Tag Archives: Interview

tell_it_like_it_is_ep

Singing it like it is

Meet Lara Eidi and the band

Lara Eidi is a singer-songwriter of Lebanese-Canadian-Greek background. She first got involved with music the moment she “learned how to mimic” through trying to sing and recreate any sound she happened to hear. She started with classical piano at the age of 8 and also had harmony and theory lessons at the conservatory. Next to her piano and singing skills she is also an accomplished guitar player and the founder of Lara Eidi Band, a small jazz-folk-pop trio comprised of Lara, Stavros Parginos (cello, loops) and  Giotis Paraskevaidis (guitars, loops, beatboxing).

Tell it like it is

The band just released their second EP  Tell it like it is to an amazing crowd at Athen’s Numismatic Museum, and it seems like the musical adventures of the promising trio are only beginning to unfold.

So how did Lara Eidi Band come about? Here’s the story in Lara’s own words:

It came at a point when I was close to packing it all in, music wise, after being disheartened by how little one could accomplish in the music scene in Greece. I had just returned to Greece from Scotland naively thinking I could achieve something. So after being a session singer, piano player and songwriter for a multitude of bands I retreated from the music scene thinking: ‘What can I do to change this course I’ve chosen?’ And then it hit me: 2 years ago I stayed at a friend’s house in Athens, locked inside a beautiful musical basement, writing tons of songs and feeling like a kid discovering toys for the first time. After that I called Stavros Parginos, a wonderful cellist and multi-instrumentalist who I had worked with before, and asked him if he would like to work on some of my songs with his cello. He said yes with a smile. So a year ago we started gigging around Athens, traveled abroad to Beirut, Lebanon, and Edinburgh , and recorded my first EP, “Little People” (Irida Studios). Then we met the third member of our band, guitarist Giotis Paraskevaidis. I heard him play at a gig, not knowing who he was, and approached him to ask if he would like to play my music. He was super positive about it – and also turned out to be a very good friend of Stavros! All of a sudden the music was reborn with this incredible energy. After doing a few cover songs on YouTube (incl. Nina Simone’s Be my Husband, filmed on a rooftop in Athens by videographer Dimitris Stamatiou and our sound guy Iraklis Vlachakis), we were eventually inspired to create “Tell it like it is” (Sierra Studios, In a Jam Studios) which is about just that: My personal way of saying that the music I write, and the way it’s developed together with the guys, doesn’t really fit into an roster and that’s OK. And so we found ourselves going from a singer-songwriter to a band formation. I told the guys I wanted to call the band LSG (laughs) but they insisted on Lara Eidi Band!

A beautiful challenge

Music for Lara is a “life force”, a kind of challenge that “needs to be embraced in its fullest and most beautiful forms”. And it seems she is indeed taking up the challenge – Lara will be going to London to follow a Masters in Jazz Voice Performance at the Guildhall School of Music, while at the same time keep performing with her band in both UK and Greece.

And what if Lara’s record collection was on fire? Here’s what she would save first:

I would save my Woodstock Full Two Volumes CD. I have to zone out to this more times than I care to mention! I’m a girl. I also have to save Sheryl Crow, Sarah Ann McLachlan and Alanis Morissette .

You can find Lara Eidi Band on:

FacebookSpotify SoundCloudReverbNation

Films from the underground: A conversation with Jeffrey Babcock (pt.2)

-click here to read pt.1-

Jeffrey Babcok Photo: Mony Art http://www.monyart.com

Jeffrey Babcock
Photo: Mony Art http://www.monyart.com

The social factor and people getting together from different backgrounds is an important element in your screenings. But how is watching a movie different than reading a book or listening to a record, which can also be a very personal experience?

I feel the world is becoming too fragmented, we are becoming more and more isolated. People nowadays even have jobs that they can do from their computers staying at home. So everyone ends up staying in their little apartments with their home cinema or their flat-screen TV. And so we’re becoming more and more isolated, and desperately disconnected from each other.

So it really comes down to human interaction.

Everything I do, even cinemas and film, is not really just about film. I’m not a nerd in that sense. Films are only a step to reflect on our lives and what we are doing with our lives. If it doesn’t do that, then it becomes worthless to me. I’m not the kind of guy that downloads tons of movies just to have them all there. I think social interaction is necessary, more today than ever before, and that’s why cinema today is also necessary.

Watching a film together with other people makes it a living thing. You see a film with one audience and then with a different audience, and it can change incredibly according to how people react. I’ve shown movies that I’ve seen 25 times, and I’ll still be there with my audience watching the film. I would never abandon the audience and just go to the bar and grab a beer or something. I’m always there because it’s a live experience.

Do you also tend to watch the audience during a screening?

Yes, I do that sometimes. Like when you’re caught up in a movie and you suddenly step back and look at the audience, and you see all these beautiful faces transfixed on the screen…

Also, since many of my screenings are free, there’s a lot of people coming that normally would never go to watch a European art film. So then you get people that are used to acting in a certain way, because they’re used to going to Pathé to watch blockbusters and James Bond films, and they’re carrying over their behaviour from those cinemas because they don’t know any other way to relate to a movie. I see a lot of that going on but I regard it as a necessary evil, and it’s a good thing in a way. Because these people are the ones who need most to see such films, and otherwise they would never watch them.

If for example I’m showing a classic 1955 Italian film, there will be people who’ve never seen anything like it before and they will be surprised. And of course you’re likely to get some strange reactions, because they’re not used to respecting a movie, they’re only used to spectacles and blockbusters and treating movies like trash. My hope is that if these people come to the screenings frequently enough, they will then start to behave more respectfully. So I want them to come, so that there is diversity in the audience. I could choose to show film noir only, and then I would get a hardcore fan group and there would always be the same people, so the whole thing would be dead. So this is one way to keep things alive.

I always try to keep the movies at a very low price or for free. In my newsletter I also mention sometimes that if someone can’t afford to pay, they can come find me before the film and I’ll get them a ticket. I cannot necessarily let people in for free, because the places where we charge ticket also have to pay rent, so I don’t want to take money away from the cinemas either. Therefore I cannot just say “come in for free”, but I can pay for their ticket instead. I think people should be free to experiment, and with my cinema you never know what you’re going to get yourself into. So you should not be paying an expensive ticket like you do for Pathé and all the big cinemas.

And looking at the ticket prices in most cinemas, it seems that going to the movies is becoming a kind of luxury.

Yes, and the end result of this is that if someone wants to watch a movie and cannot afford to go see it on the big screen, they will download it and watch it at home by themselves. Once again, this is pushing people back into their private experiences, whereas what I’m trying to do is open people up into the social experience. And of course not everyone in Amsterdam can fit in my screenings, but there could be fifty small cinemas throughout the city doing the same thing, offering an incredible diversity of choice and being dirt cheap too.

At the same time, distributors currently couldn’t care less if a film is commercial or uncommercial; they will always ask the same standard price, which has led to a ridiculous situation. I see Amsterdam as an international city, and I think we should have an international cinema. It doesn’t have to be a big organization; anyone can basically turn any bar or space into a cinema and start their own initiative.

Is there a specific film or director of particular importance to you personally?

Not really. I mean, in general I am so open and I love diversity so much that I can’t get locked on to certain films or directors. The first movie I remember seeing is ‘The Hunchback of Notre Dame’ with Charles Laughton. I remember seeing this as a kid and I wasn’t supposed to stay up that late, so I sneaked out my bedroom door and I was watching this and it was fantastic: Esmeralda, Quasimodo, him on the top of the Notre Dame… And this reminds me that it can be a special experience when you have to struggle a bit or overcome some kind of obstacle in order to watch a film. It is the same thing, in a way, with some of my cinemas; not all of them are necessarily very comfortable.

And then there was Godard’s ‘Weekend’, a film he made in 1967. It’s a film I watched as a teenager when I was going to high school in a small town. On the weekends, and sometimes even during the week, we would go to the capital city (Madison, Wisconsin) and there were these students in a campus showing all these European films – because in America you don’t get to see European films. It was there that I saw my first Antonioni, my first Truffaut and John Cassavetes… So I was learning about cinema and when I would go back to my high school I would try and talk to other kids about it, but they only knew ‘Saturday Night Fever’ or ‘Star Wars’, there was such a divide going on…

So I also watched Godard’s ‘Weekend’ during that period and I was a young kid. And I was so pissed off after that movie, I was thinking “how could that fucker do that?”, you know, “how could anybody be so arrogant?” I was really upset about this film. But then, exactly because I was so upset about it, it got stuck in the back of my mind, I didn’t forget about it. And this changed slowly, and I started appreciating the movie and understanding where the film was coming from. So regardless of whether someone really hates or likes a film, I think it’s very important when it invokes a strong reaction. Because the kind of neutral mentality “seen the movie, had my pop corn, now go home” never has the possibility of changing a person’s life.

Are you thinking of including more titles by female directors in the future?

I think the ratio of female directors to male directors is good, in relationship to what’s available. Because how many films by female filmmakers are available? It’s a very difficult thing. I’m a real pusher of people like Lina Wertmüller for instance. Nobody else shows her films anymore, and I’m the only one that keeps pushing people to see her films. So I had a screening of ‘Love and Anarchy’ (1973) one month ago, and people were totally amazed.

What is your favourite cinema in Amsterdam?

My favourite cinema? I don’t know. I love the cinemas where I’m having my screenings because they’re all so unique and special. But I’m also supportive of places like Kriterion or Studio K. Kriterion was started from people who were in the underground resistance in World War II. And then it transformed into a student-run cinema. So the people involved can only work there as students, and they get money from a gas station on a highway outside Amsterdam. That means they can afford to do uncommercial things and take risks, and they’re willing to do that.

Ray(s) of genius

Pondering on the special relationship between music and colors I remembered an interview of Ray Charles for Rolling Stone (published in 1973),  where he speaks -among other things- about his loss of sight, his memories of colors, the notion of beauty and, of course, music. Below are some excerpts offering us an insight into the personal universe of this truly unique artist:

“Each day for two years my sight was less and less. (…) I guess I was too small to really care that much. I knew there were things I liked to watch. I used to love to look at the sun. (…) I used to love to look at the moon at night. I would go out in the backyard and stare at it. It just fascinated the hell out of me.”

Ray Charles“And there were colors. I was crazy about red. Always thought it was a beautiful color.”

“And naturally I remember my mother, who was pretty. God, she was pretty. (…) To me [physical] beauty is probably about the same thing that it means to most people. You look at them and the structure of their face, the way their skin is, and say like, a woman, the contour of her body, you know what I mean?”

“I guess you could call me a sentimentalist, man, really. I like Chopin or Sibelius. People who write softness, you know, and although Beethoven to me was quite heavy, he wrote some really touching songs, and I think that Moonlight Sonata -in spite of the fact that it wound up being very popular- it’s somethin’ about that, man, you could just feel the pain that this man was going through.”

“Gospel and the blues are really, if you break it down, almost the same thing. It’s just a question of whether you’re talkin’ about a woman or God.”

In the track that follows, you can listen to excerpts from a conversation between Ray Charles and Dick Cavett that took place in June 1972.  Ray’s astonishing response when asked if he would welcome the prospect of having his sight restored (assuming such an option was available) is both  incredibly sincere and extremely topical…