"It can not be infinite chronic, abuse, drugs, crack and heroin. Medically, physically, I say. There is a very consistent and inevitable that insane bombardment of the senses and the soul completion. It's time to stop this habit confusing, this horrible adventure. (...) Maybe get another hobby. Sex, _____ and Rock N 'Roll. Complete the missing word ", Pete Doherty.
The above passage is an excerpt from From Albion to Shangri-La, a book that has just been released in England and does not have a Brazilian edition. The work brings together several texts that Pete Doherty wrote in his personal diary from 2008 to 2013 and was edited by a famous historian of rock, Nina Antonia. Journalist, writer and foremost a rocker, Antonia was born in Liverpool in 1960, but became known in 1987 when it launched Johnny Thunders ... In Cold Blood, a book that tells the story of the New York Dolls guitarist.
In this exclusive interview with NOIZE, Nina Antonia told it was like working with Pete Doherty and how she feels documenting the lives of artists immersed in the dirtier side of the rock. It was not easy to give way to the book notes frontamn of The Libertines and Babyshambles: Doherty devoted himself to a life of excess marked by periods in jail, romances with famous models, scandals in British tabloids and serious problems with hard drugs.
Read our chat with her below and stay tuned: tomorrow we will publish an exclusive interview that Nina made with Doherty and is present in From Albion to Shangri-La.
When and how you started writing about rock n 'roll?
I started collaborating with some articles for a fanzine called Liverpool Merseysound but at that time I had no long-term plan on becoming a writer. Had two editions, one of The Cramps and one on The New York Dolls. I think it was around 1979, but not sure, it seems so long ago! It was. Looking back, I started working on the authorized biography of Johnny Thunders, In Cold Blood, only one or two years later. Since then, I was known for writing about unconventional themes in rock n 'roll.
Musicians who go against the rebels represent and have always had a greater appeal to me than the sycophants of the mainstream. But as I could not get a publishing contract to publish the book Thunders, just going to sell him personally. If not for the seal Johnny Jungle, which eventually releasing the book, perhaps he had never been edited. Ironically, this book has already been reprinted for over 25 years, which is a kind of record for a book about music. One way or another, all the projects I've been involved had unconventional paths, but it was the only choice. Nowadays, even if the chief editor of publishing house like some of his ideas, is the sales team who gives the last word on everything. But they are businessmen, not based on creative ideas.
The rebellious self-destructive traits is something that unites all icons that you address in your books. What attracts you most in this dirty and dangerous side of rock n 'roll?
It's an interesting question. The only artists that interest me are those who defy society and its norms. If you look back and think of marginal artists like Rimbaud, Baudelaire and Van Gogh will see that they all suffered greatly when they were alive and still today his works are properly revered, there is one undeniable truth in them. I think it was Iggy Pop once said that society takes 30 years to accept their pioneers. The New York Dolls are the perfect example of this theory. There in the early 1970s, taking his devoted fans and a handful of liberal journalists, the general public and the mainstream media could not handle his image staring, much less with his music. But today the New York Dolls are acclaimed, along with MC5 and The Stooges, because they open the door to what would be the future of rock n 'roll.
Do you see any parallels between Thunders, the Dolls, and Pete Doherty?
As people, they are very different and the songs are light years away from each other. If you have anything in common between them is that Peter, as Thunders, refuses to be restricted by the establishment. Both have become conduits for rebellion.
How you met Pete Doherty? What relationship do you have with him today?
I met him seven years ago through mutual friends. There has never been a real problem for me to work on one of their projects, at least not at first plan. It is too subtle to say this directly, but every time we meet, we always end up talking about literature so I guess it was inevitable! Eventually, he introduced me to his literary agent and gave me his diaries that I the enactment.
I found this amazing relationship between Doherty and Rimbaud, did not know he was so connected with classical poetry.
Just you read their letters to see that he has one foot in poetry. Libertines before he even organized a night of poetry in London. The first time I had contact with Peter was an event of poetry. Even little self-portrait on the cover of From Albion to Shangri-la refers to an illustration that [Paul] Verlaine Rimbaud did. On the seal of Grace / Wastelands (2009), Peter solo album, has an image that blends face with Pete's Rimbaud, the clues are there.
How was your job to turn many pages scrawled in a book? How long did it take?
I spent most of last summer reading the diaries and transcribing them. It was a painstaking but rewarding work. Although I think I blew a bit of my vision of both work nights trying to decipher so many waves of ink.
It was necessary to censor something of the daily Pete? Names, locations ...
I tried to be as sensitive as possible while keeping the beat, the rhythm and the authenticity of the words of Peter. But it was not my role to act as a censoring. From Albion to Shangri-La is a historical document of a certain period in time. Peter is a very mercurial character, and although many books have spoken of their adventures, I'm not sure if they captured its essence as the From Albion to Shangri-La did.
Albion, Shangri-La ... You know what these mythical places mean for Pete? Are symbols of your imaginary world?
Every true artist creates inner visions and Albion From To Shangri-La opens with a short description of these mythical places. My understanding is that Albion would a pagan England that existed before the social embarrassment, populated by nymphs, shepherds, poets and vagabonds kind, where the flute of Pan can still be heard. Ironically, someone said to me: 'Oh, but it has a second meaning of Shangri-La, is another name for the Glastonbury festival', this is news to me! I prefer to think that this is a mystic destination rather than a corporate party. [Actually, there is a facility within the Glastonbury Festival that takes the same name].
In Albion From To Shangri-La, Pete talks a lot about people and situations that surround him, but despite his rock star routine, he says he is a lonely man. Do you think that this context was related to his drug abuse?
If you are a sensitive person, it is common to feel alone in a crowd. If you're famous and sensitive, should probably be something more insulating yet. Anyone can excel, but the use of drugs can lead to social disconnection. But if you're playing to crowds of several thousand people, has the right to close the door and stay in your.
Must be pretty hard to have real friends in this world?
How many true friends anyone have? If you are someone you know, is even more difficult, but there are some good people around Peter.
There's a moment in the book where Pete says: "The power is infinite, but you have to know how to use it." Do you think he has managed to do this?
Absolutely. He is probably one of the smartest people I've ever met. But his greatest power is what he uses on stage, he is a performer and runs until the end of it.
Translated by French Dog Blues 1/8/2014
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