For the past two days, I had professional development, which means that I sit and listen to the latest and greatest idea in education. I’m not very good at these type of things because, as a teacher, I’m used to doing. I’m used to moving and talking constantly throughout the day. I am not good at listening and NOT responding as I have many things to say about any/every idea presented. Perhaps, this is part of the reason I chose to do this blog so that I could respond to what is going on in Duranland. Tonight, the boys are playing their second to last show in Boston. Yesterday, I became aware of an article/interview with Nick from The Boston Phoenix. The article can be found here
and my responses to the answers are here! Obviously, some questions did not get my attention as much as others.
In the beginning of the interview, Nick is asked where he is to which he responds about how he is Chicago and says the following, “Actually in Chicago we’ve spent quite a bit of time. I’m sure I’ll find some trouble to get into.” As someone who was in Chicago, I have to ask. What did Nick do? I know that John and Dom went record shopping but what about Nick? What about Roger or Simon? Next time, I think the band should let Rhonda and I know their plans. It would make our lives more interesting and fun!
Shortly, Nick gets asked about the new album.
“SD: So 2011 has been a pretty big year for you guys, although, not without ups and downs.NR: Yeah, it’s been one of the most exciting years in the Duran calendar in our three decades, I have to say. It all started with the release of All You Need is Now, which we worked on with producer Mark Ronson. I think when you have something that you feel very confident in musically and artistically, it gives you the energy to go forward and do other things and it helps to unfold the origami, because things start to happen when you have something other people are excited about too. We made the film with David Lynch. That’s certainly one of the highlights throughout our career so far. He’s been someone we’ve admired for many, many, many years, so when the opportunity came up to make a film together, that was a complete thrill. We started out playing in America at the SXSW festival. We talked about going there for years, because the spirit of Duran Duran has always been that of an independent band. Even when we’ve made records that have been enormously successful commercially and we’ve been on major record labels, we’ve never lost the spirit that we started out with.”
My response: I’m thrilled that they feel confident about AYNIN, musically and artistically, and that should be a highlight of the year. Yet, the interviewer asked about the ups and downs. Why not acknowledge everything that Simon went through? Everything the band went through? Everything the fans went through? It could be easily acknowledged and done in a way in which tells how Duran is stronger, better because of it.
Later in the interview, after discussing how other bands had been “borrowing” from Duran, the interviewer asks about the fanbase, which as a student of fandom got my attention! “SD: I think one of the reasons that you guys, and you know, this is me postulating, you can tell me what you think about it, one of the reasons you’ve maintained this fan base is because Duran Duran is kind of like it’s own little culture, it’s own little land. From the earliest interviews with you guys, you’re always talked about different art and culture, and I think in America, especially kids living in the middle of nowhere, to hear about Andy Warhol, to see Keith Haring on television, to hear about Cocteau and Patrick Nagel, and all these people. This was a big deal for a lot of people who didn’t have access to that kind of culture.NR: Well, I hope so, because I know what other artists from all spheres have given to me over my life. It’s food for me, for my imagination. Nothing makes me happier then sitting in a cinema or going to an art gallery. John, Simon and I all went to the Philadelphia Museum of Art the other day, because I’ve been there several times before and neither of them have actually visited there. I said, “Look, we have a day off, let’s go.” They were both completely up for it. We all left there just floating because seeing the collection that has been that well curated over so many years. I mean they have some of the greatest artworks ever made in there. They have the ultimate Marcel Duchamp collection, including The Bride Stripped Bare, the Nude Descending a Staircase, the Urinal, the Bicycle Wheel, each absolutely extraordinary. But then you sort of wander down the corridor and they’ve got one of the greatest Van Gogh Sunflowers. They’ve got a couple of the best Matisse’s that I’ve ever seen anywhere in the world. You know, if you can bring a little of that information to other people in, I don’t know, in the form of suggestions, or images, or just the notion of it. Then I think that’s great.”
My response: First, I completely agree that Duranland is its own little culture, which I have addressed before. I think that Duran has influenced many of us to check out musicians, artists, fashion, etc. that we would not have ever considered. As much as I was destined to check out art because my mom is an artist, I doubt I would have cared as much if it wasn’t for them. I also find it amusing that Rhonda and I are like them as well since we try to check out art museums when we can!
This question about the year leads to questions regarding Mark Ronson. “SD: Back to the new album briefly, I have to ask, I think a number of people have asked, and I know you guys obviously don’t have any plan or anything. But as a big music fan, like you guys are, I’m sure you can think of any number of sequels or trilogies of records that bands have made with producers. I know a lot of people are wondering if you guys might work with Mark again. It’s been a while since you’ve done two in a row.NR: Of all the producers that we’ve ever worked with, I have to say, Mark is the one that I think suits Duran Duran best. We’ve worked with some amazing producers, we really have, we’ve been very lucky. Sadly, the first few albums produced by Colin Thurston, and then the third album by Alex Sadkin, who have both passed away, but they were extraordinary teachers.
SD: For me as well…
NR: Yeah, amazing, amazing, amazing people. But, of the people we’ve worked with in the last couple decades, Mark just suits us better. He has an understanding of so many genres of music. He has incredible style and great taste and he really, really gets what Duran Duran is about. So, I sincerely hope we work with him again. We stay in constant touch. We’re so fond of him on a very personal level, as well as musical level. He’s really something.”
My response: I completely agree with Nick that Mark is the producer that suits Duran best. I think he gets THEM and I think that he gets US (the fans). Thus, I, too, hope that they work together again. 🙂
Of course, this leads to brief discussions about both Red Carpet Massacre and Reportage. “SD: I like the last record, I like Red Carpet Massacre… NR: Me too.
SD: …I actually think it’s great Simon record.
NR: Yeah, a few people have said that. John and Roger feel that their presence was diminished on the album, I understand that.
SD: I feel like maybe the fans kind of felt like that. It felt a little anti-climatic post-reunion?
NR: Maybe. It was very programmed. You see, the genesis of that record is quite interesting because we made an entire album with Andy Taylor. Which is called Reportage…”
My response: I’m not surprised that John and Roger felt like their presence was diminished. It felt that way to me, too. Thus, it didn’t feel like Duran to me no matter the quality of the song. It wasn’t what I think of when I think Duran. I also agree that it was very programmed, which again makes it anti-Duran to me. Of course, Duran can, has and should use technology but it should have something organic, something more musical.
The interview continues to say: “SD: Which is coming out when?NR: It may come out, it would need mixing, it would need finishing a few things, but then what happened was we were just literally going to do a couple tracks with Timbaland and we got in there and Andy didn’t turn up for those sessions, and so we ended up doing them without a guitarist, we obviously added guitar to the tracks later, but we recorded them without guitar, wrote them without guitar. That set the mold, really. Had Andy been there, I think those tracks would have probably started to sound a little different in the first place.
SD: They sound really cool, and if that record had come out in, like, ’99 no-one would’ve batted an eyelash, but I think when you have this sort of legendary rhythm section back together it felt like, you know, they are a little bit under utilized on that record, theres just little moments…
NR: Yeah, I understand. For me, that album was an experiment. For everyone in the band, that album was an experiment. It was how to merge the Timbaland beats with Duran Duran. And the expense of us doing that was the rhythm section became different. Obviously they both played on the album. They played synth bass on some of them. Some of the drums were programmed by Roger…
SD: There’s some of that on the new album too…
SD: It’s not like it’s unlike Duran Duran to have some synthbass.
NR: Yeah, but on that one it was largely the makeup of the sound and I think we definitely sacrificed something but we work as a unit and whatever we feel is right for Duran Duran, and I mean honestly, if we decided we wanted to make an album that was just guitars and strings and we decided, no, we’re not gonna use any synths on this, we would do it. It’s a case of the time and we felt with Tim that he was one of the most interesting people out there making contemporary music at that time. We’ve always loved dance music and so…”
My response: Obviously, I have no idea about the quality of the songs on Reportage, how much work it would be to finish or even if they can finish it and release it, legally, but I would still love to hear it. It might also be a good way of releasing another album sooner rather than later, if there aren’t legal issues with it, as most of the writing and recording appears to be done. Nonetheless, it says something to me that if Nick, who was RCM’s biggest supporter, is saying that “something sacrificed” when they made RCM.
Nick goes on to make a really good point and one that I must remember: “And certainly, the other point about working with Timbaland is that had we not made that album, I don’t think it would have lead us to make this new album with Mark.” If this is true that Duran needed to work with Timbaland and needed to make RCM as a step before working with Mark and making AYNIN, I am grateful it happened. I do think that sometimes things need to be one way before things are able to go a different way. Maybe RCM was the lesson they needed to learn.
Then, of course, the interviewer turns to the current tour and the current setlist. Oh boy. “SD: I have it on good faith that you guys are gonna be playing “Shadows On Your Side” in Boston. Can I put that in print?NR: (laughs) We haven’t played it on the American tour at all yet. The trouble is with set lists, and I’m sure you could talk to any artist, you must know this yourself, if you have have a lot of material, it’s hard enough to condense it into something that is a little less than two hours. But when you want to put in a song that is possibly a real fan favorite, but maybe not with the broader audience, it’s hard to find places in the set to put them in. For example, recently we have been playing a song “Tiger, Tiger” from the third album which is instrumental. And the reason we started playing it was to create a little three minute spot for people to Tweet live during the show onto the screen. And it has been a fascinating moment in the set.
SD: Gives Simon a rest.
NR: So we thought, perhaps we’ll replace it and we’ll do “Secret October” instead because it has a vocal on it and we said we would play this song. And of course, Simon said “I don’t want to do it and have Tweeting going on whilst I’m singing.” Whereas musically, we are just creating a soundtrack and I think that’s fine, visually. And so we took out the Tweets and we did the song, and the song went down really well. But then we realized that a lot of people were missing the Tweeting thing because a lot of it was interactive and thats part of modern shows. So you have all these things …all I’m really doing is making excuses for you. We probably won’t. We could play it instead of a number of things but I’m not sure what would give.”
My response: Clearly, they don’t want to put in anymore “fan favorites” than they already have for these US dates. Obviously, they feel that they need to appeal to the “broader audience”. As Rhonda and I have both mentioned, I think this is lame. If you play enough hits, that “broader audience” will be happy. Duran should worry about keeping us dedicated fans happy and keeping us going to shows. Then, to hear Nick talk about the discussion surrounding Tiger Tiger versus Secret Oktober, I got even more frustrated. Yes, I can understand Simon’s point of view of not wanting people to tweet during him singing. I tweeted during Tiger Tiger but that felt uncomfortable, too, as I’m ignoring the band playing. If you want to have the tweet thing in do it when the band is not on stage. Have people tweet while waiting for the encore to start but don’t let that get in the way of the fans hearing a song they desperately want to hear! Ugh!
Speaking of Twitter, the interviewer asked about the band’s involvement. “SD: It is interesting. I think both Simon and John have been doing it since around the release of the record. It is interesting to kind of follow along…NR: I think John particularly loves it. I think its really something that he’s been able to focus some of his energy on. I know he’s always taking little photos and putting them up when we’ve arrived somewhere, or we see something interesting. He was tweeting from the Museum the other day. I’m all for that. I have a concept for tweeting which would be very much against the grain of what people like it for, so people may really not like the idea of what I might want to do with it, and I keep threatening to do it. For me, it would be a complete experiment so I would enjoy it, and I think there may be some people out there that would see what I was getting at, but it’s much more of a one way street. It would be that I was really just publishing certain things and not really getting involved in conversations about them. I’m not sure if that’s in the spirit of it, but I may do that.
SD: Well it’s difficult, I think, to have in-depth conversations. I think John tries to answer peoples’ little questions and things from time to time, but I don’t think you can get too in depth. The other side of it is, I think for some people, and I don’t know if you fall into this category or not, but some people see that artists being on Twitter constantly, kind of affects their mystique a little bit. Where it was so hard to get information about somebody ten years ago but now it’s like…
NR: Well I feel that way very generally anyways. We were talking about when were growing up as kids and the photos of artists we used to see, whether it was David Bowie or Iggy or the New York Dolls or Lou, they had a real mystery to them because there weren’t that many photos. You might see the occasional live photo from a concert or you’d see David Bowie and Iggy Pop in Moscow together or a picture of a couple people on a train having lunch and this was really as far as you got into their world and you had to then use your own imagination as to what else they might be doing or what it was like in the studio and what they were recording. Now I do feel with web cams everywhere and everyone with a mobile phone during the show, every second of everything is recorded from all these different angles and published everywhere, it’s an overwhelming amount of content. In a way, you definitely lose focus because people are watching dreadful live videos with dreadful sound quality and then saying, “Oh well that was that, wasn’t it.” As opposed to something that was being produced with beauty and care. And its not that I’m completely against it because this is a very modern world where this is what’s happening and that’s that, but as regards to what it has done to mystique, yeah, its shattered it into a million pieces.
SD: Yeah that’s true, it’s a strange game. I can’t think of a band, current day, that can maintain that exactly. You have to, obviously, evolve with the times somewhat, but it’s interesting with some groups, it might not be in their best interest to be too involved with that.
NR: I think you have to embrace new technologies and use them to the best of your ability, and use them artistically. With our online presence we’re always looking to do different things. We launched Second Life some months ago which was initially launched as a completely non-commercial project. It was literally an arts project. We built a universe for people go in as Avatars and communicate with each other, really. And so far I have to say I’m thrilled with the results because it seems to be a really good breeding ground for ideas and for artistic statements. The costumes that people are wearing in there are spectacular. It’s worth going in to look at that alone. When they have parties in there it really is pretty remarkable, it’s an utterly surreal world where anything goes and they’re having an amazing time. So, you try to do these different things with the website we’re going to relaunch that soon, so its version 2.2 or 3.3 or wherever we are now, and there have been some huge improvements there. The live stuff and the Tweeting. During the live shows I take pictures of the audience every night which has now become quite interesting because there’s a whole section on the site where you can see the audiences from my point of view from the different shows. We’re always looking to do things and find ways to make it a bit different. Everybody out there is putting everything up they can.”
My response: I can definitely see Nick’s idea of tweeting being VERY different than what is normal, common, expected. My guess is that Nick fans would eat it up! Yet, ideally, fans would want some conversation and it doesn’t seem like Nick does, for whatever reason. I also agree with Nick that technology should be used and embraced but that it does have its drawbacks and has taken some of the mystery out of life. That said, I still don’t get Second Life. I don’t understand why he is so thrilled by it. He says that it is filled with artistic ideas. Really? Someone who is involved in it tell me how.
The interview ended with a question about John’s book. “SD: Have you seen any advanced writing in Johns book?NR: No, nothing. I think it’s probably best that I don’t and I’m sure John would feel the same. I guess eventually there will probably be a full set of books. I don’t know when I’ll be doing mine. I don’t know when Simon will be doing his but I imagine there will be a set, and that will give you all the different perspectives as to why Duran Duran is what it is.”
My response: I’m thrilled with the idea of one day having a set of autobiographies from the band members. Maybe then, we would have a good idea of what went down and how it was!
So, readers, read the entire interview, and come back and tell me your responses! Were there questions that I didn’t focus on that I should have? Were my responses different than what you would have said? I would love to know!