In Conversation with Jose & Sara of The Mild Ones

Suede © Dean Chalkley

Insider Questions

by Raquel Pinheiro

I don’t remember when I first heard about or listened to Suede. It was long ago, most likely through the British music weeklies.

In September 2024, I joined The Mild Ones, an online Suede fan group. A bit weary at first. However, the Mild Ones are different from most fan groups.  Jose (Duarte) and Sara (Bona) the group administrators won my heart, so did the Mild Ones community.

Being part of the Mild Ones left me curious how it is to manage an online open fan community that large for a band that draws such strong emotions as Suede do. The Mild Ones are a place for fun, our life stories, our band crushes, endless creativity from painting to poems, through bracelets and knitting. And music, of course. It’s an equalitarian place. Well known musicians, producers, etc. side by side with fans. It’s a place of debate.

Ladies and Gentlemen, I present you The Mild Ones, and my conversation with Jose and Sara.

P.S. Dear Sara, we were not all in love with Brett. Some of us took a fancy to the one behind the drums! 😎

Suede are currently touring the UK. They will tour mainland Europe in March, and Asia in April and May. Suede premiered a new song, Tribe, Saturday January 30th at Guildhall, Portsmouth, England. And I really like it. 🙂 It’s the kind of song that makes you want to pick up a rock instrument and start a band.

How did The Mild Ones begin, was it a spontaneous act of devotion, or something that gathered momentum over time?

Sara Bona (SB): We were honestly quite determined to make this project happen. We had been discussing the idea for a few months, and we were really excited about creating a community for Suede fans which, thanks to the existence of social media, could reach as many enthusiastic fans as possible. When we finally felt the timing was right, we set the wheels in motion. It wasn’t exactly a walk in the park, though. Was it, Jose?

Jose Duarte (JD): Absolutely! We both felt it was necessary to have a space where every fan mattered, regardless of their place of origin, whether they’d been fans forever or just discovered the band, whether they’d seen Suede live a gazillion times or never at all, whether they collected every record or didn’t own a single one. Even casual fans, or those who only like a song or two, are totally welcome. Every opinion counts in our group. But it wasn’t easy to bring so many people together, certainly not.

When you first created the group, what was your vision for it, and how close has the reality come to what you imagined?

JD & SB: We just wanted for Suede fans all around the world to have a public space where they could share their love for the band and find out whether other Suede fans were into the same things we are – other bands, books, films, etc. We didn’t have a long-term plan; it was all pretty improvised, but we had the feeling that there were people out there just like us. And, indeed, there really are!

What does the name The Mild Ones mean to you now, given that most of the fans and the band are older? Does it capture a sense of calm, reflection, or continuity?

SB
: Choosing The Mild Ones as the name for the group was a bit tongue-in-cheek, really. We’ve been wild, we still can be wild but, at our age, we just want a little peace in our lives, we just want to be mild, while still loving Suede wildly. We can’t speak for other fans or the band, but that’s how we feel.

JD: In our everyday life, we’re quite mild, we like to go unnoticed but trust me, we can be wild at gigs.

And what does The Wild Ones – the song – still mean to you today, both personally and in relation to the community?

SB
: I remember watching the video for The Wild Ones on MTV in the 90s, over and over again, after I discovered the band. Back then, I was head over heels in love with Brett (as we all were!), and I was just a 14- or 15-year-old girl, not very good at English yet. Of course, I loved the song but I think I can appreciate the beauty of the music and the lyrics so much more now than I probably did back then. 🙂

JD
: The Wild Ones, for me, is the best song Suede have ever composed. Of course, The Asphalt World is the quintessential Suede song but there’s something about The Wild Ones that makes it universal. It reflects an optimism mixed with nostalgia, which makes it very appealing both to us and to most Suede fans.

SB & JD
: We both feel incredibly honoured that Brett and the band have, in a way, linked our group to that sublime hymn.


Suede isn’t just the thread that binds this community, it seems to live within it. What does Suede mean to you personally, beyond the music? How has their work shaped the way you see or hold this space?

SB
: Suede have ALWAYS been with me, my whole life since my early teens. They were there when I first fell in love, when I first got my heart broken, when I studied my degree in Translation and Interpreting, which I chose because of my love for the English language and the British culture, when I’ve lost loved ones… They’ve been there in my happiest moments and in my lowest ones. Every single moment of my life is tied to a Suede song. They are my band. And, of course, their music has definitely shaped the person I am today.

JD
: In terms of music, Suede were my first love. Since the moment I discovered them at 14, they have always been with me. When I felt sad, I found shelter in Suede’s music. I feel their music is like a friend, one that makes me feel I belong.

SB & JD
: The Mild Ones is mostly about Suede music, but also about the influence that they’ve had on our taste in other forms of art.

Even your dog carries the band’s name – Suede – which feels both tender and symbolic. What does that say about the place the band holds in your daily life?

SB: Well, when I got my dog, Jose said it wasn’t a great name for her. But it wasn’t his decision, really, haha. I think the name suits her perfectly. She’s moody, she’s an outsider, she barks a lot and howls, and her fur feels exactly like suede. Of course, she’s an Andalusian hound, so her name sounds a little different in Spanish. Now I find myself calling ‘Suede’ out loud a million times a day so, she’s an ever-present reminder of my beloved band. 😀

JD
: Okay, I was wrong and you were right, haha. The name really does suit her.

The group remains open, where many communities choose to be private. What guided that choice, was it about accessibility, trust, or something deeper about how you see connection?

SB
: Now my question would be, why do those communities choose to be private? It’s all about the music, nothing to hide there. And yes, it’s certainly easier for people to find the group this way.

JD
: Sharing content with other groups, at least on Facebook, wouldn’t be possible if the group were private. In the beginning, it was a great way to promote the group around. I agree with Sara: what is there to hide? What’s wrong with your family and friends knowing that you love Suede?

SB: My family and friends are sick and tired of hearing me babble about Suede, hahaha!

Managing a community of over thirteenth thousand members must carry moments of both joy and overwhelm. What have you learned about human nature through holding this space?

SB: In the meantime, we’ve gained fifteen hundred more members! 😀 I’m genuinely impressed with Suede fans but, then again, I totally expected they’d be top blokes and gals! The good moments far outweigh the not-so-good ones.

JD
: I’ve learnt that, at the end of the day, and deep down, we’re all very similar, which is a good thing. I’ve also learnt that people enjoy being part of something bigger than themselves. They like to participate, give opinions, share their thoughts with like-minded people, and they need to relax after a long day at work. That’s what social media is for, isn’t it? No drama, just fun!

Some members of the band – like Simon Gilbert (Suede’s drummer) – and people who work closely with them are part of the group. Has having Suede themselves within the community affected the way members express themselves, or does it remain a space where everyone feels free to share their opinions?

JD: Not at all! Honestly, it has zero influence. We even wonder if people realise that Simon is a member! We’re also thrilled to have among our fellow Mild Ones other people who work closely with the band, like Paul Khera, Jip Nipius, Mike Christie, Saul Galpern, Justin Welch, Simon Price, Jim Hanner, and plenty of other musicians who are friends with the band: Rialto’s Julian Taylor and Louis Elliot, Emma Anderson, Mark Fernyhough, and Ian Watson, among others. and, of course, the lovely Mariana Enríquez [who wrote the book Porque demasiado no es suficiente: Mi historia de amor con Suede].

SB: And I’m pretty sure Brett must be lurking somewhere too, haha! People here aren’t shy about speaking their minds, even if it’s not always flattering. And that’s perfect: critical thinking and constructive criticism, when said with respect, only makes the space better. Luckily, our members know how to disagree gracefully and still have fun.

Online spaces can often feel fleeting, yet The Mild Ones endured. What keeps it alive, is it the music, the shared nostalgia, or something ineffable that Suede evokes?

SB: In my opinion, Suede isn’t a band for the masses. Their music isn’t easy listening, and the lyrics are not straightforward. I think it speaks directly to certain people, those of us who sometimes feel out of place, those who expect music to say something about life and themselves, those who need to feel poetry and grandness in a world that can sometimes feel devoid of it. It’s music that touches your soul and never lets go. That’s probably why Suede fans are so faithful. It’s not just music; it’s a lifestyle. And once people feel that, they want to stay.

JD
: The relaxed atmosphere of the group greatly contributes to its permanence. People know they can talk about whatever they want, whenever they want, without others taking offense and, unfortunately, that’s not true for every group on social media, as the algorithm often favours conflict and bad vibes.

Have you witnessed friendships, collaborations, or even transformations emerge from within the group? Things that remind you why you continue?

JD & SB
: We have, indeed! Many a friendship has been forged within the confines of the Mildlands, about which we are truly happy, as it is a way for fans to connect in a disconnected world, to quote Brett.

Some collaborations have also emerged, notably the project Swayed with Wayne Readshaw, Jo T. Jones and Carlos Rodrigues, who have made a magnificent cover of So Young.

In their own words: “Remote cover of the classic Suede hit ‘So Young’ featuring Jo Taylor-Jones (vocals, bass and keys), Wayne Readshaw (guitars) and Carlos Rodrigues (drums). Via ‘The Mild Ones’ Facebook group, the trio got together online to record this track at each of their homes before it was compiled across 5,365 miles.” But they aren’t the only ones. We’d also like to mention the best tribute band in the world, our Indonesian friends Animal Lazy, as well as other consummate artists who share their striking covers with the group such as Helen Wong, Lunachangue Tak, Maximilien Poullein, Bettina Korn, and Popping Shi, to name a few.

Other talented members have also shared drawings, designs, artistic performances, make-up and jewellery creations with the group including Susan Gallagher, Wanzhou Ji, Carmen B. Leung, Erika Seya, Haruko Masuyama, Laura RK, Ingrid Petry, Lindsey Barton, Mel Langton Art, SW Portraits, Matthew Williams, Hardeep Sihota, Maeve, Isabella Arp, Silvio Balija, Jim Morey, Anna Walsh, Pat Taylor (Patsy), Neil Reid, Simona Valenti, Kay Kitto, Petrol Blue, our two moderators DeanJean Phng and Melissa Waterfield. Even we have shared some poems and drawings ourselves.

We are happy to say that ours is a lovely community full of artistic talent!

Neil Codling wire portrait by Kay Kitto © Kay Kitto



Suede’s work often balances elegance with rawness, beauty with disquiet. Do you sense that same duality in the way the community expresses itself?

JD
: Yes, we do notice that duality. You can come across posts that are particularly harsh about a song or their latest work, but you can also find posts praising their music with beautiful words. But all opinions are more than welcome.

SB
: One of the things I believe people appreciate most about the group is that they feel free to express themselves in whatever way feels right at the moment. Of course, there are limits: we only ask that people remain respectful towards others and the band, but within those limits, everyone is free to say whatever they want, however they want. And yes, that duality is definitely there.

How do you personally stay inspired as administrators, what restores your energy when things get heavy or chaotic?

JD
: When things get tough, I listen to other bands like Radiohead, The Divine Comedy, Manics or Pulp to disconnect a bit from everything related to the group. Then, I go back to listening to Suede to restore my energy.

SB
: I must confess that I’m not a big fan of social media, so the time I spend on my phone is usually in the group. I’m more of a watcher and reader than a responder, but Jose keeps me informed about everything. That said, I only listen to Suede; I don’t have time for other bands since I have a pretty busy life. And I have Netflix and a lot of books.

After three years, what do The Mild Ones mean to you, not just as a group, but as a living archive of feeling, music, and shared history?

SB & JD
: Well, as we’ve mentioned before, this started almost as a joke. We were more like a comedic duo in another space. So the fact that we’ve grown so much, and gone from being just an anecdote to now being the largest Suede fan community, fills us with pride and satisfaction. And it’s all thanks to the fans who, every day, fill our space with stories, anecdotes, photos, information, videos, experiences.

The Mild Ones Facebook | Instagram

Suede related interviews on Mondo Bizarre Magazine:

In Conversation With Simon Gilbert
Five Questions With Andrew Johnston of Repercussion Drums
The Asphalt World: Growing Up on Tarmac and Songs – An Essay by Neal Reid

Amazing Songs and Other Delights #5 – The Poetry edition’s by Raquel Pinheiro – repeat @ Yé Yé Radio, Monday 21st

Phil Ochs

My radio show Amazing Songs & Other Delights #5 – The Poetry edition repeats tomorrow, Monday 21st, 3-4pm (gmt+1) on Yé Yé Radio: yeyeradio.com (or on the app).

You can read about the show here.

Tracklist:
01 – Marianne Faithfull with Warren Ellis – Ode to a Nightingale (Keats poem)
02 – Suede – Heroine (Byron She Walks in beauty 1st lines)
03 – The Cranberries – Yeats Grave
04 – Amália Rodrigues – Barco Negro (David Mourão-Ferreira poem)
05 – Secos Molhados – Não não digas nada (Fernando Pessoa poem)
06 – Annie Lennox – Live With Me And Be My Love (Christopher Marlowe poem)
07 – The Waterboys – Stolen Child (Yeats poem)
08 – Bob Dylan – On the Road Again (Bob Dylan poem)
09 – Radio Bukowski – The Genius of The Crowd (Charles Bukowski poem)
10 – Carla Bruni – If You Were Coming In The Fall (Emily Dickinson poem)
11 – Rufus Wainwright – When, in disgrace with fortune and men’s eyes (William Shakespeare, Sonnet 29th)
12 – Fagner – Fanatismo (Florbela Espanca poem)
13 – Ralph Schuckett and Richard Butler – Alabama song (Bertolt Brecht poem, Kurt Weill music)
14 – Patti Smith – Changing of the Guards (Bob Dylan cover and poem)
15 – Phil Ochs – The Bell (Edgar Allan Poe poem)
16 – Quilapayun – Complainte de Pablo Neruda
17 – The Smiths – Cemetery Gates (Keats, Yeats, Wilde came to play)

All shows on mixcloud: www.mixcloud.com/infoyeye/ | www.mixcloud.com/MondoBizarreMagazine

World Poetry Day 2025

Today is World Poetry Day. Here is my favourite poem:

The Love Song of J. Alfred Prufrock by T.S. Eliot
S’io credesse che mia risposta fosse
A persona che mai tornasse al mondo,
Questa fiamma staria senza piu scosse.
Ma percioche giammai di questo fondo
Non torno vivo alcun, s’i’odo il vero,
Senza tema d’infamia ti rispondo.

Let us go then, you and I,
When the evening is spread out against the sky
Like a patient etherized upon a table;
Let us go, through certain half-deserted streets,
The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious argument
Of insidious intent
To lead you to an overwhelming question …

Oh, do not ask, “What is it?”
Let us go and make our visit.

In the room the women come and go
Talking of Michelangelo.

The yellow fog that rubs its back upon the window-panes,
The yellow smoke that rubs its muzzle on the window-panes,
Licked its tongue into the corners of the evening,
Lingered upon the pools that stand in drains,
Let fall upon its back the soot that falls from chimneys,
Slipped by the terrace, made a sudden leap,
And seeing that it was a soft October night,
Curled once about the house, and fell asleep.

And indeed there will be time
For the yellow smoke that slides along the street,
Rubbing its back upon the window-panes;
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
That lift and drop a question on your plate;
Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of a toast and tea.

In the room the women come and go
Talking of Michelangelo.

And indeed there will be time
To wonder, “Do I dare?” and, “Do I dare?”
Time to turn back and descend the stair,
With a bald spot in the middle of my hair —
(They will say: “How his hair is growing thin!”)
My morning coat, my collar mounting firmly to the chin,
My necktie rich and modest, but asserted by a simple pin —
(They will say: “But how his arms and legs are thin!”)
Do I dare
Disturb the universe?
In a minute there is time
For decisions and revisions which a minute will reverse.

For I have known them all already, known them all:
Have known the evenings, mornings, afternoons,
I have measured out my life with coffee spoons;
I know the voices dying with a dying fall
Beneath the music from a farther room.
So how should I presume?

And I have known the eyes already, known them all—
The eyes that fix you in a formulated phrase,
And when I am formulated, sprawling on a pin,
When I am pinned and wriggling on the wall,
Then how should I begin
To spit out all the butt-ends of my days and ways?
And how should I presume?

And I have known the arms already, known them all—
Arms that are braceleted and white and bare
(But in the lamplight, downed with light brown hair!)
Is it perfume from a dress
That makes me so digress?
Arms that lie along a table, or wrap about a shawl.
And should I then presume?
And how should I begin?

Shall I say, I have gone at dusk through narrow streets
And watched the smoke that rises from the pipes
Of lonely men in shirt-sleeves, leaning out of windows? …

I should have been a pair of ragged claws
Scuttling across the floors of silent seas.

And the afternoon, the evening, sleeps so peacefully!
Smoothed by long fingers,
Asleep … tired … or it malingers,
Stretched on the floor, here beside you and me.
Should I, after tea and cakes and ices,
Have the strength to force the moment to its crisis?
But though I have wept and fasted, wept and prayed,
Though I have seen my head (grown slightly bald) brought in upon a platter,
I am no prophet — and here’s no great matter;
I have seen the moment of my greatness flicker,
And I have seen the eternal Footman hold my coat, and snicker,
And in short, I was afraid.

And would it have been worth it, after all,
After the cups, the marmalade, the tea,
Among the porcelain, among some talk of you and me,
Would it have been worth while,
To have bitten off the matter with a smile,
To have squeezed the universe into a ball
To roll it towards some overwhelming question,
To say: “I am Lazarus, come from the dead,
Come back to tell you all, I shall tell you all”—
If one, settling a pillow by her head
Should say: “That is not what I meant at all;
That is not it, at all.”

And would it have been worth it, after all,
Would it have been worth while,
After the sunsets and the dooryards and the sprinkled streets,
After the novels, after the teacups, after the skirts that trail along the floor—
And this, and so much more?—
It is impossible to say just what I mean!
But as if a magic lantern threw the nerves in patterns on a screen:
Would it have been worth while
If one, settling a pillow or throwing off a shawl,
And turning toward the window, should say:
“That is not it at all,
That is not what I meant, at all.”

No! I am not Prince Hamlet, nor was meant to be;
Am an attendant lord, one that will do
To swell a progress, start a scene or two,
Advise the prince; no doubt, an easy tool,
Deferential, glad to be of use,
Politic, cautious, and meticulous;
Full of high sentence, but a bit obtuse;
At times, indeed, almost ridiculous—
Almost, at times, the Fool.

I grow old … I grow old …
I shall wear the bottoms of my trousers rolled.

Shall I part my hair behind? Do I dare to eat a peach?
I shall wear white flannel trousers, and walk upon the beach.
I have heard the mermaids singing, each to each.

I do not think that they will sing to me.

I have seen them riding seaward on the waves
Combing the white hair of the waves blown back
When the wind blows the water white and black.
We have lingered in the chambers of the sea
By sea-girls wreathed with seaweed red and brown
Till human voices wake us, and we drown.

My radio show, Amazing Songs & Other Delights has a poetry edition: https://www.mixcloud.com/infoyeye/amazing-songs-other-delights-5-the-poetry-edition-por-raquel-pinheiro/

Amazing Songs and Other Delights #5 – The Poetry edition by Raquel Pinheiro – repeat @ Yé Yé Radio, Monday 2nd

There’s a repeat of my 5th Amazing Songs & Other Delights #5 – The Poetry edition tomorrow, Monday 2nd, 3-4pm (gmt) on Yé Yé Radio: yeyeradio.com (or on the app).

Tracklist:
01 – Marianne Faithfull with Warren Ellis – Ode to a Nightingale (Keats poem)
02 – Suede – Heroine (Byron She Walks in beauty 1st lines)
03 – The Cranberries – Yeats Grave
04 – Amália Rodrigues – Barco Negro (David Mourão-Ferreira poem)
05 – Secos Molhados – Não não digas nada (Fernando Pessoa poem)
06 – Annie Lennox – Live With Me And Be My Love (Christopher Marlowe poem)
07 – The Waterboys – Stolen Child (Yeats poem)
08 – Bob Dylan – On the Road Again (Bob Dylan poem)
09 – Radio Bukowski – The Genius of The Crowd (Charles Bukowski poem)
10 – Carla Bruni – If You Were Coming In The Fall (Emily Dickinson poem)
11 – Rufus Wainwright – When, in disgrace with fortune and men’s eyes (William Shakespeare, Sonnet 29th)
12 – Fagner – Fanatismo (Florbela Espanca poem)
13 – Ralph Schuckett and Richard Butler – Alabama song (Bertolt Brecht poem, Kurt Weill music)
14 – Patti Smith – Changing of the Guards (Bob Dylan cover and poem)
15 – Phil Ochs – The Bell (Edgar Allan Poe poem)
16 – Quilapayun – Complainte de Pablo Neruda
17 – The Smiths – Cemetery Gates (Keats, Yeats, Wilde came to play)

All shows on mixcloud: Yé Yé Radio mixcloudMondo Bizarre Magazine mixcloud

Julia Cameron – The Artist’s Way/The Morning Pages – One Year of

by Raquel Pinheiro

A little over one year ago my friend Dana suggested me Julia Cameron’s The Artist’s Way. I have now been writing The Morning Pages, an integral part of the book that is meant to be carried on.

Dana recommending me The Artist’s Way wasn’t so much because I was artistically blocked. I was composing, playing, painting, writing poems and more at the time. More because I wasn’t going to physical places I wanted to go. My feet, my body, seemed glued. In early 2022 I was invited by a friend to go and spend time with him. I truly wanted to, but couldn’t move.

Maybe summer (2022) would be it. It wasn’t. Summer 2022 brought a big musical piece, appeared literally when I woke up, name, concept, the names of several tracks all there. I turned my laptop on, opened Audacity and start cresting the sounds that, for me, translated the names of the tracks.

Out of the blue, as a coincidence, that Julia Cameron just like my friend Ed call synchronicity, Francisco (Silva – The June Carriers/Velho Homem/Old Jerusalem) start sending small guitar lines for me to hear the sound of his new guitar, an electric one (in Old Jerusalem life, Francisco was known for playing acoustic). He didn’t knew I was composing, I didn’t knew he had the Mustang. “What if I put some of those guitar lines on my tracks?” And so I did and what was electronic start become, and end up, electro-acoustic.

The Morning Pages notebook n°1 © Raquel Pinheiro

That same summer another friend turned 50. Until the eve of his birthday I didn’t knew he played (guitar), he didn’t knew I played (bass). There was going to be a band in which he was playing covers. I said I would go and play bass. And I did. I had played with them before, had never played on stage, hadn’t played bass in about 18.5 years until a few months before, no rehearsal. Just get there, they were already playing when I arrived, pick the house bass and go for it. It was great.

A few days later I was at the jams that were held at the place of the birthday party. This time, it was tricky to get the house bass. A woman playing electric? Seems not (it turned out is wasn’t just a woman playing electric, but not being from the proper musical background. I stayed there, observing, until I spotted an approachable musician, a saxophonist. We both played together, by the end of the jam. Total improv. He would wonderfully fit the saxophone wherever it was required. The next week he brough a jazz guitarist that gave me four 7th arpeggios to practice to play with them one week later. And so it was.And then it stopped. But I got a fabulous saxophonist for my music I didn’t even knew I needed. That summer I also started painting on canvas.

I didn’t went to stay with my friend. Autumn, Winter came. I didn’t went to go see my friend. It’s 2023. I want to go see someone play abroad. My feet remain glued. Dana, aware of what has been written so far and more, told me about The Artist’s Way. I read it, did all the exercises – some may, at first glance seem silly and childish, but aren’t – begin writing The Morning Pages.

I start venturing into short distance travels by train. Stayed overnight with a recent acquaintance. And with a different friend for a few weeks, carrying a ton of notebooks, my guitar, the digital copy of The Artists Way. It was the first time I spend a number of weeks with an electric guitar as my only instrument. It was a thrill.

Over two years since he invited me, I still haven’t went to see the friend that asked over in early 2022 – there is a little more to the story than my feet being glued the floor. As in, my feet were glued to the floor, but something else, my heart, was glued too. Under his shyness, my friend is adventurous, passionate, intense, larger than life, has deep emotions, loves love, passion and life. I share some of those things, but don’t deal well with deep, bubbling emotions. Open my heart again? Run the risk of heartbreak? Probably not. One day it will (re)happen.

But The Morning Pages have been there for me, so has he who keeps telling me to write for others to read. I write a lot on my journal(s), notebooks, The Morning Pages, to him.

Cage/Love mix medium on canvas © Raquel Pinheiro
Me, like an international woman of mystery © Helena Soares

I’ve recommended The Artist’s Way to a few people. Some already read it, did the exercises and wrote The Morning Pages for a while. Others bought the book and are still to read it, do the exercises and immerse themselves in The Morning Pages. My Morning Pages aren’t always in the morning, but I’ve been writing the three pages everyday. Matt, another friend, thinks it is quite the commitment to be writing The Morning Pages for a year.

My The Morning Pages © Raquel Pinheiro

Did the Morning Pages, The Artist’s Way made me more creative? More creative, not exactly. What they did, along with the friend I’m still to visit, is made me write more about myself in public. Such debut may had been with Bernard Butler’s Camber Sands https://mondobizarremagazine.com/2024/03/27/midlle-of-the-week-song/ The follow up is also with a new song by Bernard Butler, Deep Emotions, that can be read here: https://mondobizarremagazine.com/2024/04/30/bernard-butler-deep-emotions-an-essay/

Early this year I went to a vero circuit/guitar pedal building wokshop. A nice distortion/fuzz pedal both for guitar and bass was build. The last time I had soldered I was 13 or 14. Afterwards, home, I painted and customized the pedal box. Some of the materials, like the sparkling dust and the stars were part of a number of things from The Artist’s Way exercises. The rest is acrylic paint and glossy nail varnish and coat.

My diy distortion/fuzz guitar/bass pedal © Raquel Pinheiro

I’ve recently become a member of Grupo Operário do Ruído (Workers Noise Group) an ensemble of noise(s) and rhythm from Sonoscopia that will have its public presentation December 8th at Conservatório de Música do Porto. We have a staggering amount of rehearsals and a few workshops. Grupo Operário do Ruído is far less leftfield for me than what can be called life narration writing. To an extent I do that with my poems, but it is very different. I’ve also taken a short trip by metro to the seaside north of Porto that included seeing a small intimate concert friends had put up.

GOR Rehearsals’ Stage © Raquel Pinheiro

In fairness, I move across very different social groups. So much so that now Beatriz, one of my fellow members of Grupo Operário do Ruído (GOR) asked if her fellow GOR members would be interested in being part of her group of guests in a performance she is part of called Sonópolis. Sonópolis is to be presented at Sala Suggia, the orchestra room, at Casa da Música, July 7th. I’m in!

Feet & Sea © Raquel Pinheiro

The Reading List – Raquel Pinheiro – World Book Day 2024

© Raquel Pinheiro

Today is World Book Day 2004. Here is a list of a few of my favourite books:

Eça de Queirós – A Cidade e as Serras
F. Scott Fitzgerald – The Great Gatsby
Herodotus – Histories
James Gavin – Deep In A Dream – The Long Night Of Chet Baker
Jean Cocteau – Les enfants terrible
Sam Shepard – Crónicas Americanas (Motel Chronicles)
Simon Garfield – Mauve
T.E. Lawrence – Seven Pillars of Wisdom
T.S. Elliot – Complete Poems
Oscar Wilde – Dorian Gray

recent favourites:
Charles Spencer – A Very Private School
Mat Osman – The Ghost Theatre

Amazing Songs & Other Delights #63 – The Say Hello, Wave Goodbye edition by Raquel Pinheiro @ Yé Yé Radio, Monday 8th.

Old Jerusalem – Breeding angels – drawing by Francisco Silva

My Amazing Songs & Other Delights #63 – The Say Hello, Wave Goodbye edition is tomorrow Monday, 8th, 3-4pm (gmt+1) on Yé Yé Radio: yeyeradio.com (or on the app).

The title comes from the Soft Cell song of the same name, here on a cover by David Gray. The meaning refers to saying hello to something new, goodbye to an old, beloved one. In this case, the old beloved one is Old Jerusalem that Francisco Silva is retiring with a last concert on the 20th, at Socorro here in Porto. Old Jerusalem’s farewell includes Breeding angels, a demos album that contains Red sun over the interstate – that is also on this week’s programme –  a song I have the previledge of known, and often sing on my own home, for a couple of years.

If Francisco is retiring Old Jerusalem, he is bringing, given birth, to The June Carriers that release their debut album Equanimity on the 10th.
And now, beginnings and endings, and metting, and journeys, and the same thing, that yet is, but isn’t, become even more interesting.

My track Big Bang, that opens the show, has the exact same guitar line as The June Carriers’s Pastoral Epigraph, that closes the show. It is a travel from the The Big Bang, from the ends, or beginnings, of The Universe to Earth. The guitar, of course, is played be Francisco on both instrumentals. As for the why and how Francisco’s guitar line ended up on my track, on both tracks, that is for another day.

What my Big Bang and Then June Carriers’ Pastoral Epigraph shows is how the exact same guitar line, although easily recognisable, can feel so different depending of its surrounding, of the musical ambience and creation. Of how two people compose differently with the same guitar line (or any other same musical bit). Other than knowing I was going to use his guitar line, Francisco had no say, nor knew, what I was going to do with it. I didn’t have a clue how he was going to use it on what become The June Carriers’ first album.

The Maze at my favourite local park in colour © Raquel Pinheiro

My 16 choices for this The Say Hello, Wave Goodbye edition are all about travel, journeys, inner and outer, out in space, on our planet, far from home, standing  still. The Modern Lovers’
Dodge Veg o-matic is probably the best going nowhere song ever. Bartleby, the immovable, “I prefer not to” scrivener of Henry Melville’s tale as his very fixed ideais regarding is life, his views, doing, moving, changing in ways others find normal is not for him.

Some journeys don’t end well. Like in the Erlkönig a Schubert lieder, with lyrics by Goethe, in which a father rides madly through the night, on horseback, with his son, whistle the Erlking is enticing the child, that tries  to draw dad’s attention. The lieder ends with the blunt “In seinen Armen das Kind war tod” (roughly “in your arms the child is dead”.

The Maze at my favourite local park in black and white © Raquel Pinheiro

Others have twist and turns. Diferentes in perspective, depending where we find ourselves. My photos of the maze from my favourite local park are taken from inside it and I know my way around it because I know from where the whole maze can be seen. However, on a foggy day, I may, and still get lost in it. The colour and black and photo illustrate the same thing seen in two different ways.

Tracklist:
01 – Raquel Pinheiro – Big Bang (radio edit)
02 – Old Jerusalem – Red sun over the interstate
03 – Franz Schubert – Erlkönig (Op. 1, D. 328 – Wer reitet so spät sung by Dietrich Fischer-Dieskau)
04 – The Modern Lovers – Dodge Veg o-matic
05 – Bernard Butler – Camber Sands
06 – The Fugs – Bartleby The Scrivener
07 – Elton John – Goodbye Yellow Brick Road
08 – David Gray – Say Hello, Wave Goodbye (Soft Cell cover)
09 – The Beatles – Drive My Car
10 – The Clash – Lost In The Supermarket
11 – Kings of Leon – Going Nowhere (live in Nashville)
12 – Siouxie & The Banshees – The Passenger (Iggy Pop cover)
13 – The Proclaimers – I’m Gonna Be (500 Miles) (2011 remaster)
14 – Aaron Copland – Going to Heaven! (Emily Dickinson poem, sung by Sanford Sylvan)
15 – Little Eve – The Loco-Motion (remaster)
16 – The June Carriers – Pastoral Epigraph

All previous shows on mixcloud: www.mixcloud.com/infoyeye/ | www.mixcloud.com/MondoBizarreMagazine

The June Carriers – Equanimity – painting by Susan Lindsey

Amazing Songs & Other Delights #5 – The Poetry edition by Raquel Pinheiro – repeat @ Yé Yé Radio, Monday, January 1st

For tomorrow, Monday, January 1st,, Amazing Songs & Other Delighs is a repeat. Issue #5 The Poetry edition, 9ne of my favourite editions that fits beautifully on New Year’s Day. You can hear it on Yé Yé Radio: /yeyeradio.com/ (or on the app), 3-4pm (gmt).

The poetry edition starts with Marianne Faithfull reading Ode to a Nightingale by Keats with music by Warren Ellis and ends with The Smiths’ Cemetry Gates. Between those there are other 15 songs ranging from Suede’s Heroine to Amália Rodrigues singing Barco Negro, a fado with a David Mourão Ferreira poem, through The Cranberries, Bob Dylan, Phil Ochs, Carla Bruni or Rufus Wainwright.

Tracklist:
01 – Marianne Faithfull with Warren Ellis – Ode to a Nightingale (Keats poem)
02 – Suede – Heroine (Byron She Walks in beauty 1st lines)
03 – The Cranberries – Yeats Grave
04 – Amália Rodrigues – Barco Negro (David Mourão-Ferreira poem)
05 – Secos & Molhados – Não não digas nada (Fernando Pessoa poem)
06 – Annie Lennox – Live With Me And Be My Love (Christopher Marlowe poem)
07 – The Waterboys – Stolen Child (Yeats poem)
08 – Bob Dylan – On the Road Again (Bob Dylan poem)
09 – Radio Bukowski – The Genius of The Crowd (Charles Bukowski poem)
10 – Carla Bruni – If You Were Coming In The Fall (Emily Dickinson poem)
11 – Rufus Wainwright – When, in disgrace with fortune and men’s eyes (William Shakespeare, Sonnet 29th)
12 – Fagner – Fanatismo (Florbela Espanca poem)
13 – Ralph Schuckett and Richard Butler – Alabama song (Bertolt Brecht poem, Kurt Weill music)
14 – Patti Smith – Changing of the Guards (Bob Dylan cover and poem)
15 – Phil Ochs – The Bell (Edgar Allan Poe poem)
16 – Quilapayun – Complainte de Pablo Neruda
17 – The Smiths – Cemetry Gates (Keats, Yeats, Wilde came to play)