Yorke is dealing with the emotional fallout of latter-day life challenges. In August this year he made public that he was separating from his wife of 23 years, Rachel Owen. At Pitchfork Paris, he's replacing Björk, who cancelled her original headline slot at the festival because performing her most recent album 'Vulnicura' reminded her too much of her traumatic separation from long-term partner Matthew Barney. So as the Icelandic musician takes time out from touring to overcome her personal struggles, Yorke has made the opposite move, reportedly taking himself on tour to give his ex-partner and kids back home in Oxfordshire some time and space to move forward. (NME)
Saturday, 22 August 2015
"It is curious that Spain is the country where bullfighting is most popular. Do you know why Spain is a country in eternal conflict? Because we are not sure if we are a rational or an emotional country. Nordic people, for example, act in accordance with their brains. However, the Arabs or Latinos have accepted their passionate side without blame. Both, they know which are their strong points. Spaniards are balanced right in the middle. That’s the way we are. And what is bullfighting? The representation of the struggle between instinct and technique, between emotion and reason. We have to accept our instincts and learn to deal with them as if they were a bull, trying not to be destroyed by them."
Friday, 21 November 2014
If you want to be a creative person, the big thing is to locate your own creative voice, which can be quite difficult. When I went to art college, I would read books about famous artists of years gone by and think, “Oh, well, if I went and lived in Marrakech and ate only oatmeal and bananas for a year, I'd become really artistic,” as if there's some kind of recipe. But instead of looking off into the distance, try and concentrate on your immediate surroundings and you will find that you already have a unique take on the world. It's just that you might not recognize it. The key to locating it is by being specific and writing about the details of situations, because a detail proves that you were actually there and lends authenticity to what you're writing. And the weird thing is that, by being more specific, it opens things up and makes it universal.
Thursday, 7 August 2014
"I never know what could inspire me, what can be the trigger. And that is such a thrill. It can be something that you see on your way to the grocery shop or some small remark that a friend said after the cinema. Truly, it can be anything in the right moment, i don’t discriminate. I am always open for an adventure."
Excerpt from an interview with Anita Celic Cella
Whole interview HERE.
Tuesday, 4 February 2014
"...mjesec lebdi nad Manhatnom kao veliki kolut zrelog sira, a ja sjedim na zadnjem sjedištu ogromne limuzine.To je najveći automobil koji sam ikad vidio, ali dok prelazimo East River koji svjetluca na mjesečini ispod masivnog željeznog mosta u 59oj ulici, sa čuvenim prizorom grada u pozadini, više nisam siguran u to. Moje prvo putovanje u New York biće početak doživotne ljubavne priče s gradom koji me opčinjava kao nijedan drugi, gradom neobuzdane mašte, opojnih, zaluđujućih snova, legendarne jednostavnosti i drame vertikalnih socijalnih kretanja. Zaljubljen sam. Limuzina krivuda između kišnicom ispunjenih rupa na asfaltu, a šahtovi ispuštaju stupove bijele pare iz nekog divljeg prometejskog podsvijeta odmah ispod površine ulica. Očaran sam čak i prljavštinom Bowerya..."
Friday, 31 January 2014
sve ljubavi sva lutanja sve predstave za nas ja nemam ništa da je moje, da ti dam i tekst što pišem nema slike, nema trag moj glas je drukčiji samo tebi jer me znaš a sram me vremena tišine me je sram ja samo tebi tebi pripadam tu, tu stalno tonemo, zar ne iz mraka spustit ćemo bilo kome sve u strahu svaki put u strahu bilo kad ja samo tebi tebi pripadam budi moj, da znam da više ništa ne čuvam sad pravim se da znam al više niko ne gleda još uvijek želim sve i tijelo lomi se tiho tiho noći odlaze i nikog nema, nikog nema tu.
artwork by Anita Celić Cella
music and words by nipplepeople
Tuesday, 29 October 2013
The first time I met Lou I was terrified. It was when I was a bus boy at the Lion's Head Restaurant on Sheridan Square in NYC in the early 90's. I was working the brunch shift that fateful day when one of the waiters called in sick and presto, I was instantly promoted and flung into the circus of hung over diners. Initially I was excited to move up the ladder, but my joy was short lived: my first ever customer would be Lou Reed. I will never forget it. That hair, those eyes, and I believe a white blazer with rather accentuated shoulder pads (not a look he had for long). After sheepishly approaching his table I timidly requested his order to which he emphatically stated that in no uncertain terms he would have "French Toast with NO BUTTER". It was a serious New York moment (especially since in Canada one would never dream of eating French Toast without butter!) and the experience was immediately tatooed onto my memory. We later became great friends and admirers of each other's work and I, as well as countless others, owe him so so much in terms of forming real and true artistic sensibilities. He basically taught the world how to NOT compromise." NO BUTTER!" Such a loss but at the same time, such gain. Still, that very first memory I will cherish since although it was a rather short and simple statement, here we go again: "French Toast with NO BUTTER!", it could have been a soliloquy from Hamlet or a Puccinni Aria: I had just met fucking Lou Reed!
Wednesday, 25 September 2013
...unless it comes out of your soul like a rocket, unless being still would drive you to madness or suicide or murder, don't do it. unless the sun inside you is burning your gut, don't do it. when it is truly time, and if you have been chosen, it will do it by itself and it will keep on doing it until you die or it dies in you. there is no other way. and there never was.
excerpt from a Charles Bukowski poem
Sunday, 9 June 2013
uspio sam se u jednom periodu dovesti do ekstremnog stanja, stadija mentalne bolesti i izvesti tu emociju do krajnje ekstenzije. u tim rubnim područjima straha i osamljenosti riječi su vrlo jednostavne, vrlo precizne, vrlo bazične jer u takvom stanju nisi sposoban ništa drugo ni misliti ni reći ni objašnjavati niti previše metaforizirati. TO je ispalo iz mene. samo od sebe. da, u pet minuta. mislim pritom na refren jer sam siguran da kad pričamo o „htio bi da me volis“ pričamo ponajprije o refrenu. nešto kasnije pustio sam y pjesmu. i kako to često biva, lirski objekt rijetko je oduševljen svojom ulogom. imam osjećaj da su ljudi puno sretniji i slobodniji ako ih se ne zarobi u songu. nekako ta činjenica više opterećuje i gnjavi nego usrećuje. vjerojatno se ni sam ne bih osjećao komforno da ni kriv ni dužan završim u pjesmi. što da se radi s tim, kakva je korist?
Dubravko Ivanis (pipschipsvideoclips)