Showing posts with label Laura Barnett. Show all posts
Showing posts with label Laura Barnett. Show all posts

Thursday, December 7, 2017

Portrait of the artist / John Cooper Clarke / At heart, I'm just a frustrated playboy



Portrait of the artist

John Cooper Clarke

Poet 


'Johnny Depp owes me – he pinched my whole look in Edward Scissorhands'

Interview by Laura Barnett
Tuesday 21 May 2013 17.12 BST


How did you get into writing poetry?
At primary school. I had a great enthusiasm for it, as did everybody in my class. We were taught poetry Michael Gove-style – we learned it off by heart. Never did me any harm.
What was your big breakthrough?
Punk rock, I guess: playing those venues [he toured with bands such as the Sex Pistols and the Clash]. Before that, I had a residency at a cabaret club in Manchester called Mr Smiths. I already looked like a punk – short hair, suits with narrow lapels – at a time when even your uncle had shoulder-length hair and flares. So I fit right in.
How has the performance-poetry scene changed since you started out?
The fact there's a scene at all is a pretty big change. There wasn't when I started out – not in Manchester, anyway. I'd just do a couple of area-specific poems, a couple of gags, then introduce the main act.

What's the best advice anyone ever gave you?
"Find a poet whose style you like, emulate that style, then deal with things that you know about – don't waste your time looking for your own style." I wish I could remember who told me that, because I'd like to congraulate him. I've emulated all the old guys – TennysonAlexander Pope.
Complete this sentence: At heart, I'm just a frustrated …
Playboy.
Do you suffer for your art?
No. Although getting it right is a kind of suffering. Every masterpiece is on top of a pile of crap.

What one song would work as the soundtrack to your life?
That's Heaven to Me by Sam Cooke. It's almost secular, but it has the deep feeling of the finest sacred music. All the best musicians started out in church; Jesus invented rock'n'roll.
What's the greatest threat to the arts today?
The greatest threat to any artist is surrounding themselves with people who love everything they do. You need somebody to say, "I wouldn't do that one if I were you, Johnny."
Is there an art form you don't relate to?
I could say opera, ballet and classical music, but really I only ever come across them by accident. Whenever I hear someone from the pop world choose a classical record on Desert Island Discs, I always think: "You lying bastard."
Who would play you in the film of your life?
Johnny Depp. He owes me one after Edward Scissorhands: he pinched my whole look. I looked exactly like that when the film came out – apart from the hands, of course.
Is there anything about your career you regret?
Loads. Anybody my age who doesn't regret anything has had a crap life.
If you could send a message back to your critics, what would it be?
What's not to like?

In short

Born: Salford, 1949.
Career: Came to fame during the punk rock era of the 1970s, when he earned the nickname "the bard of Salford". Has released four albums, and his 1983 poetry collection Ten Years In an Open Necked Shirt was recently reissued by Vintage. Performs at Field Day in Victoria Park, London, on Sunday, then tours; see johncooperclarke.com.
High point: "Now. My stuff's never been better, and it's never been better received."
Low point: "The 80s were a lost decade."











Tuesday, December 5, 2017

Portrait of the artist / Liz Lochhead / "Do better next time"



Portrait of the artist

Liz Lochhead

Poet 


'The Birmingham Post said they'd rather go to the dentist than sit through my first play again. I actually agreed with them'

Interview by Laura Barnett
Wednesday 21 August 2013 07.00 BST



When did you start writing poetry?
At art school in the late 1960s. When I was at school, and was supposed to be studying for my highers, I was always drawing. And then when I got to art school, and was supposed to be drawing, I started writing.
What was your big breakthrough?
A poetry event at Edinburgh University in 1972, called Poem 72: I was on as a support act to Norman MacCaig (1) and, as everybody was there to listen to him, they all heard me, too. One of them was Gordon Wright, who became my first publisher: a few months later, he got a small grant to put out my first collection, which sold 5,000 copies.
Did you always set out to perform your poems?
Yes – for me, writing poetry has always been about putting sounds down in black and white. I refuse to make a distinction between "page poetry" and "spoken-word poetry". If it's good spoken-word poetry, I want to read it on the page as well. And if it's a proper poem, it should be performable.



What does being the Scots Makar actually involve?
All kinds of things: writing poems for official occasions; doing a lot of readings. "Makar" just means "maker", and I like the title: it reflects the fact that just as you can make a good pot of soup, you can make a poem.
Do you see yourself as heir to a particularly Scottish oral tradition?
Not really. I grew up being taught Burns and the border ballads – but then John Keats grew up on those ballads as well (2). My sensibilities are fairly Scottish, but I'm also very keen on American poetry, and on the Liverpool poets Adrian Henri, Brian Patten and Roger McGough.

What drew you to playwriting?
Going along to the Citizens theatre (3)as a student in Glasgow. It was a very international, unparochial, European theatre – with very cheap tickets. I went a lot with my late husband (4).
Would independence be a good thing for the arts in Scotland?
We'll find out. A lot of artists I know are going to vote yes. I'm not so sure the union has benefited Scotland culturally: Irish playwriting, for instance, is taken more seriously than Scottish playwriting, because Ireland is an independent country. When my play Mary Queen of Scots Got Her Head Chopped Off was a hit in London (5), my agent sent it to the National Theatre. They said: "We love this piece, but it's far too Scottish for us."
What's the worst thing anyone ever said about you?
The Birmingham Post wrote of my first play, Blood and Ice, that they would rather go to the dentist than sit through it again (6). I actually agreed, but it made me think: "Do better next time."
Who or what have you sacrificed for your art?
Gosh, nothing: I've been very lucky. I've had a lot of attention I probably don't deserve.

In short

Born: Motherwell, 1947.
Career: Began performing poetry in the 1970s; was appointed the Scots Makar, or poet laureate, in 2011. Plays include Mary Queen of Scots Got Her Head Chopped Off, and Scots adaptations of Molière's Tartuffe and The Misanthrope. She performs her show Apple Says Aaah at the Assembly Rooms, Edinburgh, until 25 August (edfringe.com).
High point: "The opening nights of Mary Queen of Scots, Perfect Days and Medea. They were all stormers."
Low point: "Working on the play Jock Tamson's Bairns. I found I didn't like improvised theatre."

Footnotes


(1) The late, Edinburgh-based poet and former primary school teacher.

(2) The ballads of Thomas Rhymer and Tam Lin are said to have been sources for Keats's poem La Belle Dame Sans Merci.
(3) Based in the Gorbals, the theatre has been a vital part of the UK theatre scenesince the 19th century, and once hosted a riot after an elephant panicked on stage.
(5) Ran at the Donmar for a week in 1987.