這是bjork.mmedia.is作的訪問，都是歌迷的問題...
裡頭提到的bjork vs Michael Jackson remix 在下面可以下載，混音功力高超，粉好玩
http://metrology.hut.fi/~bjork/remix/index.html
We came in early to Berns, a very classy hotel in Stockholm - we have a date
with Bj顤k and her personal assistant Andrea at 13:30 and we arrive at 13:00
just to set things up in advance. We get ahold of Andrea and she shows us up
to the room she booked for us to be in.. It is a beautiful room, it reminds
me of a small church, and I feel like royalty walking around in there. Andrea
explains to us that Bj顤k isn't up to any photographs or videotaping, but we
think that's OK and settle for just taping the interview. Andrea says she'll
go get Bj顤k and come back at 13:30 with her, and Tias and Egill starts setting
our equipment up, hooking up the DAT recorder and the portable computer with
all the questions on it.
After 20 minutes Andrea and Bj顤k enters the room and I am struck by the sight
of an adorable, tiny human being! I don't think she even reached up to my
chin! I introduce myself and reach out to shake her hand, but it felt like I
was to uching air. I was thinking she must be as nervous as us, if not more.
Meeting total strangers, and on top of that - FANS. I can't tell you how
strange it feels to see her sitting in front of you, knowing she knows nothing
about you, maybe she's even a bit scared of you - when it feels like you have
known her for a lifetime through her music - you know her accent by heart, know
her gestures, her values and dreams... and fears.... She sits down in the sofa
in front of me, I keep the computer with the questions in my lap and Raimond
holds the microphone... Tias and Egill turns on the DAT recorder and I pull
my thoughts together and try to relax, try my best to make her relax, but my
stuttering becomes a little too obvious... Bj顤k seems a little nervous and
shy too, playing with her feet, which were tanned to the coulour of milk
chocolate after a nice holiday in Spain - but even after a trip to the sun
she still was haunted by a nasty cold and a runny nose, therefor canceling all
her pressconferences and interview, but amazingly enough taking some precious
time to sit down half an hour with us... and so the show begins....
Lina: these are all questions that people have sent in over the internet, so
these are all asked by the people who listens to your music.
Bj顤k: Oh-kay
Raimond: Last week we opened the website for people to contribute questions for
today, and we got like eleven hundred questions from all over the world. We
tried to pick the best questions for today and we're just going to start and
see where we end.
We are going to start with the first question from Chris - he's from Holland.
It seems that you are very interested in strings, and he was wondering if you
are going to invite the Icelandic String Octet to make your next album too?
Bj顤k: Yeah, it looks like it. We've prepared maybe, uhm, six, seven....
depends...I have sketches, and it seems like it will be many of them with
strings.
Raimond: That's good. uhm...the questions we have is a lot of mix-ups, so
it's like a mix riot at the moment!
Bj顤k: oh-kay
Raimond: So we are just going to ask them. Here's a question from Joshua Meyers
from the USA, and he's asking: "can you tell us anything about the
instrumental album you are working on or the movie project with Siggy?
...ANYTHING"
Bj顤k: a movie project? ...who is Siggy?
Raimond: Uhh... we'll cut this out. Next question: What's your favourite
remix an artist has ever done for you? (from Pierre in Canada)
Bj顤k: Well, I have many favourites, probably one of my favourites is Possibly
maybe that Mark Bell did.
Raimond: Are you more interested in the technical part of the remix or just how
it sounds, what it turns out to be?
Bj顤k: well it's a combination between respecting the character of the song and
taking it to another place which is just as confident. And if a remixer is that
good of a psychiatrist that he will find so well out what character the song
has got, he can change all the noises and take that song in to his own world,
but there will still be no abuse involved, or humiliation. It will still be a
respect on both ways. It's very ease to do a remix which has absolutely nothing
to do with the original, and it's also very easy to do another version of a
song and adding nothing of your own character to it, but to do BOTH is an
accomplishment if you can do that.
Raimond: Can we expect another remix album like Telegram for Homogenic
or do you think it's already good enough?
Bj顤k: I dunno, it seems just to take it's own way where it develops. Like with
Debut, there were very many remixes that were done, and I liked most of them,
and the fact that we took five and put them on a compilation, compiled them
together on a cd doesn't necessarily mean that they were the best ones. But
for some reason, when I had all the remixes in front of me, some of them had
almost established a world of their own, and I thought it was fair to put that
out, whereas a lot of the other mixes were more like an extension of Debut.
With Telegram it was quite obvious that something like this would happen with
Post, because Post was an affair which was flirting with so many different
types of music, and all sort of flavours. It was probably the most sort of
multi schizophrenic project I've done. So the fact that they developed in all
different kinds of directions, like quite angular string quartet versions, and
also abstract electronic sort of things, that each song could be taken even
further away from eachother. And then, to do some thing like Telegram,
I think it was very obvious... I think, with Homogenic, it's very different
in the sense and that's what the title says as well, that it's... it's all the
same....same...uhmmm...*clicks her tongue* ...like ahh, it's hard
*smiling*
Lina and Raimond: Flavour?
Bj顤k: *smiling* yeah, it's got the same home, and it's all there and it has
been more that I have introduced characters and they have done tons of remixes.
Like Alec Empire... and Mark Bell has done most of the remixes... yeah, so it's
very different... But I don't know, I am trying to describe to you something
that I don't know myself.
Raimond: Well, there's a lot of questions about remixing and stuff, because
the remixes are very popular, and a lot of people wonder what process is going
on before the actual remix is released on a single. Do you select, like for
example, Alec Empire yourself? Do you approach him? And do you select the
remixes yourself and actually decide which remixes end up on the singles or
not? (part of question from Mark Dickenson from Australia)
Bj顤k: Yeah, I think for me it's a way of collaborating with people, so I've
done music more or less since I was 5 years old, and written music with people
since I was twelve and usually serving other peoples visions, and being a singer
or song writer or a backing vocalist or keyboardist or drummer... so when I did
Debut,I thought it was time after fifteen years of following other peoples
missions, which I really really enjoy though... it was time to be responsible
and follow your own mission... and find out which people I admire was willing
to take a little side trip on their missions to join me. And it seems to be
that remixing for me is a very modern way of doing this, because through the
last few hundred years of European music history, and music history of course
is always a mirror of the structure of society anyway... like in the times of
Bach 300 years ago or whatever, it was completely no ego, and everybody did
something for one God, and they had this very complicated structure of music
where people were completely selfless and completely obeyed one master. And
then all these other things have been introduced, you know, industrialization
and then technology... and for me, when I was growing up and watching rockbands
it was some sort of marriage people got themselves into, they would have a
drummer and a baseguitar and guitars and a singer like Queen or the Beatles or
Rolling Stones or whatever... and that would be the same instrumentation
forever with the same elements and they'd have 900 children and have a silver
anniversary and a gold anniversary...
...like you still see people, like U2, it's very much from that... and
financially, for example, a woman could not live on her own with children,
because it was impossible, they would have to form an institution called
family to survive... and I think with music it's very similar... and to play
a song a few hundred years ago you needed 50 people in a symphony orchestra
or whatever, and nowadays you can have one computer and you have a symphony
on your own, and you can financially be independent as well, so everything
in this century is aimed for independence and individuality... and to meet
other people where 1+1 is 3, remixing is ideal, I think... and I think its
very honest, I think its even more honest than for example producing, because
I would take a song of mine and go with a producer, and in the final product
people don't really know what I did and what the producer did and what is what,
you know?
But with a remixer it's very obvious. I record my voice, I play the
keyboards, I do drumprogramming, I put instruments in, and then I hand the
tapes over to the remixers... and I'm not even there when he decides to do
the remix, so he can cut it all apart, turn it upside down... you know... so
I think its very very honest, and when people see something that says "Bj顤k
remixed by..." *sticks her tongue out to the right side of her mouth*
"...Alec Empire!", they KNOW what the process was... But in most cases I
think I'm probably spoiled rotten because I can always pick a remixer, and for
some reason as well the few that I ask I usually want to talk to personally
because I'm very precious and overprotected about my songs... and almost all
of them have said yes to do it, and we've talked about it and they send me the
first stages and we talk about it again and then they finalize* it... And of
course it's like everything in this world, it's successful if the remixer
gets to put his character completely into it, without limitations, and the
song is still very open... That's when magic happens when nobody compromises,
neither me, the song or the remixer - that they all manage to flourish somehow,
without overshadowing eachother...
Lina: Ok. Tom Whitney from the USA asked: "Please divulge a little info about
the Lars Von Triers movie!" ... we've heard that you're scoring allot of the
music and maybe even taking a part in the movie?
Bj顤k: yeah, I don't know yet... we meet and talk about it, but nothing is
final yet....
Lina: Ok! Did there ever come out any result of the "Story Of The Eye"? - I
heard about an album where you were supposed to read parts from "The Story Of
The Eye" (part of question from Franz Indra in Germany)
Bj顤k: No I think... about 4 years ago I went to a radio station and was very
shy... and they wanted to do an interview with me but I got stuck inside
myself, so I brought out a book and read the beginning of it... and they put
it out on a CD without my permission.... but I thought it was quite sweet
...and since, I've heard a lot of rumors about it, you know... but it's like
four or five years ago...yeah, I think they just put it out on a CD....
but it was just the beginning, it was like the first chapter or something...
Lina: Ok! Ryan from Antarctica (!?) asked: "what are your thoughts on the
co-relation between music and the human body, like base and what it does to
your heart and chest and what strings does to your head and nerves?"
Bj顤k: Yeah, I think it was a baby theory of mine, probably because when
Homogenic came out I had to do nine hundred thousand interviews... and it's
very hard to talk about music you know... so usually you make up things just
to kill time while the interview is passing... and that was a theory that I
think got a lot of people going ...but, I still think there's a little bit of
grain of truth in it, but I would not necessarily, you know... I think the
reason why, as much as I fall for modern instruments and technology - I think
there are things that are classic that were very great inventions... like for
example the wheel is smashing, and the fact that chairs have got four legs,
its a good idea, you know.. Why re-invent the chair every day? when you've
already got a good one...
...and I think the reason why strings move people today is probably, well, I've got
a theory that if you put a camera inside the body and if you could photograph
when humans feel, they would get the nerves... you've got a network of nerves all
over the body, and you would be able to photograph them... probably, when
you feel - if you love or you're happy or sad or crying or whatever - it would be
a similar movement as in a string of a violin... and that's why, when people
watch films, and they are supposed to feel, they put like all these kinda "mmMM
mmMMm" (pretends to play a violin) violins and everybody starts crying -
because scientifically you just simply are forced to sympathize with a violin.. and
that was my baby theory.. but, we'll see... I'll think of something else next time
I get bored in an interview *smile*
*Lina: Speaking of children, Brayden Legere from Canada asks: "My four year old
REALLY likes your music - have you ever though of doing a children's album?"
*Bj顤k: Uhmm... noooo, I don't think so. I mean, when I was a kid I was a bit
of a grandmother, and my boy was born 40 years old, and I think, especially
with music, its brilliant because - it's got nothing to DO with age, you know?
And I think all these kinda boxes you put people in - when you play them the
Smurfs when they're 5, and when they're 10 you play them the Spice Girls...
You know, and my grandmother loves the Spice Girls and when I was 5 I loved
Rimsky-Korsakov - I think especially music is not so limited with age, because
its nothing you have to learn. You are either born a musiclover of you're not,
you know?
But one thing I promised myself when I was in music school - which I was for 1
0 years, from 5 to 15 - was that some time I would start a music school for
kids between 4 and 6 and try to brainwash them before the rest of society would
brainwash them. Be sooner... Because most children seem to be brainwashed -
or just human beings - about music - that, if you like jazz you eat certain
kinda food and you like certain kind of furniture and you wear certain kind of
clothes and you think certain kind of thoughts and you watch certain kind of
films and you read certain kind of books - but if you are a Rock'n'Roller
you're a completely different character and if you're into classical music,
you know, that's VERY different...
...and I just thought it was so stupid and it used to really make me angry, and
still does.. and just to be sooner there and for kids from age 4 to 6, which I
tried once, to improvise with them and realize that music is not such a
complicated thing, you know? I think everybody can write a song and I think
also everybody can sing... and I prefer my grandmother singing to any famous
opera singer, you know?... and I think that's very important.
Andrea walks through the door
Andrea: Have we done 20 minutes now? Ok!
Bj顤k: oh-kay
*Raimond: We have one thing left - we got this really funny CD sent to us by a
friend from Finland (Martin Kantola), maybe you know him, it's like 2봊minutes of music, and we want you to listen to it...
Lina: when we heard it - we listened to it 8 times in a row because we loved it
so much!
Bj顤k: Oh-Kay *smile*
Raimond: it's kind of a remix with you and Mr. Michael Jackson
Bj顤k, Lina and raimond laughs
Raimond: and he made it secretly in his castle...
Raimond: do you like headphones? *smile* ...we are really unprofessional...so.
..uhh
Bj顤k: no, it seems very professional to me.... shall I sit here?
Bj顤k moves over to the opposite couch and sits next to Lina in order to wear
the headphones for the portable CD player
The music starts playing and Bj顤k sits quietly and snivels like every 5
seconds due to her cold... When it comes to the middle of the song Bj顤k
laughs a bit
Bj顤k: It's brilliant! D'you think I could get a copy of it?
Lina: yeah, you get the CD! and there's also another mix...
Bj顤k: It's brilliant!
Lina: ...of that "J鏊asveinar" song
Bj顤k laughs and says "brilliant!" again
Raimond tells Bj顤k about the Remix Riot and how many people send in their
own mixes and offers to make a compilation on CD for Bj顤k and I hand her my
Bj顤k compu-drawings and talk about the Art Gallery section then he talks about
our site and what it's all about...
Bj顤k bows her head, almost embarrassed by all the attention and says: it's
amazing that people put in so much work...
Lina: oh but it gives US something too
Raimond talks about how our website helps us and how we meet a lot of nice
people and how fun we have and stuff about the Internet
Lina: have you been there and checked around?
Bj顤k: nooo...
Lina: you're not very much into the internet maybe?
Bj顤k: Well I just haven't got time... that's really what it is, I'm always
just about to stay home... but it just doesn't seem to work out *laugh*
Raimond talks about how Meester Fly helps us and how well he manages her
official website and how many questions we actually had and how spontaneous it
turned out to be anyway and how he hopes the weather clears up for her concert
later the same night
Raimond: did you bring Raimundo from Spain?
Bj顤k: nooo
Lina: we heard you had him on a concert a couple of days ago and we were so
jealous ;))
Andrea tells Raimond they have it on tape
Bj顤k: he's quite a character!
Lina: yeah, we'd like to see more of him on your albums!
Bj顤k: ye, it was just something that happened... we thought maybe we'd work
later together if it's right with him
Bj顤k stands up and shakes my hand, now much more firmer than before the
interview, and I curtsy to her, which makes Bj顤k a bit wide-eyed
Bj顤k: thankyou very much, it was very enjoyable
Bj顤k shakes everybody's hands and we say goodbye to her and Andrea.
Bj顤k walks away but turns her head a few times and look back at us, smiling...
We are definitely smiling too - buzzing with joy - lucky that Meester Fly took
us under his wings and onto this glorious journey!
--
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