When I started doing zines as a teenager, interviews were an easy way to get something no one else had. I could get in touch with a band, ask them questions, and write up an original piece of content. It was fun and it lead me to magazine writing. When I moved the operation online, my first site (frontwheeldrive.com) was almost all interviews.
Andy Jenkins and I have had a similar relationship with interviews. We both started off doing them for journalistic purposes, then moved away from them for various reasons. “Interviewing folks meant that I was drawing a line between myself and the interviewee,” he writes in the introduction. “So, instead of being a peer, I was sort of an outsider” (p. 3). For Bend #24: Questions (Bend Press, 2015), Andy returned to the interview format to check in with a bunch of people who’ve inspired him over the years: He asked 27 people the same 24 questions. Interview subjects include Johnny Knoxville, Megan Baltimore, and O; skateboarders Jerry Hsu, Ed Templeton, Tod Swank, and Marc Johnson; artists Lori Damiano, Ferris Plock, Kevin Wilkins, Thomas Campbell, and Evan Hecox; and one of my favorite character actors, Bob Stephenson; as well as many other creative folks. Questions is inspiring, entertaining, and funny. Andy’s introduction says he did these interviews “not feeling the line” because he knows all of these people in one way or another. His art and designs have always been inspiring to me, but this time it’s the minds he’s assembled that make me want to go do stuff.
Life from a window
I’m just taking in the view
Life from a window
Observing everything around you
— The Jam, “Life From a Window”
I met Tobin Yelland twice: once while I worked at SLAP Skateboard Magazine in San Francisco and once while I worked at Skateboard.com in San Diego. He’s a super-nice guy with a keen eye through the camera lens. Life From a Window (Deadbeat Club, 2014) is Clint Woodside and Tobin’s travel log from Asia, including pictures from Shanghai, Seoul, Hong Kong, and Guangzhou. Candid expressions, odd artifacts, and haunting cityscapes adorn its 40, full-color pages. It also comes with two 4×6″ prints, one from each photographer.
I picked up a copy of Bogus Rendition #9 from the merch table at a the Watain/Mayhem Black Metal Warfare tour stop at the Bottom Lounge in Chicago earlier this year. Split between hopping trains and black metal, Justin Curtsinger tells great stories and does solid interviews. He’s traversed the US by train several times and toured with Watain and many other black metal acts, so his stories and interviews (with members of Watain, The Devil’s Blood, Soulgrinder, et al.) come from a far more personal place. The lengthy transcribed talks in BR #9 are as meandering as they are interesting. These are not promo-copy fodder. They’re just regular chats with the guys behind the set and sound. It’s a welcome change from magazine interviews. Reflecting on Watain’s 2013 tour for The Wild Hunt, Curtsinger writes, “I’ve found it harder and harder as time has gone on to write about other people who happen to be friends as if they are ‘characters’ in a story.” Though he admits that he’s not the biggest Watain fan, he acknowledges their importance, writing, “The reminder that life is whatever the fuck we want to make it and that following one’s heart on whatever obscure path one wants to take is not a pipe dream.” The 108 pages of Bogus Rendition #9 document parts of Curtsinger’s obscure path(s), and the world is better off for the glimpses it provides.
A member of both the black metal band, Light Bearer, and the hardcore band, Momentum (two of my recent favorites), Gerfried Ambrosch is also a prolific writer. Not surprisingly, his writing is ideologically in-line with his music. Among his zines are Atheist Morality: Why We Don’t Need Religion to Be Moral (Active Distribution, 2013) and Vindication of a Vegan Diet (Active Distribution, 2013). We Want Something More: The Poetry of Punk Rock (Active Distribution, n.d.) is a 100-page pamphlet-style zine that could easily double as a master’s thesis. It’s also informed by interviews — with some of the most important people in punk rock. Its back copy reads,
We Want Something More is an extended essay about punk lyrics. It features exclusive interviews with well-known punk rock and hardcore artists such as Ian MacKaye (Minor Threat, Fugazi), Jello Biafra (Dead Kennedys), Henry Rollins (Black Flag), Ray Cappo (Youth of Today, Shelter), Greg Bennick (Trial), Brian D. (Catharsis), Dan Yemin (Kid Dynamite, Paint It Black), Chris Hannah (Propagandhi), and others. The essay investigates the connections between song lyrics, poetry, visual and acoustic aesthetics, musical conventions, the D.I.Y. ethos, and radical politics in the context of punk and hardcore. Its goals are to demonstrate that punk rock and hardcore song lyrics are a fascinating literary art form and to give punks and hardcore ‘kids’ an understanding of lyric analysis and close reading by reference to some of the songs that have changed their lives. Moreover, the essay discusses the particularities of punk culture and the things that set it apart from other subcultures. Given its focus on radical politics, is punk a serious counterculture, or at least part of a wider countercultural movement? This essay attempts to answer such questions by looking at song lyrics and how they have both reflected and affected the political discourse of punk and hardcore. If you have a passion for punk culture and/or the written word, there is a good chance that you will find We Want Something More to be a very interesting read.
I don’t do as many interviews as I used to, but I’m still biased toward them and read them regularly. I mean, I do teach a class on interviews now, and my first book is a collection of them. Interviews can be weird and indulgent, but they can provide keys to someone’s work you admire. They also let that someone know that you admire them. In Bend #24, Andy Jenkins asks, “Do you like answering questions?” Ed Templeton sums it up, saying, “Yeah. It means someone is asking.”
I marshal the middle between Mathers and McLuhan.