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'Advice for the young at heart' (1990)

'Break it Down Again' (1993)

'Queen of Compromise' (1993)

'Secret World' (2004)

'Ladybird' (2004)

[14.11.2010; 26.02.2011; 10.04.2011]

'Some Secrets' (2013); Curt's bandcamp

[23.11.2014]

[19.10.2015; 20.10.2015]

[26.10.2015; 27.10.2015; 05.12.2015; 06.12.2015; 07.12.2015; 18.12.2015; 16.01.2016; 25.01.2016; 31.01.2016; 09.02.2016; roland's twitter]

'Secret Location' (2022)

bonus:

Roland's twitter // Curt's twitter

Today's eBay spotlight (Seller ID: RadioIndy)! The Texas Furry Fiesta 2013 program book, a nice find for furry fans! Cover by Heather Bruton! #conlife #conventions #furrycon #furrycomics #texasfurryfiesta #tff2013 #furry #heatherbruton #conventionprogram #2013 #auctions #ebay #radioindy #buymystuff #quarantinehustle https://www.instagram.com/p/CBtHz8ODWzH/?igshid=13hz5me79gcjk

#conlife #conventions #furrycon #furrycomics #texasfurryfiesta #tff2013 #furry #heatherbruton #conventionprogram #2013 #auctions #ebay #radioindy #buymystuff #quarantinehustle

No 1 (14.09.1985):

Tears for Fears play Mr. & Mr. Remember the rules? That’s right, one group member is grilled in private about the personal habits of the other. Afterwards his answers are checked by telling them to his partner. Points scored depend on how near the mark they are. <...> Curt scores 8 and a half points and Roland scores a perfect 10 out of 10. RO: “I did extremely well, didn’t I?” CS: “I think we both did pretty well, in fact, maybe we should get married!”

The Beat (1993):

Radio Interview (2004): RO: Um, Curt lives in a cave. I live at the top of a very, very high mountain. But seriously, no, I was in UK and Curt was in Los Angeles, so it involved a lot of, uh, transatlantic flying for us to actually get it [ELAHE] together. Int.: You live in a cave? I thought you lived in New York. CS: I do. I'm actually a very well-known recluse. Apart from being a gay icon. RO: [laughs] Int.: Really? CS: Yeah. Int.: What does your wife think of that? CS: She's fine with it, actually. Int.: She is? Ok, well, that's good to know. RO: When you say 'she'. CS: Well... Int.: Yeah, what exactly do you mean? CS: I... you know... one of them. RO: Hehehe CS: They're always called 'she'. RO: It's so nice of you to refer to him like that!

Mr. Media podcast (2010): Int.: How do you keep this partnership, which is sort of like a marriage between, you know, two people? CS: Oh, it's very much like a marriage, trust me. Actually, well, it's less like a marriage than having a brother. Int.: Okay. How do you keep it fresh, and how do you keep, you know, out of each other's hair? CS: Um... We live 6,000 miles from each other. <...> I actually thought that earlier, and I'm like, 'You know what? The 6,000 miles thing works for us'. You know, we see each other a few times a year to work, and then in between, Roland's in England, I'm in Los Angeles, so we don't see each other. So the time we spend together, it's kind of valued a bit more, and it tends to be around work, but, you know, it's nice to hang out, and outside of that, we're very much family men, and we're with our families in our respective homes. We have completely different sets of friends, obviously Roland being in England, me being here. So I think, yeah, weirdly enough, distance. I mean, if you... put it this way, and I do... sort of... I can make an analogy with me and my wife. We've been together 22 years also, by the way. And there was a time where she had to work out of home, and it just wasn't good. Because I worked out of home, and she worked out of home. We were in, like, too close to each other all the time. But then, you know, now she's back in the office, and so we work, you know, separately, and we see each other in the evenings, obviously, and at the weekends, and everything else. That is a good way of keeping a marriage together, [instead] of spending every hour together. And with myself and Roland, it's sort of similar, as you say, it's a bit like a marriage. When we were... the reason I left back in 1990 for a while was, you know, we spent every hour of every day pretty much together because of how succesful we were and because of the work. And... it got too stressful. I don't think people ment to be together for that many hours per day. <...> No, I mean it's... there's gotta be a certain separation because then you appreciate when they come back.

The Quietus (20.09.2013): RO: I never looked up to him [Curt], but I’ve ended up in my life with people who are more fiery than me, and bring out the fire, like my wife. I didn’t marry someone timid and conservative. I guess it’s one of those psychic – relating to the mind, you know? – sort of things you bring into your life, things that hopefully bring the best out in you.

Record Collector (29.11.2014): “In Facebook parlance, our relationship is ‘complicated’,” says Smith. “We’ve been doing it so long we get it. It’s much easier now than it was the first time round, because we appreciate what we both bring to the party. We’re like an old married couple. An old married gay couple.”

Medium (18.01.2020): CS: The song ['Stay'] is about how hard it is sometimes to leave. I was going through a period where I felt I should leave TFF again as I believed it wasn’t healthy for me. It’s analogous to a marriage. Do we stay together for the sake of the kids? The answer is of course always no as it doesn’t benefit anyone, but the decision is hard because of the decades of history.

Ivor Novello Music Awards (21.09.2021):

Variety (25.02.2022): RO: <...> I do think that we have a more profound respect for each other. We’re not butting heads. Maybe it’s the fact that the testosterone is dropping rapidly when you get to our age, I don’t know. But if we bicker now or if we argue now, it only lasts a couple of minutes, and then one of us says: “OK, shall we have a cup of tea?” CS: In marriage terms, we’ve got to the “Yes, dear” stage of our relationship.

Extra TV (2025):

singing about each other during their divorce

'Fish Out Of Water' (1993)

'Sun King' (1998)

+ some quotes under cut:

Curt’s Radio Interview (1998?): Int.: Now you mentioned ‘Sun King’, so… CS: [chuckles nervously] Int.: We'll try to make it painless. So, I gather the subject matter is openly presented. CS: Yeah. Int.: I guess I gather at this point: you're still really not on good terms then. CS: Well, I don't… I don't think it's necessary that we're not on good terms. I mean, because how would we know? We haven't spoken to each other for years. But no, the… I mean, to straighten out the whole story behind ‘Sun King’ and, you know, people ask, and I said, ‘Well, yeah’, I mean, it's sort of a reply to ‘Fish Out of Water’, but you've got to put all these things in perspective because… a: when I first heard ‘Fish Out of Water’, it didn't piss me off. I found it quite amusing and… in a perverse way flattering, that someone would write a song about me, albeit in particularly unflattering terms. And then when I was writing ‘Sun King’, it was one of those songs that started literally with the chords, and… there's different ways I start songs. It may be like with a lyric idea, like ‘Jasmine's Taste’, or maybe with like the trumpet line on ‘What Are We Fighting For’, and that's the melody I remember. And with… with ‘Sun King’, it was a very discordant song, and it sounded musically very angry, so I wanted the lyrics to be angry. So then I go back thinking something I'm angry about, and so… this is the thought process I'm going through, and… but always in the back of my mind with a certain sort of tongue-in-cheek, you know, maturity about the whole thing that, you know, I really wasn't that pissed off, like I said, but it's an angry song, so how should I do this? And then like some, ‘Okay, I'm angry at Roland, right’ and… So how do I like translate that anger? Well, I think of ‘Fish Out Of Water’ at this point in time and I think, well, it's a very cerebral song and it's a very sort of roundabout way of dissing me, you know, and so I think, ‘Okay, how would one answer that?’ And I'm thinking of us as people, and we're different that way as people. He's very cerebral and he's into astrology, and, you know, and psychics, and all this kind of stuff, and I'm pretty straightforward and base, and that was the, you know, a lot of the time the reason why we work well together, strangely enough. And so I'm thinking of, ‘Okay, so I'm the bass one’. So, in more ways than one, forgive the musical pun. And so I'm thinking along the lines of, well, someone's like being very cerebral with you, and your answer would be what? And I'm like, okay, well, na-na-na-na-na, your mama's fat, kind of thing. You know, that's the way you want to deal with it. So that's ‘Sun King’. That's my version of that. ‘Sun King’ is just my way of being really straight ahead, like, ‘Go screw yourself’, basically, as opposed to being too like intellectual about it or anything. And the whole, I mean… I wasn't amusing myself while doing it, so it wasn't like it's all like really bass anger and it's a hundred percent men, you know? I… I find sort of half of it amusing in it's, because it's so based, and it's not the way I feel about him most of the time at all. But it's... it was just an answer to a song, and that's the way I wanted to make it, and, you know, I find it amusing, and hopefully he can take it the same way, but who knows?

GN: And what's that... There was a book, apparently, when you were really young was it... wasn't it? Primal... RO: Primal Scream. GN: ...and it was the guy... What's his name? CS: Arthur Janov. GN: So who introduced you to that book? You were just in school or? RO: No it was a guitar teacher. Her name was Pauline, and she was a litlle bit of a hippie she put and ad in Walcot Street Newsagents offering free guitar lessons to sort of delinquent young men. So Curt's brother went along and I went along. And one day, I mean, a couple of years later, Pauline said, 'I'm going to LA.' I said, 'Why?' — 'I'm going to do a thing called Primal Therapy.' What's Primal Therapy? What is wrong with you if you're doing therapy? And she said, 'Well, I wasn't... I'm not very happy about my childhood. I want to explore those feelings.' And we thought, this is — it came out of the blue. But she gave us the book 'Primal Scream' and for us, having come from sort of quite difficult backgrounds with me, a lot of domestic violence, it was like... It was a... eureka moment. Our lives suddenly made sense. And we became evangelical about it. And we took so many parts of that book, some chapters and wrote songs about it. And Mr.... You know, Dr. Arthur Janov was following us secretly. And when, and when we got... When we were one of the biggest bands in the world in '85, he came across to London and we met our, we met God. CS: We thought it was God. RO: It turns out that he wanted to make a musical. Primal Scream the musical. GN: Everyone wants to make a musical. CS: Yeah, No. It was a touch disappointing, to say the least. We always thought of him as this very cerebral genius. But no, he just wanted to become big.

The Graham Norton Radio Show, Virgin Radio (26.02.2022)

+ some quotes under the cut:

RO: I had a guitar teacher, and she introduced me to a book called 'The Primal Scream' (by Arthur Janov). And I read it, and it became my Bible. The theory is called The Tabula Rasa theory, or the ‘Blank Slate’ theory. A child is born a blank slate, and then all the terrible things that happen to it – the childhood trauma and the rejection, not enough love – become suppressed and then turn up as neuroses in later life. The therapist would try to lead you to recall something that happened to you, and your way of mourning – and it’s a deep way of mourning – is that you actually cry. Not as an adult, but actually in a sense you’re going really, really deep. CS: It’s not a novel idea. I just think Janov explained it in better terms than most people. RO: I converted Curt, you might say. I suppose both of us were believing we were victims, so we would quite often try and convince other people of the validity of Janov’s ideas, but no one would… I suppose we were the only two. You know what it’s like when people have a specific belief and they don’t have any room for anyone else’s beliefs: it’s a turn off. And I was definitely one of those… <...> RO: The Hurting was one thing: pure Janov. CS: What changed that for me was actually meeting Arthur Janov. RO: We broke it really big with Songs From The Big Chair, both in England and America, and then he became hyper-aware of who we were. So we were doing four nights at Hammersmith Odeon, and he came to one of them. We met in the dressing room afterwards. I spoke to him a couple of times on the phone, and we all met up for lunch – me, Curt and our partners – in some fancy restaurant in Chelsea. CS: He proceeded to ask us whether we might be interested in writing a musical about primal theory. At that point I lost the plot. RO: It was one of those situations. CS: Basically it was as if God had come down and said that he wanted you to find ways to make him money. It would be like God taking sponsorship. RO: The words to the musical were just literally… CS: I don’t think lyrics were his strong point! You know, there are some words you don’t put in songs, and long psychological explanations are really not things that songs are written about! I was destroyed after meeting Arthur Janov. RO: I ended up doing primal therapy after Big Chair and during Seeds Of Love, and then I realised so much of you is your character, and you’re born like it. I think that definitely any trauma – whether it’s childhood or later in life – affects you negatively, especially when it’s suppressed, but there’s so much of us which is already in place. I believe that primal theory – which has been absorbed into modern psychotherapy practices – is very, very valid, but a good therapist is a good therapist. He doesn’t have to be a primal therapist. CS: When he actually came to the show, I was talking to him for a while, and he said "I don’t think you need therapy", which was fantastic for me to hear. After that lunch, I didn’t feel like it anymore.

I ask Roland and Curt if either of them still practice Primal Therapy, Arthur Janov’s trauma-based therapy that informed so much of the songwriting on their 1983 debut 'The Hurting'. RO: Well, no… [but] maybe I should? I did it in the ’80s for five years, very regularly, two or three times a week and it was amazing. It was really about my childhood. And, strangely enough, when my first son was born, Raoul, something happened psychologically, because I saw him come out, and it was like my childhood was over. I don’t know why, but I was no longer focused on the child within, I was focused on the child ‘without’. So then you become a parent and part of what you do is very structural. We weren’t too big on discipline, but enough, and your inner child gets kind of shooed away for many, many, many years, and I stopped using any of the therapeutic techniques from Primal Therapy. And I got older, I sort of got into addiction problems, and I actually lost the ability to express myself emotionally. I’ll give you an example: My father died when we were doing 'The Seeds of Love'. And I was like, ‘fuck him’, you know. That day I had therapy, and as I was walking from England’s Lane, where we were making the record, to therapy, I went from denial to a wave of absolute grief. And before I even got there, I was crying like I’ve never cried, because of the reality. Now, when it came to Caroline dying, I couldn’t do it. I’d lost completely, through all the pills and booze, I’d lost the ability to get that wave of grief that comes up from a very deep part of you, and to let it go. I couldn’t do it. And it wrecked me. That inability wrecked me. So no, I had to do therapy to deal with the grief, but I actually found a woman in LA who was a Freudian therapist – Freudian! – crazy, but it was an amazing relationship. Through that, plus the love of a good woman in Emily – that really got me back on track. CS: I never felt the need. I think it was knocked out of me by meeting Arthur Janov. I think that I kind of lost faith in Primal Therapy because it was coming from a man who I thought was a bit of a charlatan, after meeting him. My therapy happened in later years, some in New York or in Los Angeles. The relationship with the therapist is always a very personal one – you’ve got to find a therapist that works with you. And it’s not even necessarily a method, I think it’s actually a relationship you have with them. Mine happened to be a 70-year-old hippie that had taken all sorts of things when she was younger, and she was fantastic. But no, Roland’s correct, when children come along it really changes the picture, a lot. And weirdly, that put me off Primal Therapy theory a bit more because a lot of what Janov was writing about back then was very much about children being this ‘blank slate’ being fucked up by parents and you see your kids come out and you watch them grow up and it’s like, that was never a fucking blank slate, it just wasn’t. There’s DNA there. The way they look, the way they behave…

CS: <...> we were big followers of Arthur Janov at that point in time, and Primal Theory, 'Primal Scream' being the book. And 'Tears for Fears' actually came from an Arthur Janov book, from 'Prisoners of Pain'. And most of our songwriting that was being done at that point, and that ended up being 'The Hurting', was all based around primal theory, pretty much. Int.: How did you guys discover Arthur Janov's writing? CS: Initially through a guitar teacher of Roland's. And then, of course, we discovered, obviously, that John Lennon had become a big sort of proponent of it. But that kind of came later. Literally, the guitar teacher gave Roland the book. He read it. Roland gave it to me. I read it. And we were just both like, this is the answer to life. Int.: What was it like later on when Arthur Janov showed up at one of your gigs? CS: Well, as I say, little did we know that there really wasn't the answer to life. But, you know, we were 18 and very impressionable. It was, you know, it was during... I think... was it during the end of 'The Hurting' or was it... I think it might have been in between and prior to 'Songs from the Big Chair'. He had heard that, you know, we'd written this album based, you know, around Primal Theory. And he came to our show at what was Hammersmith Odeon then, I don't know what name it has now, but it changes name all the time. And it was kind of like meeting God. We were both nervous, you know. We didn't spend tons of time with him after the show. But he said, 'Well, can I take you to lunch?' And so we were like, absolutely, you know, yes. And we went to lunch, I think, was any pick somewhere fancy on the King's Road. It was horrible. It became very apparent quite quickly that all he was concerned about, because that was the question he asked us, was would we write a musical about Primal Theory, which we couldn't think of anything worse. Plus, we'd already effectively done it. He was interested in how it would make him money or more famous. At that point, I was like, 'Yeah... Um... This guy is not for real', you know. I mean, he had some very good ideas, but... but even then, I, you know, I look back on it now, and they were, they were good ideas, they were very simplistic ideas. And some of them have been proven wrong, you know, with science since then. So you know, it's one of those things where you're easily impressionable at that age and you think this is the answer to everything and then you discover it's not, you know, there is no one answer. It's, you know, it's life that you go through.

Toronto Film Festival on September 7, 2013

Photographer： Jeff Vespa

#michael fassbender #fassbender #TFF2013

Indulge us, won't you? We just have to re-post our favorite image of Robert De Niro at TFF 2013. We bet Lil Bub sends her birthday greetings

#deniro70 #tff2013 #lil bub #happy birthday bob #Robert De Niro

Topanga Film Fest @TopangaFilmFest "Your film is a new art form...unlike anything I've seen in cinema" - Audience member on Faith Street Corner Tavern

Topanga Film Fest @TopangaFilmFest

#FaithStreetCornerTavern #tff2013 #david paul #faith street corner tavern tumblr