[edited. last paragraph on Miguel Zegarra. link added. 14/05/15]
I have to write a few posts on
exhibitions, albums, film, but I have decided to wait January 2015 in order to
give a better exposure to these important events. And since I don’t want to
write on 2014 “best”est” of”...
Meanwhile, I think a Q&A with
myself would be “de bon augure” or “a propos”!
Myself: How and why did you start Babylondonorbital?
Myself: I had come back to London
to look after a friend who had a brain tumour. We had a deal that I would stay
at hers and look after her while I would apply for jobs. London seemed to have become a strange place (not in a good way) and I didn’t get replies. My friend
died early March 2013 and I thought I would write articles with a soupçon of “auto-fiction”. A sort of
on-going CV (laughing to myself very loud)!
Back from left to right: Jean-Daniel Beauvallet, Calou, Moi, Christian Fevret, Arnaud Deverre, Serge Kaganski, Rodolphe A D'Ormeuil, Emmanuel Tellier
Front: Eric Mulet with son Boris
Photo taken by Renaud Monfourny
Did you have any background in media?
While I worked as a train hostess
in Paris, one day in 1990, I called Les
Inrockuptibles. It was the only magazine I wanted to work for. I loved Actuel too but Les Inrocks was my target. I got the job straight away as editorial
assistant, receptionist, subscription manager. I made it clear that I also
wanted to be trained as a photographer and journalist since I had no time to
damage my bottom and my clothes on university benches. I learnt a huge amount
of things from tickling a computer to dealing with press officers. There was an
element of trust as well as I dealt with people like Leonard Cohen, David Bowie,
Philippe Djian (Betty Blue’s author), Etienne
Daho; I had a massive list of confidential contacts: I was the one sending
magazine copies to the famous and infamous artists’ private address. Of course,
many people outside the magazine wanted to be friend with me: some wanted a job
at Les Inrocks; some wanted info on artists... I learnt to smell vultures and
kept my distances. But I was the first and only woman for a good year in a
eight male team environment and one of them was constantly harassing me + I
worked more hours than agreed + I was learning nothing about photography
despite an in-house built darkroom + they were preparing their weekly issues
even before they became monthly + I was born with little tolerance on how much
crap I can take (I am LOL again). The guys who taught me a lot and showed
respect were Serge Kaganski (who
recently sent me a nice email); Samuel
Blumenfeld; Calou and Arnaud Deverre. Even when I resigned, I
kept going every evening after my new job shift, to sort out cheques and cash
for subscriptions as it took them a while to find someone trustworthy. As angry
as I was to leave them, I never sold the news on their plan to become a weekly
mag; not even my best friend or flatmates knew about it. Actuel and Les Cahiers du
Cinema offered me a job at some point, but I shot off to London after I
finished a photography course in Paris.
All photos were taken by moi: Fun Da Mental, Idjut Boys,
Lydie Barbarian and dog, Burning Spear
© Sybille Castelain
Did you have a planned job in London?
No, I came back to the family I
stayed with as an Au-Pair before living in Paris and I wanted to pursue
photography. I met the photography lecturer Bill at Roehampton in 1993 who was a wonderful man, and a great
photography transmitter. He eventually offered me a part-time job with him. At about
the same time, I became an usher at the Riverside
Studios and met someone who was humble and extraordinary, Ed Lewis. Bill and Ed appeared in my
life at the same time and guided me for 10 years. They were somehow replicas of
Serge and Samuel (no, I was not in love with any of them, they were gods for Christ
sake!) – Serge and Samuel are still around in this life, thanks god for the
film business! I even was Ed’s cinema assistant from 1995 to 2000.
Eventually, I wrote for some
French mags and took some photos / press photos for record companies.
So, yeah, I was no new-comer when
I launched
Babylondonorbital, but I
didn’t want to scream out loud or justify anything. I had to re-build things.
Ed Lewis, Cinema Director @ Riverside Studios
His office, 90's
© Sybille Castelain
Was it easy?
Fuck no! I thought it would be
though! That used to be the beauty about London. You could turn up at
something, meet people, have a chat, blah blahblahblah. I could surf in between
tribes, I never felt rejection. In the music business, I got sent rare stuff,
got invited to private concerts in the basement of luxurious buildings in
Regent’s Street... looked dodgy, was full of famous people, free cocktails and
nobody checked whether I wrote for mainstream this or posh that! There was a
real relation between a press officer and a journalist.
Now, it’s a bit down to how many “likes”
you are going to harvest on FB and how many followers you have on Twitter that’s
going to determine whether you are invited or tolerated (I’ll literally have to
be a pain in the ass to get through)!
Unite against racism festival
And more concretely, what do you mean?
Yeah, am a bit vague... am good
at it... I should be a millionaire if such job existed! What’s your job? Oh, I’m
an androgyny bisexual vaguist! Well, I consider that I had a very good training
at Les Inrocks (in terms of dealing with press officers – music, films, literature)
and at GLR (BBC London). So, to me, there was no way I would write about an art
event without getting in touch with a press officer. You give me this and I
write about it. Since I am alone, I have no time to deal with things I don’t
like. I am quite selective. If you send me a CD or DVD I don’t like, I’ll give
it back to you. I don’t want my space to be invaded with stuff I don’t relate
to.
BFI was one of my first targets.
I became a NFT member when Riverside Studios closed down for refurbishment in
1994. Then, when Sonic man Stuart started there in 1998, I renewed my
membership as I loved the film-music combination. A dary step for the BFI and I
wanted to support it.
Without telling press officers
who I was when I started my blog, they were quick to reply. BFI Northbank sent me
DVDs and invites to private screenings, BFI Southbank insisted on my writing on
some of their specific seasons. Since I was not knowledgeable to some of their
suggestions, I invited them to send me info on their African Odysseys seasons,
leftfields seasons etc. I have only managed to “do” Tony Garnett eventually. 27
year old press officer clearly wrote that she has no time for me as I am not a mainstream
outlets... only proper journalists can get comps / press tickets to BFI seasons.
Oh yeah, like Michael’s Atomica girls!
Editorial Assitant for Les Inrocks / L'Immature (Editions Independentes) + their CD: compilation of Leonard Cohen songs by other artists - photo Weegee, Children Playing in Water.
My writings + photos: Premonition; Coda (FDM, Baaba Maal); Milesahead; Barbican booklet; WOMAD booklet
Don’t you think you write like a pancake?
Ah ah you bitch! But yeah, I
thought so too. So, I sent some of my posts to friends I know would have no
issue telling me I should change interest. I have to admit that I am not happy
with some of my posts, but in general it is not that bad. Even the most aggressive
press officers at Soda, BFI Southbank or Second Run DVD admitted my posts on
their films were good, but I was not mainstream enough!
This is what I call underground
racism or intellectual blockade. They have the privilege to send you to hell! It
doesn’t matter how good or bad you write, numbers have a magic “spell” to them:
the number of clicks on a link; number of viewers per day; numbers of followers
on Twitter; number of “likes” or “fav” on FB/Twit; number of viewers per month
and so on. I was asked about my figures or got sent applications to fill about
my figures. It’s a bit like wearing a media star on your forearm and its colour
would dictate where you can go.
Before going to the private
screening of 20000 Days On Earth, I read Time Out and Dazed & Confused
articles. I had already my doubts on D&C film critic but since both D&C
+ TO went on the film makers’ website page as references, I relied on them. I
did read the press release as well. If my grammar is not perfect, I am against misinforming
readers or raving about something to please artists or press officers. I don’t
even want to harvest “likes” or “favs”. Time Out eventually changed its article
but D&C “colossal rockumentary” had nothing to do with the film, and yet it
gathered a huge amount of “likes” shares” and “favs”. That gives a credit to
the film makers.
I could compare the phenomenon
with the slave trade: the more slaves you had, the more respected person you
became, reinforcing the very capitalist system! You could be the most horrid
person on earth; you were respected by some, feared by others. They had power
and participated to a country’s economy but didn’t care on their vile actions
on human beings.
Not that it is vile to write “colossal
rockumentary”, but its only purpose is to gather a maximum of credibility by
any means, so film makers can apply for funding in case they have other film
plans.
I liked the film, had my own
vision on it, have been denied any interview with film makers but I don’t
understand their propaganda around it; that effervescence at Barbican? I don’t
think the film deserved such a cheap treatment: the “archivist” reading the
twits on stage... If this is the future of art-house cinema, then we are heading
towards a Gattaca experience!
Euh, you hate press officers then?
I don’t like the new generation
attitude. They are like robots on ego-trip. Technically speaking, it doesn’t
cost them to invite smaller publications. Recently, I got in touch with an ex
music PR who worked for a major label. When the music business collapsed, he
had to leave. We had been in a working relation from the 90’s to his departure.
It was my saddest moment in the music industry. He never tried to convince me
on anything. He knew I had broad taste, so he would send me samples of
materials and we worked on an artist, a band etc. He was dealing with obscure
sounds and major bands. I was always aware of anything new. I would ask to see
some major bands I wouldn’t cover and he would put me on the guest-list
whenever possible. Even though, he left London and the music business, he knows
what’s said around and he lets me know. It has become a complete circus! I am
in it because art can convey vital energy on many levels. This is what I want
to defend. Jane Bown (RIP) was in search of perfect light. What was wrong on my
post for the documentary? What’s wrong with Soda pictures to jump me off their
press list three times in six months when I dealt with more press officers that
the four films I wrote for Soda. Having to beg for photos to “escort” the
article and finally having to get them from the web (I suppose illegally). This
is insane!
Of course, I was told recently,
that some PRs are interns who are not being paid for their work. So, in one
hand there is a company that invests in a product but has no resources to pay
for that product to be defended properly. Then, you have an “in-training” PR
who needs a job but knows won’t get one from smaller publications and focus
where money is... It is becoming a Man Bites
Dog field. It Smells Like Teen Spirit!
3 photos of Basement Jaxx, Into You tattooist, Dave Courtney, Fetish club, Man on Bench (for AOP),Home (for the Independent/Channel4), Carnival Notting Hill with beer ad, Punk neighbours, rainbow family at festival,
Trafalgar SQ - © Sybille Castelain
Any time you have fucked up?
At first, I did a lot of research
on articles written about films I was to write about. I had my own views, so I “copied-pasted”
what corresponded to my views. I re-wrote bit and pieces of film critics who I
felt close to. However, I never used anything and never read either anything
from Serge Kaganski or Samuel Blumenfeld. These two are fine critics and I
would find it hard not to copy-paste or get influenced by. Jonathan Romney is an
interesting case because I can profoundly agree on what he describes but
totally disagree on what he gets into: on the film Archipelago, he describes
the film quite perfectly or rather to the way I felt about the film (the
colours, the atmosphere) but he disliked the film when I loved it for these
very reasons.
Music wise... It took me a while
to understand how to download a private link. I used to receive finished CDs...
I guess I was a nightmare, but now I ask at least for a promo CD; I have little
space on my compu.
Why are you at war with “likes””favs”... mainstream?
I find it freaky! For its fascism
aspect when it determines whether you are in or not because of a figure. Also,
a figure is no synonymous of success. Success can be dangerous! How do you deal
with success? As if, it is something natural and there can’t be any aftermath!
Look at someone like Amy Winehouse. She was catapulted to a place where she
didn’t feel that comfortable. Unfortunately, her case helped me to understand
how I felt when I dealt with Mathew Barney’s DR9 film screening in Peru. I was
very pleased to get front pages and many articles written by most publications
(and I gave the same importance to blogs and major publications and allocated
press tickets to those who wrote... just saying). The film had a unique
projection screening at 9.30pm and was free – first come, first served basis. At
5.30pm, I was told people started to queue. I left more than 800 people outside
the gate that we had to lock to prevent incident. Everybody congratulated me
for its success, I just cried for a week for leaving 800 people outside. Looking
back at it, there was nothing I, we could have done. There were so many
parameters to respect and so little choice: we did the best we could, but I
wouldn’t call it success. Numbers are freaky! You can post your crap photo on
FB and harvest 12 “likes” out of your 5000 “friends”, it doesn’t mean your
photo is good, it just means you have some supporters! Don’t believe the hype!
What’s art?
Go and bore someone else with
your stupid question! I’ll answer it anyway. It’s a trip. If it doesn’t take me
somewhere, then I might not get it. I immerse myself into some sounds,
images... Since my stay in Peru, I have come to realise it’s also a privilege to experience (art-wise) what
others can’t. I used to live with a curator called
Miguel Zegarra. He was a
brilliant curator and had an immense knowledge despite the fact that Peru didn’t
have the resources to provide contemporary art teaching. He spent his time on
internet. He was very passionate and we spent nights talking about art; him
being gay or not; his depression; his mother, sister; local curators who
decided who got a grant to study in Spain. So, now, when I immerse into something,
there is another dimension or appreciation. I know for me it’s a luxury and I
always view or listen thinking of him particularly, but others who won’t have
that privilege. Art should be accessible to those who want to experience, but shouldn't not dictated by those who have got ghost keys.
