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“I argue on my web site (with admittedly little proof!) that the Baader-Meinhof Gang’s supposed preference for the BWM 2002 models (thus earning them the common nickname ‘Baader-Meinhof Wagen’) was a significant reason that BMW emerged from the their late 60s doldrums as an almost bankrupt, dowdy car maker, into the hip carmaker of the 70s and 80s. The cars didn’t change that much, but the perception of them did; helped to a certain degree by the association with the notorious yet hip outlaws.”

Andrew Stevens interviews Baader-Meinhof.com founder and creator Richard Huffman.

“To me the culture and the art that’s interesting is stuff that, even if it doesn’t have an overt political message, has a poke in that area. It’s about making you think about where we are and where we might go. And even when some of that work is miserable it’s utopian because at least it has an idea about the future and that means an idea of change. And I think so much stuff that comes out now isn’t interested in that idea. Maybe I’m some weird and washed-up post-Enlightenment madman but I still believe in an idea of the future, a utopia and change. Not in an airy-fairy way. It’s just that we are here, how can it be better? Why isn’t it better? This society works as it does at the expense of the many for the glory of the few. And I think that should change and I think I want to make entertainment out of that.”

Richard Marshall interviews Paul Tickell.

I’d like to think we all secretly love sexist trash. Virtual Prey is not the story of a victim, but a fighter. When the player eventually wins the game, they will discover Raven is a full-on Vigilante and takes her revenge with extreme prejudice.

3:AM interviews Adam Prusan and Mitch Lerman.

… I guess for me, it’s important to see characters rendered solidly in their geography. I know New York very well, and it was where I wanted most of this book to take place. As for Los Angeles, it was hard I guess, not to let it slip in. It’s such a weird fucking place. People are just so strange there in their little ways and needs and wants. The cliches that surround the character Taylor, especially, were intentional on my part. It’s totally cliched that she would go there, sleep her way into “the business” and not ever really get grounded. It’s almost impossible not to if you’re half-way good-looking and otherwise unskilled.

Matthew Wascovich interviews T Cooper.

“I was always particularly fond of simple music, ideally featuring a drone, or common note throughout the music. Basically, one chord best, two chords cool, three chords OK, four chords average. Much of my sound (as opposed to conceptual and songwriting involvement) in Spacemen 3 was textural. Simple drone chords of texture, slow crescendo and dynamic — being able to take one chord from the proverbial whisper to a scream.”

Andrew Stevens interviews Peter Kember of Spectrum and Spacemen 3.

My approach is that everything has to be seen as multi-tiered. I think that communications need a global superstructure, this mirrors what Roger Hutcheson says, like, you need to take such an approach, the viability of preserving Gallic requires it, for example. You have to look at micros and macros, it’s the home to happiness tandem. What I’m saying is that I don’t want a grey world. Or rather, because this is the way it’s going, a grey world that’s painted day-Glo wild colours. Fuck that, it’s just disguising the real situation. I’m wanting a world that’s multi-tiered, that has real variety, real levels of difference. I think things will function without theory, we can work out the maths behind the machine later. And I think if you start engagement with politicians then you become a politician — you might as well be Bill Clinton.

Richard Marshall talks to Deviants frontman, novelist and legendary journo Mick Farren about his autobiography Give The Anarchist a Cigarette.