WHISKEY A WHORE GALORE - 69 THINGS TO DO WITH STEWART HOME. AN INTERVIEW
ďWhen I do readings Ė like when I was doing readings to promote the King Mob CDís with Michael Moorcock, Iain Sinclair and people at the Conway Hall, - theyíd stand and talk about me as a thug novelist. Iím doing these pieces which are very carefully constructed and very referential in a simulacrum pulp style and they canít read that thereís this dialectic going on between pulp and high brow. My problem is I miss out the middle-brow which is what they count as literary. So Iíve had this problem of people thinking that my fiction is autobiographical, a classic problem of people reading novels as if theyíre autobiographical. This was my problem with me being identified as an anarchist so then I had to produce all this theoretical work to explain the positions that had been worked out through the fiction. I was satirising anarchism, I wasnít endorsing it. In this new novel itís hugely referential. There are footnotes Ė an enormous list of books about stone circles, a bibliography, and I thought that if I wrote in the first person female this would be interesting and hopefully people wonít think that itís autobiographical. Maybe what I want is a big literary hit so that I can afford the sex change Iíve always wanted.Ē
Richard Marshall Interviews Stewart Home. Picture of Stewart Home by Marc Atkins
COPYRIGHT © 2001, 3 A.M. MAGAZINE. ALL RIGHTS
SEND CORRESPONDENCE TO:
3AM: Ok, letís talk about your recent German tour.
SH: That was because Iíd just had Blow Job translated into German by Edition Nautilus so that was my third novel translated into German. It was a jaunt through Europe. I did a couple of readings in Zurich in the Paranoia City Bookshop which was nice. Itís a nice place. Iíve been there before in í95, last time I had a tour in German speaking Europe. I also went to Mainz, Hamburg and Berlin. Iíve got a nice publisher in Hamburg who publish a lot of left-communist material and works of Franz Jung who interfaced with Berlin Dada where those two scenes interfaced and they do a lot of classic avant-garde material from Dada and Surrealist through to the Situationists so my writing fits in quite well within that list. Itís just the first book did well in Germany, Pure Mania which caused quite a lot of interest over there. I was there about 10 days, did a few interviews, stayed in a nice three star hotel in Mans. It was brilliant, a kind of 80ís Modernist hotel with coloured hammers on the carpet in these multi-coloured swirls and it was all kind of real 80ís dťcor, it was fantastic. I just wanted to stay in my room. It was a shame I had to go out and do the readings. The Hotel Hammer Ė I can recommend it to anyone. Not a bad three star either. When I was in Switzerland I stayed in Basle because my translator lives in Basle. So we just went to Zurich for the day from there to do the reading and interviews and then went to Mainz which was nice. In Hamburg we stayed up in this house Ė my publishers have access to this house on the Elbe up in the posh suburbs of Hamburg so they put me up there. So I was sitting in the garden drinking my beers watching the huge ships go by into Hamburg harbour. I kind of think you have to combine your work with a permanent holiday so I think I was having a holiday in Germany. Berlin is always good. I met up with Darius James originally from New York but now based in Berlin who wrote Negrophobia so Berlinís a good chance to catch up with old friends and it was particularly good to see Darius because I havenít seen him since í95 when he was in New York.
3AM: Did you get a sense of anything happening over there?
SH: One of the things about being in Berlin youíve got people going over there like Cristoph Fringeli from Praxis Records. He used to be based in London and I used to go to a lot of his party nights he used to do. He is based over in Germany because there are very cheap rents over there in Berlin and youíve got a sense of a bigger political scene Ė a Left dissident thing. Itís quite factionalised and you also get the sense that since the Wallís come down the City is very big so youíre travelling over quite large distances. It was always the city to rival London as the big European city before the Wall went up and when you had the Wall up there was a kind of contained scene Ė in the West lots of people went there to avoid military service in Germany - whereas now youíve the cheap rents and the space but the intensity of the scene has dissipated a little even though there is a lot going on. But I went to a place called Cafť Berger which is run by a guy called Bert Papenfass Ė itís a kind of former East German dissident, but not the kind of dissident that the West like Ė they prefer someone like Solzhenitsyn, but heís a very interesting guy. Iíve corresponded with him before. He was an East German Left Communist who opposed the capitalist regime of the Bolsheviks from a Communist perspective Ė you know, against the rhetoric of Communism but the reality of Capitalism under the GDR. He writes these incredibly dense poems about German history which I find quite hard to follow Ė he sends me stuff in translation Ė but some of my German friends have said ĎDonít worry, theyíre brilliant but even Germans find them difficult!í So that was really nice to meet him because heís translated some of my writing in Left Communist publications like Slav so I was actually on the space he owns in Cafť Berger which is a really nice space. When I was on in Mans the man who put me on had previously put me on in í95 in Munster, and I was at Paranoid City because it was the summer whereas before it was the winter. They put me on in a big hall in Zurich so I was meeting either people Iíd already met or meeting people Iíd been in correspondence with so it wasnít that I was getting a feeling of something new happening, it was more that I found that what I had found interesting there before was still there.
3AM: This was all pre September 11th wasnít it?
SH: Yes. Iíve been to Stockholm since September 11th. People were talking about it but not with the rampant paranoia you find in the South East of England and probably more so in, not New York but say San Diego, Iíd imagine. Although I guess the further you are from it, the more paranoia there seems to be about it. People in Stockholm didnít seem to have any support for any US military atrocities in Afghanistan. I get the same feeling here in London actually. Iím too young to have been alive to remember it but itís the feeling I get about Suez, people are just putting up with it thinking that this is a pile of shit but putting up with it. But thereís quite a strong anti-war movement Ė itís noticeably more impressive than against Kosovo or the Gulf War. Itís a much bigger thing. So thatís made me feel more hopeful about things. You just donít come across anyone who supports US military atrocities. Which is quite incredible. Youíve got journalists in Kabul saying that theyíve found the proof from these bases Ė it sounds like the poor manís James Bond, they found a pile of flight training schools torn out of a magazine or something Ė now did someone else put it there, was it left there anyway, what does it prove?ÖĖ it isnít proof and itís like, first they said they had the proof before the bombing and now theyíre saying theyíve got the proof after the bombing. You canít believe a single thing that theyíre saying. So I got the feeling that no one has any support for all this. Which isnít to say that we donít understand whatís wrong with terrorism. Itís vanguardism, when what you want is a mass movement. Itís a terrible thing what happened in New York but that doesnít justify anything else. And that was certainly the feeling I got in Sweden. There was no support for American atrocities any more than there was support for the atrocities committed in New York. In Germany I got the sense we were living in very different times Ė itís hard to say about Germany because not being a German speaker youíre getting these things translated back into English but talking to German speakers and theyíre telling you what happened and then youíre getting your impression from that, so itís all a little bit second hand, but things are definitely changing. In terms of London itís unimaginable now being young here. You know, when I was twenty four I got my first council flat in the 80ís and you couldnít get a council flat anywhere now if youíre a single guy. Itís just very hard now. Property prices are insane. I thought it was expensive in the 80ís but this insane privatisation Blair kind of doing the Bill Clinton for the UK Ė smashing everything Ė itís odd because I was in Sheffield last week doing at talk at the Showroom and there was a screening of The Battle Of Orgreave by Red Creation where one of the things that happened was that the BBC reversed the footage to show miners charging the police and then showed the police retaliating, when it happened the other way round Ė this was included in this film. I remember all the miners in London as I was going down to the picket lines at Wapping. It was very odd watching this Red Creation. It was mainly for the miners, we just sneaked in at the back once theyíd stopped checking. Jeremy Deller got up to speak and did this quite odd introduction where he basically apologised for the boring first two thirds of the film which showed people who were in the audience giving their views on Orgreave and the miners strike. It made salient political points as well. Criticising things like the chant of the miners saying it should have been about the Workers not just The Miners and you had people like Dave Douglas - who was never identified within the film as being a long term member of Class War which was quite funny when you knew that he was Ė he was making these comments about how this was a chance for the Left to put down their papers and actually get involved! Classic rhetoric from where he was coming form in terms of political membership! He was presented as an NUM official and historian of miners. It was quite curious because Jeremy Deller is someone who was very much someone who wants to be on the right side and has his heart in the right place saying ĎWell, youíre just a bunch of working class guys so you wonít be interested in the political commentary,í - commentary which they were in fact making alongside people like Tony Benn - and then you got the action at the end. Which is the re-creation. It became apparent during the course of the film that the miners were paid to do the re-enactment. Some of the guys, these former miners, were shot playing the role of the cops. Which is pretty weird. The guys from the re-enactment society were saying that they were trying to make it as accurate as possible. But everyone in the re-enactment were supposed to be seventeen years old so by using the real people they were all too old. It was a really strange thing Ė you know, Iím not big on Freud or Lacan but it was like repetition as a way of failing to deal with trauma Ė and you were looking at this stuff thinking ĎWhat the hell do these guys think about being paid to do this?í because they were talking about how theyíd gone into other jobs and you were thinking, in a way, theyíre going away for two days and ok, theyíre meeting up with a lot of their old mates which is nice for them but also theyíre getting paid £120 basically and thatís like casualised labour which is what the strike was all about. So what the hell did they all think of this? But that was never dealt with in the film and that really brought home to me what a different time weíre living in. I think even in the mid-90ís you still had, even if it was only on a semiotic level, a resistance to Thatcherism and the Tories and now with Blair itís all gone, like, thereís a realisation that those times have passed. Weíve come through. In a lot of ways thatís a good thing because people realise that you have to organise in slightly different ways . The fact that there is no support for the atrocities in Afghanistan is fantastic and a kind of way in which the opposition is being built. It gives you hope. But obviously I didnít see that in Germany but you did Ė certainly in Berlin Ė get a feeling of a bigger Left scene.
3AM: Is this how your books land? Are they seen as part of this Left landscape? How do Germans, Swedes and so on take Blow Job and Cunt?
SH: I think it depends on who it is. Iím not actually published in Swedish translation Ė I am published in Finland Ė Iím big in Finland! The Fins have a great sense of humour. Iíve been to Malmo and did an exhibition in a gallery that doesnít exist anymore but Iíd never done anything in Stockholm before. Iíve been there when Iíve done stuff in Finland but I became aware of a cult following there. But they read the stuff in English and the guys who came to readings Ė and it was all guys I noticed Ė well, the early stuff people were picking up on the youth culture thing which was the same as in the UK. I think in Germany there was a little more room to read where the politics are coming from but as I say, in Finland it was more the youth culture thing. It was quite funny in Stockholm where I did this story about Whitehouse, the Whitehouse tribute band, the Rolling Stones of industrial music and itís a story addressing extremism. They have these songs like Right To Kill so they have this thing about the tribute band not doing Right To Kill because theyíre not liberals because the notion of rights comes out of the Enlightenment Ė you know; ĎI have a right to buy a five bedroom house in Knightsbridge but itís entirely meaningless because I canít afford one.í So if anyone has a house in Notting Hill theyíd like to give me or five or ten million quid to buy one, contact me.
3AM: Weíll launch a campaign.
SH: Iíd take a reasonably large house in Clerkenwell even! Anyway, because its this kind of jokey story about a tribute band for Whitehouse Ė and of course part of the joke is that you wouldnít get a tribute band for Whitehouse Ė itís kind of hard to know what their fan-base is, but theyíre image is predicated on some sort of authenticity Ė and a certain sense of humour Ė and itís always the same thing that happens when I do this story in Europe Ė these industrial boys come up to me and they have to have this story. Where can they buy this story because itís their kind of thing. It happens in Sweden and Germany. Whereas in the UK you do the story most people havenít got a clue who Whitehouse are even though they were originally based in London. William Bennett the lead singer is now based in Edinburgh and they also include an American and have done for years. Thatís quite curious. Thatís the way - a lot of British sub-cultures become much bigger and last much longer in Europe than they do here. I met some nice people from the Redskins scene who wanted to interview me and theyíd ask me ĎWhat do you think of the skinhead scene in London now?í and I say: ĎOh, itís fantastic, itís entirely and 100% a gay skinhead scene.í And they ask ĎWhat do they think of bands like The Oppressed?í and I say ĎNo No No, they donít listen to that, they listen to Hi Energy.í This killed off the youth culture audience for my work in Germany. A somewhat ironic relationship to it.
3AM: So tell us about the new book that will eventually be published next year.
SH: This is a book called 69 Things To Do With A Dead Princess. I actually finished it sometime in Spring 99. The title caused me, like Cunt, a few problems with publishers. It was considered perhaps not in the best of taste. Itís like Come Before Christ and Murder Love which many of my readers didnít like. It doesnít use a conventional narrative. Iíve always been interested in the French nouveau roman Ė repetitionÖ in the earlier books I was engaging with Bourdieu although then Iíd have problems with him and disagree ... a notion of simulacrum in the earlier books. They were an attempt to collapse the entire output of a pulp author Ė you know, the massive output , the entire oeuvre, however many books, twenty, thirty, a hundred whatever it was, into one book. When you went and read one of these pulp writers theyíd repeat sentences, paragraphs, basic plot ideas through the books and to me that was interesting. On the one hand they were operating under this constraint of time because the only way of making money with pulp is to write fast and is a type of constraint as much as anything else, and on the other hand it was when you read all of them together and treated them as one novel you were basically seeing the same thing from different perspectives which very much reminded me of Robbe Grillet. Itís the Flanders Road. So this is the concept I had and so it was really about trying to make that repetition through the novels apparent, like collapsing it into one novel. But then, because you have the simulacrum element of the obvious narrative there, people seemed to think I was trying to write pulp. A lot of critics thought this. Itís hard to judge the non-critics Ė you end up sounding like Hegel making critique between the critic and the more general reader Ė but then its like, you have the critics opinions in black and white before you, so thatís easier to deal with. But a lot of people seem to miss what I was doing and also thereís this bizarre thing within the trade. If you write in a stripped down journalist style which is considered to be an unliterary style people think you canít write. They donít think youíve actually spent a long time perfecting this very pared down style. They donít have this problem in America where they have this hard-boiled tradition. I prefer Jim Thompson to Raymond Chandler but people can recognise that whether they come from, Thompson or Chandler. Even going back to Hemmingway. People recognise this.
3AM: Youíve got Mailer..
SH: Exactly. Itís not a problem in the states but here itís a problem. They think that if youíre not making these failed attempts at metaphor then youíre not trying. They donít think you actually want to write like youíre doing. They think you canít control it. But actually writing in a stripped-down way is a discipline because youíve got to make sure itís not baggy and youíre not repeating yourself too much within a sentence. And every sentence youíre paring them down. Youíre thinking - I want 20 to 30 word sentences. So thereís a certain discipline in there. With this new novel itís likeí Come Before Christ and Murder Loveí Ė it hasnít got that pulp narrative and basically itís written from the perspective of a disintegrating personality. Which is very Robbe Grillet. Itís narrated by a twenty year old student at Aberdeen University who is studying literature and she is going to a lot of Stone Circles in Aberdeenshire - which has the greatest concentration of stone circles in the world. Sheís with a ventriloquistís dummy and either a real or an imaginary older male friend, discussing literature and having bizarre sex.
3AM: With the dummy.
SH: With the dummy.
3AM: Youíre writing from the point of view of a woman. Is this a way of getting away from all those boys that chase you around?
SH: Well, I do have some female readers. I meet them more in the UK, strangely enough. They tend to be a little older than the boys. I think there was this other problem. When I do readings Ė like when I was doing readings to promote the King Mob CDís with Michael Moorcock, Iain Sinclair and people at the Conway Hall, - theyíd stand and talk about me as a thug novelist. Iím doing these pieces which are very carefully constructed and very referential in a simulacrum pulp style and they canít read that thereís this dialectic going on between pulp and high brow. My problem is I miss out the middle-brow which is what they count as literary. So Iíve had this problem of people thinking that my fiction is autobiographical, a classic problem of people reading novels as if theyíre autobiographical. This was my problem with me being identified as an anarchist so then I had to produce all this theoretical work to explain the positions that had been worked out through the fiction. I was satirising anarchism, I wasnít endorsing it. In this new novel itís hugely referential. There are footnotes Ė an enormous list of books about stone circles, a bibliography, and I thought that if I wrote in the first person female this would be interesting and hopefully people wonít think that itís autobiographical. Maybe what I want is a big literary hit so that I can afford the sex change Iíve always wanted. The book after that is also written in the first person female. In that book, a book Iíve completed now, and it won an Arts Council award in the summer, every paragraph is exactly 100 words long, and thatís using a lot of images of prostitution from classic literary sources.
3AM: Whatís this one called?
SH: Either Down And Out in Shoreditch and Hoxten or Love Comes in Spurts. Thereís a bit of a debate about which one.
3AM: Maybe we should have a competition at 3AM. Get our readers to send in their votes.
SH: Good idea. Itís trying to use very different kind of voices Ė itís hugely sampled. Iím sampling a lot of Defoe and Fanny Hill, all of these narratives written by men as though theyíre female prostitutes. Itís quite interesting. Itís about the relationship between sex and death, dream and wakefulness, so itís divided into two parts with this bridge where thereís an attempt to fuck to death this John by all these different women having sex with him. It ends up Ė itís set around Shoreditch and goes back to Robert Greene, a Jacobean contemporary of Nashe and Shakespeare and so on and his Cunnycatching pamphlets - looking at the images of prostitutes in that area and looking at how the gentrification of that area has actually being pushing - itís the start of the crime genre really so weíve got these pictures of prostitution going back at least 400 hundred years and its getting squeezed. Having lived round there Iíve seen it getting squeezed with the gentrification. Itís not just with the prostitution Ė thatís just the more visible thing Ė itís also the light industry and warehousing that goes on around there. There are a lot of printers in that area and youíve had a lot of people move in to loft conversations so youíve got these new middle class residents in what was once a pretty much industrial area and then the council estates just off that. I know quite a few printers in the area - not that Iím using that in the book - I wanted to use prostitution and get into the ĎIs art prostitution?í dialectic question rather than do the industry thing - but you pick up from the printers that a lot of the businesses are being moved out. Printingís a little bit noisy and theyíre having more and more restrictions imposed on the hours they can work because the new residents complain about the noise. So itís completely changing the area. So prostitution too is being moved around the place. Drug dealing as well. So what happens in the book is that the prostitution gets forced out of the area Ė which it hasnít entirely yet Ė and what the prostitutes do is they go and disguise themselves as female mourners and widows in Tower Hamlets cemetery and then the Johns have to disguise themselves as mourners. So you get sex and death very explicitly in this book. The book after that which is called Neither Mask Nor Mirrors: Stewart Home: Double Consciousness, Special Effects and Fictions of the Self is written as one of those Methuen Guides to Modern Writers. Theyíre done in literary journalist style - theyíre not really proper lit/crit and Iíve gone much more for the journalistic style. Itís written by this liberal humanist professor from Wisbeach University Ė which doesnít exist of course Ė and he canít really understand where Iím coming from. So Iím writing about myself in a critical fashion. So he canít understand why I donít support the Labour Party and how I can possibly suggest that the whole debate round the Satanic Verses - that a lot of the liberal supporters of Salman Rushdie were unconsciously racist because how can anyone support Salman Rushdie be racist? - My argument, obviously, is that Ö and the whole September 11th event is turning that argument around a lotÖ itís the point Iíve been making for years about how Islam is not a monolith. You know, if you made the same kind of statements about Christianity as you hear people making about Islam youíd say Ė hold on a minute, there are Catholics, Anglicans, Greek Orthodox, Baptists etc etc and itís the same with Islam Ė Sunni and Shi ite and so on. Not everyone is a fundamentalist. Just as not everyone is Ian Paisley. So in the book, this professor canít understand these points. So heís not particularly sympathetic to what I do. Again, itís an attempt to get away from my voice. I create a collage effect by having huge chunks of myself in interviews with him so I can explain what I really want to say. So itís three books Ė itís a kind of trilogy looking at the relationship between literature and fiction. The last book, which is in effect a critical book but done in a voice which isnít my own but a voice that literally cannot understand myself but weaving my own voice into that so I get the upper hand in the end. There are little jokes - like the professor thanking his daughter for information about me signalling that basically Iíve been shagging his daughter as well. The question with that book is ĎIs this fiction or is this criticism?í Itís my old point. Genres donít really make sense.
3AM: Have you got a publisher for these?
SH: No. Canongate are looking at the previous book and thereís another book Iíve written after that called Memphis Underground which is again using Hoxton and contrasting that with ideas of American suburbia. Although itís using Hoxton itís also trying to invoke the ghetto without actually using a ghetto because Hoxton isnít a ghetto. Looking at how a ghetto and a suburb can mediate each other. Looking at the relationship between people doing shitty jobs in the city and the art and money thatís moving around. Itís got different narratives intercut. The book is in two halves using two different narratives interspliced using the classic science fiction device of using events of the same character six months apart from each other but you donít realise that until you get to the end. Itís not a science fiction book but it uses a device you find a lot in science fiction. Again, thatís the point, you donít have to use it within science fiction genre. You can use it in other books. But when youíve got a new publisher they really want to see how you go with your first book before they make a decision on the second. I first tried sending it around London publishers but couldnít sort it out and then Canongate took it and then they had a restructuring apart. 69 Things was originally supposed to be out in March this year and now itís March next year. Winning the Arts Council Award - suddenly people are saying - maybe he is doing something literary! What a surprise! Itís like with Blow Job - that fell between the cracks for a while. I like AK Press, theyíre nice people, but there are financial considerations and I did a lot of books for them, some of them at their request - like they wanted a reader on Situationism which I slung together very quickly for them and it took them three years to get out. It took me ten days putting the book together! I was doing the books with them but looking for somewhere else and I got the Serpentís Tail deal. Blow Job was finished in Ď93 but it didnít come out in English until Ď97. Thereís often quite a gap between the works. I guess if you canít be immediately assimilated into the system it shows that youíre doing something right.
3AM: Who do you rate at the moment?
SH: Have you read Ken Hollins Destroy All Monsters. It came out round about September 11th which is his science fiction extension of the gulf war. Thatís an interesting book. I enjoy Iain Sinclair Ė the final line in Landorís Tower in the Appendix Ď Öfurther reading - anything by Stewart Homeí. I thought that was the killer line in Sinclairís whole oeuvre. I still rate Lynne Tillman. Cast In Doubt is my absolute favourite. No review I saw of it got what the book was doing which I mention in 69 Things. Darius James. Itís kind of embarrassing because anyone who is any good youíre going to meet eventually and theyíre all going to become your friends. I think Steve Beardís doing some interesting stuff. Iím looking forward to his new book which heís working on. Heís got another book of journalism out for next year and obviously Perfumed Heaven and Digital Leatherette, the fiction, theyíre interesting. Itís a difficult time to get work out and I understand the appeal of narrative and like I said in my last September 11th essay, citing the new Lynne Tillman story, thereís a need for narrative. But the trade is reluctant to try anything a little bit different. I also think Iím the sort of person who benefits from a recession. There last time there was a recession I was on Arts Strike but as I always argue it was actually the psychological impact of my Arts Strike rather than the recession that decimated the London Art Market causing one in four West End Galleries to close and a 60% drop in sales. My reputation did go up in recession. I met a friend of mine who does business futures stuff who said Ďyouíre the sort of person who always benefits from recession because in a time of crisis people are looking for different ways of looking at things. Youíve got a critical take on the system therefore thatís when your stock rises most.í So hey, everythingís great for me and maybe Capitalism will destroy itself. These lad and laddette novels, theyíre really tiresome narratives Ė theyíre not really doing much and itís like, identify the product , and you know the characterís all right because they use the same deodorant as you. Bloody hell, do they really drink that whiskey? I wouldnít touch it with a bargepole.
3AM: Whiskeyís a big part of your work and your life.
SH: I love Springbank which is Campbelltown which is on the mainland in Argyll. I like anything with a lot of peat where itís getting in the water. Laphroaig, where theyíre smoking the peat and you really get that taste in the whiskey I really like. Nothing wrong with a good Speyside but Iíd much rather have a good Lagavulin or Talisker from the Isle of Skye. I love those island whiskeys. I never got the whiskey thing for years because people would give me ring-a-ding Ė we wonít mention the name though its fairly obvious and anyone who reads Derek Raymond novels will get it Ö
3AM: Did you ever meet him?
SH: Yes I used to know him quite well. Nice guy and an interesting story with that change from the more literary books in the 60ís and then the silence and the comeback with the factory novels. I think he suffered because he had a lot of second rate imitators so his stock fell in the 90ís. That whole genre got a bit of a bad reputation. But he did it very well. He was a nice guy, one of the few guys with a very bad drink problem who kept his very sweet personality. No matter how pissed he was he was always a very lovely guy. But people gave me stuff and if youíre going to get drunk itís alright starting with the malt but thereís no use sticking to it because after about six or seven doubles you might as well move on to any old crap. If youíre going to put water in it, itís important you only put a drop and it has to be from the same place as the whiskey is from. Otherwise you donít put anything in it. You never put ice in it because it kills the flavour. Putting coke in a decent malt is criminal basically. But my problem was that I never had a decent whiskey in my life so I could never get this whiskey thing. Then I was given a decent one and my mind lit up and I suddenly understood whiskey. This is it.
3AM: What you said in the interview we published earlier this year about Punk was controversial.
SH: Yes, well old punks are like old hippies. Punk is many things to many people. It depends how you configure it. But I could say that the whole punk ethos was to diss everything so I was doing a punk on punk. Which makes me more punk than these who want to be nostalgic. Anyway, Iíd rather listen to Jazz Funk. You havenít lived until youíve heard Bouncy Lady.