checked for quality by one of two office staff (of whom I was one). We then have a script which does some automated removals and clean ups. Once we had a selection we posted it to relevant wikiprojects and a few “experts” and got any extra steers.

((WN)) Will you be making use of BitTorrent for distribution again this year? Was it a success in 2007?

AC: BitTorrent was a bit disappointing in that it got us the only substantial criticisms we received online. A lot of people find it too much effort to use. However for the period we offered a straight http: download we had huge problems with spiders eating vast bandwidth (the file is 3.5G: a few thousand rogue spider downloads and it starts to hurt). As per last year therefore our main two channels will be free download by BitTorrent and mailing the DVDs free all over the world. At a pinch we will (as before) put straight copies up for individuals who cannot get it any other way, and we have some copies on memory sticks for on distributors.

((WN)) Is it your opinion that the UK Government should be encouraging the adoption of projects like this as mainstream educational resources?

AC: Clearly yes. We have had a very enthusiastic reaction from schools and the teaching community. We think every school should have an intranet copy. We expect the Government to catch on in a few years. That is not to say that Wikipedia is as good as resources developed by teachers for teachers such as lesson plans etc. but it is a fantastic resource.

((WN)) You’re a Wikipedia administrator, all too often a thankless task. What prompted you to get involved in the first place? What are the most notable highs and lows of your involvement with the project?

AC: Funnily the thing I have found most amazing about Wikipedia is not widely discussed, which is the effect of Wikipedia policies on new editors. I have seen countless extreme POV new editors, who come in and try to get their opinions included slowly learn not only that there are other opinions to consider but that elements of their own opinion which are not well founded. Watching someone arrive often (on pages on religions for example) full of condemnation for others, gradually become understanding and diplomatic is one of the biggest buzzes there is. The downside though is where correcting things which are wrong is too painfully slow because you need to find sources. I was a post-doc at Cambridge University in combustion and I know the article on Bunsen burners has several really significant errors concerning the flame structure and flow structure. But sadly I cannot correct it because I am still looking around for a reliable source.

((WN)) Do you believe schools should encourage students to get involved contributing to the editable version of Wikipedia? Does SOS Children encourage those who are multilingual to work on non-English versions?

AC: I think older students have a lot to learn from becoming involved in editing Wikipedia.

((WN)) To close, is there anything you’d like to add to encourage use of Wikipedia for Schools, or to persuade educators to gain a better understanding of Wikipedia?

AC: I would encourage people to feed back to the project online or via the charity. The Wikipedia community set out to help educate the world and are broadly incredibly well motivated to help. As soon as we understand what can be done to improve things people are already on the task.

((WN)) Thank you for your time.

Friday, September 23, 2005

On the corner of Golden Gate Ave. and Jones St. in the Tenderloin, San Francisco, right next to the Civic Center you can see a throng of low-income and homeless people lining up outside of St. Anthony’s Dining Room hall which opens up it’s doors everyday at 11:30 a.m. Volunteers dressed in St. Anthony Foundation shirts help keep the lines moving as hundreds of homeless and low income people shuffle their way towards the dining hall underneath the watchful eyes of a small statue of St. Francis of Assisi.

“There’s a lot of people who go hungry out here and it ain’t right.” says Jimmy Scott, a slightly brawny 44-year-old black man who has been living homeless in San Francisco for the past three years. “There are families out here with kids and everything and they have to walk around all night just to stay awake so they don’t get hurt or killed…Right here in the U.S. this is going on…it ain’t right.”

The dining hall, which has been open for the past 54 years, is owned by the St. Anthony Foundation which helps low income and homeless people and families in the Civic Center, Tenderloin, and SOMA areas with clothing, shelter, food, drug rehabilitation, and many other services. St. Anthony’s administrative offices are found at 121 Golden Gate Ave. with the majority of the foundation’s buildings on Golden Gate Ave. and Jones St.

“We are right in the heart of the homeless population of San Francisco,” says Barry Stenger, 55, who’s been working for the St. Anthony Foundation for one year, and is the Director of Development and Communications, “and people are pushed here because of the economic forces of San Francisco because it’s hard to be upper middle class in San Francisco.”

According to the San Francisco Chamber of Commerce, “San Francisco’s cost of living remains one of the highest in the country” with the average household income in San Francisco being around $76,400 and the average price of housing being $543,000. Average household income for the United States in 2002, according to the U.S. Census Bureau, was $42,409 and the average price of housing for the United States according to the National Association of Realtors was $185,200 in 2004.

“We served our 32 millionth meal on Tuesday,” said Stenger, “and we serve 2,500 meals a day. Some of our people who work here actually get served [food] here because they spend all their money towards rent and medical costs.”

The St. Anthony Foundation was started by Fr. Alfred Boeddeker in 1950 one year after Fr. Boeddeker became pastor of St. Boniface church on Golden Gate St. where he was baptized as a child. During his lifetime, according to the foundation’s website, he was referred to as the “Patron St. of the Tenderloin” and had Boeddeker park named after him because of his, and his foundation’s, achievements with helping out the homeless and low income community.

“[St. Anthony’s] is a good thing,” said Jimmy Scott, “they provide a good service and they feed people and they clothe them and provide furniture when you get housing and give you groceries when you have AIDS. It’s a good little organization.”

“Our dining room is open 365 days a year.” Said Stenger. “Our other facilities are open seven days a week. We have a residence for senior women and our [free medical] clinic is open five days a week and we also have a furniture and clothing store. We have 12 programs all together.”

Some of those programs are the Father Alfred Center which provides 61 men two programs for getting out of drug and alcohol abuse, the Employment Program/Learning Center which helps participants in educational and employment opportunities and provides each one with a personal staff advisor, and a Senior Outreach and Support Services center which states its mission is to “promote independence, self determination, and alleviate isolation” for seniors who are 60 and older.

A few homeless people who were interviewed complained that St. Anthony’s had some staff who were rude and that they were kicked out of the dining hall; other homeless within the area refuted those claims saying St. Anthony’s has nice staff and only kicks people out who cause trouble.

“It’s a good place and good people. Everybody is so kind and so respectful and everything is under control.” Said John Henderson, a tall and skinny 57-year-old homeless black man who has only been living in San Francisco for close to two months because he recently moved there from Phoenix, Arizona. “It’s pretty cool because they’re under control because yesterday I saw at Glide [Memorial Church which also has services for the poor and low income] and they were handing out food boxes and people were just rushing in and the woman in charge there was freaking out and so she just sat down. That would never happen at St. Anthony’s.”

“And they clean too!” Henderson said laughing with a grin on his face referring to the fact that there are no drugs allowed in the premises. “Not that Glide ain’t clean if you know what I mean.”

“We [also] have a whole division that deals with justice education and advocacy to change the system that brings people to our doorstep.” Said Stenger. “We hear a lot of appreciation from the people we serve. We get a lot of testimony from our clients who have become clean and sober. Sometimes we have to push them a little to get them out the door because they love the [foundation] so much because it has changed their lives.”

Friday, September 23, 2005

On the corner of Golden Gate Ave. and Jones St. in the Tenderloin, San Francisco, right next to the Civic Center you can see a throng of low-income and homeless people lining up outside of St. Anthony’s Dining Room hall which opens up it’s doors everyday at 11:30 a.m. Volunteers dressed in St. Anthony Foundation shirts help keep the lines moving as hundreds of homeless and low income people shuffle their way towards the dining hall underneath the watchful eyes of a small statue of St. Francis of Assisi.

“There’s a lot of people who go hungry out here and it ain’t right.” says Jimmy Scott, a slightly brawny 44-year-old black man who has been living homeless in San Francisco for the past three years. “There are families out here with kids and everything and they have to walk around all night just to stay awake so they don’t get hurt or killed…Right here in the U.S. this is going on…it ain’t right.”

The dining hall, which has been open for the past 54 years, is owned by the St. Anthony Foundation which helps low income and homeless people and families in the Civic Center, Tenderloin, and SOMA areas with clothing, shelter, food, drug rehabilitation, and many other services. St. Anthony’s administrative offices are found at 121 Golden Gate Ave. with the majority of the foundation’s buildings on Golden Gate Ave. and Jones St.

“We are right in the heart of the homeless population of San Francisco,” says Barry Stenger, 55, who’s been working for the St. Anthony Foundation for one year, and is the Director of Development and Communications, “and people are pushed here because of the economic forces of San Francisco because it’s hard to be upper middle class in San Francisco.”

According to the San Francisco Chamber of Commerce, “San Francisco’s cost of living remains one of the highest in the country” with the average household income in San Francisco being around $76,400 and the average price of housing being $543,000. Average household income for the United States in 2002, according to the U.S. Census Bureau, was $42,409 and the average price of housing for the United States according to the National Association of Realtors was $185,200 in 2004.

“We served our 32 millionth meal on Tuesday,” said Stenger, “and we serve 2,500 meals a day. Some of our people who work here actually get served [food] here because they spend all their money towards rent and medical costs.”

The St. Anthony Foundation was started by Fr. Alfred Boeddeker in 1950 one year after Fr. Boeddeker became pastor of St. Boniface church on Golden Gate St. where he was baptized as a child. During his lifetime, according to the foundation’s website, he was referred to as the “Patron St. of the Tenderloin” and had Boeddeker park named after him because of his, and his foundation’s, achievements with helping out the homeless and low income community.

“[St. Anthony’s] is a good thing,” said Jimmy Scott, “they provide a good service and they feed people and they clothe them and provide furniture when you get housing and give you groceries when you have AIDS. It’s a good little organization.”

“Our dining room is open 365 days a year.” Said Stenger. “Our other facilities are open seven days a week. We have a residence for senior women and our [free medical] clinic is open five days a week and we also have a furniture and clothing store. We have 12 programs all together.”

Some of those programs are the Father Alfred Center which provides 61 men two programs for getting out of drug and alcohol abuse, the Employment Program/Learning Center which helps participants in educational and employment opportunities and provides each one with a personal staff advisor, and a Senior Outreach and Support Services center which states its mission is to “promote independence, self determination, and alleviate isolation” for seniors who are 60 and older.

A few homeless people who were interviewed complained that St. Anthony’s had some staff who were rude and that they were kicked out of the dining hall; other homeless within the area refuted those claims saying St. Anthony’s has nice staff and only kicks people out who cause trouble.

“It’s a good place and good people. Everybody is so kind and so respectful and everything is under control.” Said John Henderson, a tall and skinny 57-year-old homeless black man who has only been living in San Francisco for close to two months because he recently moved there from Phoenix, Arizona. “It’s pretty cool because they’re under control because yesterday I saw at Glide [Memorial Church which also has services for the poor and low income] and they were handing out food boxes and people were just rushing in and the woman in charge there was freaking out and so she just sat down. That would never happen at St. Anthony’s.”

“And they clean too!” Henderson said laughing with a grin on his face referring to the fact that there are no drugs allowed in the premises. “Not that Glide ain’t clean if you know what I mean.”

“We [also] have a whole division that deals with justice education and advocacy to change the system that brings people to our doorstep.” Said Stenger. “We hear a lot of appreciation from the people we serve. We get a lot of testimony from our clients who have become clean and sober. Sometimes we have to push them a little to get them out the door because they love the [foundation] so much because it has changed their lives.”

Friday, September 23, 2005

On the corner of Golden Gate Ave. and Jones St. in the Tenderloin, San Francisco, right next to the Civic Center you can see a throng of low-income and homeless people lining up outside of St. Anthony’s Dining Room hall which opens up it’s doors everyday at 11:30 a.m. Volunteers dressed in St. Anthony Foundation shirts help keep the lines moving as hundreds of homeless and low income people shuffle their way towards the dining hall underneath the watchful eyes of a small statue of St. Francis of Assisi.

“There’s a lot of people who go hungry out here and it ain’t right.” says Jimmy Scott, a slightly brawny 44-year-old black man who has been living homeless in San Francisco for the past three years. “There are families out here with kids and everything and they have to walk around all night just to stay awake so they don’t get hurt or killed…Right here in the U.S. this is going on…it ain’t right.”

The dining hall, which has been open for the past 54 years, is owned by the St. Anthony Foundation which helps low income and homeless people and families in the Civic Center, Tenderloin, and SOMA areas with clothing, shelter, food, drug rehabilitation, and many other services. St. Anthony’s administrative offices are found at 121 Golden Gate Ave. with the majority of the foundation’s buildings on Golden Gate Ave. and Jones St.

“We are right in the heart of the homeless population of San Francisco,” says Barry Stenger, 55, who’s been working for the St. Anthony Foundation for one year, and is the Director of Development and Communications, “and people are pushed here because of the economic forces of San Francisco because it’s hard to be upper middle class in San Francisco.”

According to the San Francisco Chamber of Commerce, “San Francisco’s cost of living remains one of the highest in the country” with the average household income in San Francisco being around $76,400 and the average price of housing being $543,000. Average household income for the United States in 2002, according to the U.S. Census Bureau, was $42,409 and the average price of housing for the United States according to the National Association of Realtors was $185,200 in 2004.

“We served our 32 millionth meal on Tuesday,” said Stenger, “and we serve 2,500 meals a day. Some of our people who work here actually get served [food] here because they spend all their money towards rent and medical costs.”

The St. Anthony Foundation was started by Fr. Alfred Boeddeker in 1950 one year after Fr. Boeddeker became pastor of St. Boniface church on Golden Gate St. where he was baptized as a child. During his lifetime, according to the foundation’s website, he was referred to as the “Patron St. of the Tenderloin” and had Boeddeker park named after him because of his, and his foundation’s, achievements with helping out the homeless and low income community.

“[St. Anthony’s] is a good thing,” said Jimmy Scott, “they provide a good service and they feed people and they clothe them and provide furniture when you get housing and give you groceries when you have AIDS. It’s a good little organization.”

“Our dining room is open 365 days a year.” Said Stenger. “Our other facilities are open seven days a week. We have a residence for senior women and our [free medical] clinic is open five days a week and we also have a furniture and clothing store. We have 12 programs all together.”

Some of those programs are the Father Alfred Center which provides 61 men two programs for getting out of drug and alcohol abuse, the Employment Program/Learning Center which helps participants in educational and employment opportunities and provides each one with a personal staff advisor, and a Senior Outreach and Support Services center which states its mission is to “promote independence, self determination, and alleviate isolation” for seniors who are 60 and older.

A few homeless people who were interviewed complained that St. Anthony’s had some staff who were rude and that they were kicked out of the dining hall; other homeless within the area refuted those claims saying St. Anthony’s has nice staff and only kicks people out who cause trouble.

“It’s a good place and good people. Everybody is so kind and so respectful and everything is under control.” Said John Henderson, a tall and skinny 57-year-old homeless black man who has only been living in San Francisco for close to two months because he recently moved there from Phoenix, Arizona. “It’s pretty cool because they’re under control because yesterday I saw at Glide [Memorial Church which also has services for the poor and low income] and they were handing out food boxes and people were just rushing in and the woman in charge there was freaking out and so she just sat down. That would never happen at St. Anthony’s.”

“And they clean too!” Henderson said laughing with a grin on his face referring to the fact that there are no drugs allowed in the premises. “Not that Glide ain’t clean if you know what I mean.”

“We [also] have a whole division that deals with justice education and advocacy to change the system that brings people to our doorstep.” Said Stenger. “We hear a lot of appreciation from the people we serve. We get a lot of testimony from our clients who have become clean and sober. Sometimes we have to push them a little to get them out the door because they love the [foundation] so much because it has changed their lives.”

Friday, September 28, 2007

Bat for Lashes is the doppelgänger band ego of one of the leading millennial lights in British music, Natasha Khan. Caroline Weeks, Abi Fry and Lizzy Carey comprise the aurora borealis that backs this haunting, shimmering zither and glockenspiel peacock, and the only complaint coming from the audience at the Bowery Ballroom last Tuesday was that they could not camp out all night underneath these celestial bodies.

We live in the age of the lazy tendency to categorize the work of one artist against another, and Khan has had endless exultations as the next Björk and Kate Bush; Sixousie Sioux, Stevie Nicks, Sinead O’Connor, the list goes on until it is almost meaningless as comparison does little justice to the sound and vision of the band. “I think Bat For Lashes are beyond a trend or fashion band,” said Jefferson Hack, publisher of Dazed & Confused magazine. “[Khan] has an ancient power…she is in part shamanic.” She describes her aesthetic as “powerful women with a cosmic edge” as seen in Jane Birkin, Nico and Cleopatra. And these women are being heard. “I love the harpsichord and the sexual ghost voices and bowed saws,” said Radiohead‘s Thom Yorke of the track Horse and I. “This song seems to come from the world of Grimm’s fairytales.”

Bat’s debut album, Fur And Gold, was nominated for the 2007 Mercury Prize, and they were seen as the dark horse favorite until it was announced Klaxons had won. Even Ladbrokes, the largest gambling company in the United Kingdom, had put their money on Bat for Lashes. “It was a surprise that Klaxons won,” said Khan, “but I think everyone up for the award is brilliant and would have deserved to win.”

Natasha recently spoke with David Shankbone about art, transvestism and drug use in the music business.

DS: Do you have any favorite books?

NK: [Laughs] I’m not the best about finishing books. What I usually do is I will get into a book for a period of time, and then I will dip into it and get the inspiration and transformation in my mind that I need, and then put it away and come back to it. But I have a select rotation of cool books, like Women Who Run With the Wolves by Clarissa Pinkola Estés and Little Birds by Anaïs Nin. Recently, Catching the Big Fish by David Lynch.

DS: Lynch just came out with a movie last year called Inland Empire. I interviewed John Vanderslice last night at the Bowery Ballroom and he raved about it!

NK: I haven’t seen it yet!

DS: Do you notice a difference between playing in front of British and American audiences?

NK: The U.S. audiences are much more full of expression and noises and jubilation. They are like, “Welcome to New York, Baby!” “You’re Awesome!” and stuff like that. Whereas in England they tend to be a lot more reserved. Well, the English are, but it is such a diverse culture you will get the Spanish and Italian gay guys at the front who are going crazy. I definitely think in America they are much more open and there is more excitement, which is really cool.

DS: How many instruments do you play and, please, include the glockenspiel in that number.

NK: [Laughs] I think the number is limitless, hopefully. I try my hand at anything I can contribute; I only just picked up the bass, really—

DS: –I have a great photo of you playing the bass.

NK: I don’t think I’m very good…

DS: You look cool with it!

NK: [Laughs] Fine. The glockenspiel…piano, mainly, and also the harp. Guitar, I like playing percussion and drumming. I usually speak with all my drummers so that I write my songs with them in mind, and we’ll have bass sounds, choir sounds, and then you can multi-task with all these orchestral sounds. Through the magic medium of technology I can play all kinds of sounds, double bass and stuff.

DS: Do you design your own clothes?

NK: All four of us girls love vintage shopping and charity shops. We don’t have a stylist who tells us what to wear, it’s all very much our own natural styles coming through. And for me, personally, I like to wear jewelery. On the night of the New York show that top I was wearing was made especially for me as a gift by these New York designers called Pepper + Pistol. And there’s also my boyfriend, who is an amazing musician—

DS: —that’s Will Lemon from Moon and Moon, right? There is such good buzz about them here in New York.

NK: Yes! They have an album coming out in February and it will fucking blow your mind! I think you would love it, it’s an incredible masterpiece. It’s really exciting, I’m hoping we can do a crazy double unfolding caravan show, the Bat for Lashes album and the new Moon and Moon album: that would be really theatrical and amazing! Will prints a lot of my T-shirts because he does amazing tapestries and silkscreen printing on clothes. When we play there’s a velvety kind of tapestry on the keyboard table that he made. So I wear a lot of his things, thrift store stuff, old bits of jewelry and antique pieces.

DS: You are often compared to Björk and Kate Bush; do those constant comparisons tend to bother you as an artist who is trying to define herself on her own terms?

NK: No, I mean, I guess that in the past it bothered me, but now I just feel really confident and sure that as time goes on my musical style and my writing is taking a pace of its own, and I think in time the music will speak for itself and people will see that I’m obviously doing something different. Those women are fantastic, strong, risk-taking artists—

DS: —as are you—

NK: —thank you, and that’s a great tradition to be part of, and when I look at artists like Björk and Kate Bush, I think of them as being like older sisters that have come before; they are kind of like an amazing support network that comes with me.

DS: I’d imagine it’s preferable to be considered the next Björk or Kate Bush instead of the next Britney.

NK: [Laughs] Totally! Exactly! I mean, could you imagine—oh, no I’m not going to try to offend anyone now! [Laughs] Let’s leave it there.

DS: Does music feed your artwork, or does you artwork feed your music more? Or is the relationship completely symbiotic?

NK: I think it’s pretty back-and-forth. I think when I have blocks in either of those area, I tend to emphasize the other. If I’m finding it really difficult to write something I know that I need to go investigate it in a more visual way, and I’ll start to gather images and take photographs and make notes and make collages and start looking to photographers and filmmakers to give me a more grounded sense of the place that I’m writing about, whether it’s in my imagination or in the characters. Whenever I’m writing music it’s a very visual place in my mind. It has a location full of characters and colors and landscapes, so those two things really compliment each other, and they help the other one to blossom and support the other. They are like brother and sister.

DS: When you are composing music, do you see notes and words as colors and images in your mind, and then you put those down on paper?

NK: Yes. When I’m writing songs, especially lately because I think the next album has a fairly strong concept behind it and I’m writing the songs, really imagining them, so I’m very immersed into the concept of the album and the story that is there through the album. It’s the same as when I’m playing live, I will imagine I see a forest of pine trees and sky all around me and the audience, and it really helps me. Or I’ll just imagine midnight blue and emerald green, those kind of Eighties colors, and they help me.

DS: Is it always pine trees that you see?

NK: Yes, pine trees and sky, I guess.

DS: What things in nature inspire you?

NK: I feel drained thematically if I’m in the city too long. I think that when I’m in nature—for example, I went to Big Sur last year on a road trip and just looking up and seeing dark shadows of trees and starry skies really gets me and makes me feel happy. I would sit right by the sea, and any time I have been a bit stuck I will go for a long walk along the ocean and it’s just really good to see vast horizons, I think, and epic, huge, all-encompassing visions of nature really humble you and give you a good sense of perspective and the fact that you are just a small particle of energy that is vibrating along with everything else. That really helps.

DS: Are there man-made things that inspire you?

NK: Things that are more cultural, like open air cinemas, old Peruvian flats and the Chelsea Hotel. Funny old drag queen karaoke bars…

DS: I photographed some of the famous drag queens here in New York. They are just such great creatures to photograph; they will do just about anything for the camera. I photographed a famous drag queen named Miss Understood who is the emcee at a drag queen restaurant here named Lucky Cheng’s. We were out in front of Lucky Cheng’s taking photographs and a bus was coming down First Avenue, and I said, “Go out and stop that bus!” and she did! It’s an amazing shot.

NK: Oh. My. God.

DS: If you go on her Wikipedia article it’s there.

NK: That’s so cool. I’m really getting into that whole psychedelic sixties and seventies Paris Is Burning and Jack Smith and the Destruction of Atlantis. Things like The Cockettes. There seems to be a bit of a revolution coming through that kind of psychedelic drag queen theater.

DS: There are just so few areas left where there is natural edge and art that is not contrived. It’s taking a contrived thing like changing your gender, but in the backdrop of how that is still so socially unacceptable.

NK: Yeah, the theatrics and creativity that go into that really get me. I’m thinking about The Fisher King…do you know that drag queen in The Fisher King? There’s this really bad and amazing drag queen guy in it who is so vulnerable and sensitive. He sings these amazing songs but he has this really terrible drug problem, I think, or maybe it’s a drink problem. It’s so bordering on the line between fabulous and those people you see who are so in love with the idea of beauty and elevation and the glitz and the glamor of love and beauty, but then there’s this really dark, tragic side. It’s presented together in this confusing and bewildering way, and it always just gets to me. I find it really intriguing.

DS: How are you received in the Pakistani community?

NK: [Laughs] I have absolutely no idea! You should probably ask another question, because I have no idea. I don’t have contact with that side of my family anymore.

DS: When you see artists like Pete Doherty or Amy Winehouse out on these suicidal binges of drug use, what do you think as a musician? What do you get from what you see them go through in their personal lives and with their music?

NK: It’s difficult. The drugs thing was never important to me, it was the music and expression and the way he delivered his music, and I think there’s a strange kind of romantic delusion in the media, and the music media especially, where they are obsessed with people who have terrible drug problems. I think that’s always been the way, though, since Billie Holiday. The thing that I’m questioning now is that it seems now the celebrity angle means that the lifestyle takes over from the actual music. In the past people who had musical genius, unfortunately their personal lives came into play, but maybe that added a level of romance, which I think is pretty uncool, but, whatever. I think that as long as the lifestyle doesn’t precede the talent and the music, that’s okay, but it always feels uncomfortable for me when people’s music goes really far and if you took away the hysteria and propaganda of it, would the music still stand up? That’s my question. Just for me, I’m just glad I don’t do heavy drugs and I don’t have that kind of problem, thank God. I feel that’s a responsibility you have, to present that there’s a power in integrity and strength and in the lifestyle that comes from self-love and assuredness and positivity. I think there’s a real big place for that, but it doesn’t really get as much of that “Rock n’ Roll” play or whatever.

DS: Is it difficult to come to the United States to play considering all the wars we start?

NK: As an English person I feel equally as responsible for that kind of shit. I think it is a collective consciousness that allows violence and those kinds of things to continue, and I think that our governments should be ashamed of themselves. But at the same time, it’s a responsibility of all of our countries, no matter where you are in the world to promote a peaceful lifestyle and not to consciously allow these conflicts to continue. At the same time, I find it difficult to judge because I think that the world is full of shades of light and dark, from spectrums of pure light and pure darkness, and that’s the way human nature and nature itself has always been. It’s difficult, but it’s just a process, and it’s the big creature that’s the world; humankind is a big creature that is learning all the time. And we have to go through these processes of learning to see what is right.

Monday, August 30, 2010

A deal between Sunshine Coast Grammar School headmaster Nigel Fairbairn and the Independent Education Union of Australia has ended a week of uncertainty for 22 of the Queensland, Australia school’s staff.

Last week Wikinews obtained a list of 22 middle management teaching staff allegedly made redundant, or laid off due to restructuring. The restructuring is, apparently, designed to get teachers back into the classroom.

During the week, staff, students, alumni and parents had accused the headmaster of being dishonest and not “tak[ing] a single question” on the issue.

“At 10am there were 21 teachers with big question marks over their employment but by 1pm they had the assurance they would be able to apply for new positions before external applicants,” union secretary Terry Burke said. “Mr Fairbairn said it was clearly the school’s preference to continue the employment of existing staff. It is our view the existing staff are more than capable of taking on the new positions.”

Sunshine Coast Grammar is a private Christian school approximately 95 km (60 miles) north of the state capital, Brisbane.

Teachers at Sunshine Coast Grammar school have told the Sunshine Coast Daily that they received no warning of any pending redundancies. Independent Education Union of Australia representative and school careers counselor Maria Campanini said “teacher morale is very low and people are very disappointed and disillusioned”.

Ms Campanini said that staff were saddened by the handling of the situation by headmaster Nigel Fairbairn. “We got an email announcing a meeting and I thought it would just provide some feedback about the review,” Ms Campanini said. “But the 21 teachers whose jobs were directly affected were herded into a room, Mr Fairbairn read out a prepared statement, turned on his heel and left. He didn’t take a single question. We were just left sitting there in shock.”

An anonymous staff member told the Sunshine Coast Daily that, “Some teachers, who rely on the income and whose positions were abolished, were very distraught and they had to go to class. It appears we’re not valued in the school community, not to be even asked our opinion as to what might be the best outcome, to try and make it work.”

According to Ms Campanini, one of the teachers being made redundant is 30 weeks pregnant with another returning to work after maternity leave. “It’s really stressful for all the people involved,” Ms Campanini said. “People can understand the need for restructure when it’s explained, but we’re none the wiser.”

“When it all happened on Friday, it was morning tea time and a lot of us had to go back in the classroom and teach all afternoon,” the anonymous staff member said.

Parents have accused Fairbairn of constantly changing his version of events, with one telling the Sunshine Coast Daily that, “The school board does not have independent parents on the board, which makes no sense at all. From what I have gathered, Mr Fairbairn is not interested in having parents involved in the decision-making processes.”

“Mr Fairbairn is trying to go into damage control and his story keeps changing,” said Julie Hopkins, another Grammar parent. “He’s told parents this restructure was not financially motivated but has told teachers the complete opposite thing. This is it. The gloves are off.”

Wikinews obtained a list of middle management staff allegedly made redundant, or laid off due to restructuring, by the Queensland, Australia school. Sources say that those staff have been told that they can apply for new positions that have opened up.

The list, published on the SCGS alumni Facebook page, contains the names of twenty-two staff members. Seventeen positions are reportedly being opened up, eight of which seem to significantly overlap the old ones.

The changes are, apparently, designed to get teachers back into the classroom. “We are not cutting subject choices and extracurricular activities, but retaining a student-driven curriculum that integrates with the new Australian Curriculum, in keeping with our commitment to teaching and learning opportunities,” said headmaster Nigel Fairbairn.

Wikinews understands that Fairbairn attracted criticism when he was a head teacher in Christchurch, New Zealand, where a former student claimed that Fairbairn “replaced the open and welcoming culture … with the tyrannical and oppressive one.” Fairbairn refused to comment on the criticism.

Fairbairn’s statement came under attack from 2009 graduates who, in a open letter posted on Facebook, said, “It is also hugely hypocritical to attack these teachers for not spending enough time in the classroom, when from firsthand experience the only time Mr. Nigel Fairbairn was ever sighted was during assembly (which he mysteriously stopped attending), never mind in the classroom, therefore, it is honestly astounding that he could make such unjust and incorrect statements.”

They also expressed embarrassment “to be associated with the name ‘Sunshine Coast Grammar School’ while you are at the head of the great community which Grammar once was.”

Four of the affected teachers “were the backbone of the school when [controversy surrounded founding headmaster John Burgess] happened,” a former prefect (student leader) said. “They got it through that crisis and this is the thanks they get.”

“People are angry and shocked,” they continued. “I am aware of at least 10 families who have said they will pull their children out of the school – it’s that bad.”

The student body has not ruled out protesting the schools plans. “It’s getting to that stage,” the former prefect said. “People are trying to look at it in an intelligent way but there is so much anger out there.”

Tuesday, January 19, 2010

A Scottish woman who set out before Christmas to purchase a turkey finally made it home on Monday, after being cut off by snow for a month. Kay Ure left the Lighthouse Keeper’s cottage on Cape Wrath, at the very northwest tip of Great Britain, in December. She was heading to Inverness on a shopping trip.

However on her return journey heavy snow and ice prevented her husband, John, from travelling the last 11 miles to pick her up. She was forced to wait a month in a friend’s caravan, before the weather improved and the couple could finally be reunited.

They were separated not just for Christmas and New Year, but also for Mr Ure’s 58th birthday. With no fresh supplies, he was reduced to celebrating with a tin of baked beans. He also ran out of coal, and had to feed the couple’s six springer spaniels on emergency army rations.

“It’s the first time we’ve been separated”, said Mr Ure in December. “We’ve been snowed in here for three weeks before, so we are well used to it and it’s quite nice to get a bit of peace and quiet.”

Friday, September 28, 2007

Bat for Lashes is the doppelgänger band ego of one of the leading millennial lights in British music, Natasha Khan. Caroline Weeks, Abi Fry and Lizzy Carey comprise the aurora borealis that backs this haunting, shimmering zither and glockenspiel peacock, and the only complaint coming from the audience at the Bowery Ballroom last Tuesday was that they could not camp out all night underneath these celestial bodies.

We live in the age of the lazy tendency to categorize the work of one artist against another, and Khan has had endless exultations as the next Björk and Kate Bush; Sixousie Sioux, Stevie Nicks, Sinead O’Connor, the list goes on until it is almost meaningless as comparison does little justice to the sound and vision of the band. “I think Bat For Lashes are beyond a trend or fashion band,” said Jefferson Hack, publisher of Dazed & Confused magazine. “[Khan] has an ancient power…she is in part shamanic.” She describes her aesthetic as “powerful women with a cosmic edge” as seen in Jane Birkin, Nico and Cleopatra. And these women are being heard. “I love the harpsichord and the sexual ghost voices and bowed saws,” said Radiohead‘s Thom Yorke of the track Horse and I. “This song seems to come from the world of Grimm’s fairytales.”

Bat’s debut album, Fur And Gold, was nominated for the 2007 Mercury Prize, and they were seen as the dark horse favorite until it was announced Klaxons had won. Even Ladbrokes, the largest gambling company in the United Kingdom, had put their money on Bat for Lashes. “It was a surprise that Klaxons won,” said Khan, “but I think everyone up for the award is brilliant and would have deserved to win.”

Natasha recently spoke with David Shankbone about art, transvestism and drug use in the music business.

DS: Do you have any favorite books?

NK: [Laughs] I’m not the best about finishing books. What I usually do is I will get into a book for a period of time, and then I will dip into it and get the inspiration and transformation in my mind that I need, and then put it away and come back to it. But I have a select rotation of cool books, like Women Who Run With the Wolves by Clarissa Pinkola Estés and Little Birds by Anaïs Nin. Recently, Catching the Big Fish by David Lynch.

DS: Lynch just came out with a movie last year called Inland Empire. I interviewed John Vanderslice last night at the Bowery Ballroom and he raved about it!

NK: I haven’t seen it yet!

DS: Do you notice a difference between playing in front of British and American audiences?

NK: The U.S. audiences are much more full of expression and noises and jubilation. They are like, “Welcome to New York, Baby!” “You’re Awesome!” and stuff like that. Whereas in England they tend to be a lot more reserved. Well, the English are, but it is such a diverse culture you will get the Spanish and Italian gay guys at the front who are going crazy. I definitely think in America they are much more open and there is more excitement, which is really cool.

DS: How many instruments do you play and, please, include the glockenspiel in that number.

NK: [Laughs] I think the number is limitless, hopefully. I try my hand at anything I can contribute; I only just picked up the bass, really—

DS: –I have a great photo of you playing the bass.

NK: I don’t think I’m very good…

DS: You look cool with it!

NK: [Laughs] Fine. The glockenspiel…piano, mainly, and also the harp. Guitar, I like playing percussion and drumming. I usually speak with all my drummers so that I write my songs with them in mind, and we’ll have bass sounds, choir sounds, and then you can multi-task with all these orchestral sounds. Through the magic medium of technology I can play all kinds of sounds, double bass and stuff.

DS: Do you design your own clothes?

NK: All four of us girls love vintage shopping and charity shops. We don’t have a stylist who tells us what to wear, it’s all very much our own natural styles coming through. And for me, personally, I like to wear jewelery. On the night of the New York show that top I was wearing was made especially for me as a gift by these New York designers called Pepper + Pistol. And there’s also my boyfriend, who is an amazing musician—

DS: —that’s Will Lemon from Moon and Moon, right? There is such good buzz about them here in New York.

NK: Yes! They have an album coming out in February and it will fucking blow your mind! I think you would love it, it’s an incredible masterpiece. It’s really exciting, I’m hoping we can do a crazy double unfolding caravan show, the Bat for Lashes album and the new Moon and Moon album: that would be really theatrical and amazing! Will prints a lot of my T-shirts because he does amazing tapestries and silkscreen printing on clothes. When we play there’s a velvety kind of tapestry on the keyboard table that he made. So I wear a lot of his things, thrift store stuff, old bits of jewelry and antique pieces.

DS: You are often compared to Björk and Kate Bush; do those constant comparisons tend to bother you as an artist who is trying to define herself on her own terms?

NK: No, I mean, I guess that in the past it bothered me, but now I just feel really confident and sure that as time goes on my musical style and my writing is taking a pace of its own, and I think in time the music will speak for itself and people will see that I’m obviously doing something different. Those women are fantastic, strong, risk-taking artists—

DS: —as are you—

NK: —thank you, and that’s a great tradition to be part of, and when I look at artists like Björk and Kate Bush, I think of them as being like older sisters that have come before; they are kind of like an amazing support network that comes with me.

DS: I’d imagine it’s preferable to be considered the next Björk or Kate Bush instead of the next Britney.

NK: [Laughs] Totally! Exactly! I mean, could you imagine—oh, no I’m not going to try to offend anyone now! [Laughs] Let’s leave it there.

DS: Does music feed your artwork, or does you artwork feed your music more? Or is the relationship completely symbiotic?

NK: I think it’s pretty back-and-forth. I think when I have blocks in either of those area, I tend to emphasize the other. If I’m finding it really difficult to write something I know that I need to go investigate it in a more visual way, and I’ll start to gather images and take photographs and make notes and make collages and start looking to photographers and filmmakers to give me a more grounded sense of the place that I’m writing about, whether it’s in my imagination or in the characters. Whenever I’m writing music it’s a very visual place in my mind. It has a location full of characters and colors and landscapes, so those two things really compliment each other, and they help the other one to blossom and support the other. They are like brother and sister.

DS: When you are composing music, do you see notes and words as colors and images in your mind, and then you put those down on paper?

NK: Yes. When I’m writing songs, especially lately because I think the next album has a fairly strong concept behind it and I’m writing the songs, really imagining them, so I’m very immersed into the concept of the album and the story that is there through the album. It’s the same as when I’m playing live, I will imagine I see a forest of pine trees and sky all around me and the audience, and it really helps me. Or I’ll just imagine midnight blue and emerald green, those kind of Eighties colors, and they help me.

DS: Is it always pine trees that you see?

NK: Yes, pine trees and sky, I guess.

DS: What things in nature inspire you?

NK: I feel drained thematically if I’m in the city too long. I think that when I’m in nature—for example, I went to Big Sur last year on a road trip and just looking up and seeing dark shadows of trees and starry skies really gets me and makes me feel happy. I would sit right by the sea, and any time I have been a bit stuck I will go for a long walk along the ocean and it’s just really good to see vast horizons, I think, and epic, huge, all-encompassing visions of nature really humble you and give you a good sense of perspective and the fact that you are just a small particle of energy that is vibrating along with everything else. That really helps.

DS: Are there man-made things that inspire you?

NK: Things that are more cultural, like open air cinemas, old Peruvian flats and the Chelsea Hotel. Funny old drag queen karaoke bars…

DS: I photographed some of the famous drag queens here in New York. They are just such great creatures to photograph; they will do just about anything for the camera. I photographed a famous drag queen named Miss Understood who is the emcee at a drag queen restaurant here named Lucky Cheng’s. We were out in front of Lucky Cheng’s taking photographs and a bus was coming down First Avenue, and I said, “Go out and stop that bus!” and she did! It’s an amazing shot.

NK: Oh. My. God.

DS: If you go on her Wikipedia article it’s there.

NK: That’s so cool. I’m really getting into that whole psychedelic sixties and seventies Paris Is Burning and Jack Smith and the Destruction of Atlantis. Things like The Cockettes. There seems to be a bit of a revolution coming through that kind of psychedelic drag queen theater.

DS: There are just so few areas left where there is natural edge and art that is not contrived. It’s taking a contrived thing like changing your gender, but in the backdrop of how that is still so socially unacceptable.

NK: Yeah, the theatrics and creativity that go into that really get me. I’m thinking about The Fisher King…do you know that drag queen in The Fisher King? There’s this really bad and amazing drag queen guy in it who is so vulnerable and sensitive. He sings these amazing songs but he has this really terrible drug problem, I think, or maybe it’s a drink problem. It’s so bordering on the line between fabulous and those people you see who are so in love with the idea of beauty and elevation and the glitz and the glamor of love and beauty, but then there’s this really dark, tragic side. It’s presented together in this confusing and bewildering way, and it always just gets to me. I find it really intriguing.

DS: How are you received in the Pakistani community?

NK: [Laughs] I have absolutely no idea! You should probably ask another question, because I have no idea. I don’t have contact with that side of my family anymore.

DS: When you see artists like Pete Doherty or Amy Winehouse out on these suicidal binges of drug use, what do you think as a musician? What do you get from what you see them go through in their personal lives and with their music?

NK: It’s difficult. The drugs thing was never important to me, it was the music and expression and the way he delivered his music, and I think there’s a strange kind of romantic delusion in the media, and the music media especially, where they are obsessed with people who have terrible drug problems. I think that’s always been the way, though, since Billie Holiday. The thing that I’m questioning now is that it seems now the celebrity angle means that the lifestyle takes over from the actual music. In the past people who had musical genius, unfortunately their personal lives came into play, but maybe that added a level of romance, which I think is pretty uncool, but, whatever. I think that as long as the lifestyle doesn’t precede the talent and the music, that’s okay, but it always feels uncomfortable for me when people’s music goes really far and if you took away the hysteria and propaganda of it, would the music still stand up? That’s my question. Just for me, I’m just glad I don’t do heavy drugs and I don’t have that kind of problem, thank God. I feel that’s a responsibility you have, to present that there’s a power in integrity and strength and in the lifestyle that comes from self-love and assuredness and positivity. I think there’s a real big place for that, but it doesn’t really get as much of that “Rock n’ Roll” play or whatever.

DS: Is it difficult to come to the United States to play considering all the wars we start?

NK: As an English person I feel equally as responsible for that kind of shit. I think it is a collective consciousness that allows violence and those kinds of things to continue, and I think that our governments should be ashamed of themselves. But at the same time, it’s a responsibility of all of our countries, no matter where you are in the world to promote a peaceful lifestyle and not to consciously allow these conflicts to continue. At the same time, I find it difficult to judge because I think that the world is full of shades of light and dark, from spectrums of pure light and pure darkness, and that’s the way human nature and nature itself has always been. It’s difficult, but it’s just a process, and it’s the big creature that’s the world; humankind is a big creature that is learning all the time. And we have to go through these processes of learning to see what is right.