All posts tagged girls

  • “In Search Of Ukrainian Summer Romance: Inside Anastasia’s Odessa Odyssey”, January 2012

    In July 2011, my girlfriend and I travelled to Ukraine as guests of a dating website named Anastasia to report on one of their so-called romance tours. It was one of the strangest and coolest experiences of our lives.

    What appears below is a longer version of a story that was published in the December 2011 issue of Maxim Australia. That story, entitled “European Union: Riding shotgun on a Ukrainian summer romance tour“, can be read here.

    All words below were written by myself, Andrew McMillen. All photos below were taken by Rachael Hall; you can click any of them to view a larger version, which will open in a new window.

    If you would like to republish this story or these photos, please contact me via email or Twitter.

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    In Search of Ukrainian Summer Romance: Inside Anastasia’s Odessa Odyssey
    by Andrew McMillen

    “This is a situation that very few men in the world have ever been in, to walk into a place where there’s no pretence about what everybody is there for.”

    We’re in a seaside city called Odessa, in south Ukraine. More accurately, we’re in a stuffy basement conference room at the Continental Hotel in the city’s centre. We’re being addressed by Larry Cervantes, public relations manager of a website named Anastasia, which claims to be “the world’s leading international dating and romance tour company”. My girlfriend Rachael and I are here as guests of Anastasia to report on their Ukrainian ‘summer romance tour’.

    “Beautiful women grow in certain parts of the world more than others,” Larry continues, “and you’re in one of them. Maybe six or seven thousand guys in the world have experienced what you’re going to experience: being put into a situation where you have so much choice that it’ll be mind-boggling. So be prepared, gas up, and I guarantee you’re going to have a wonderful time.”

    One seasoned summer romance tourist adds, “Plan to do this a lot in the future!”, and two dozen men join him in laughter.

    Larry is impressively tanned, speaks in a deep, low Californian drawl, and offered us a forceful handshake at Odessa Airport yesterday afternoon. Odessa is a strange, beautiful city; in the midst of summer, the air crackles with a dry, insistent heat that’s a pleasant change from the humidity of Brisbane. It’s home to one of the largest ports in the Black Sea basin, yet as our taxi driver threads his way through traffic sans seatbelt while yelling into his mobile phone we get the distinct impression that most buildings outside of the tourist-friendly city centre are slowly falling apart from decades of neglect.

    Larry tells us that 45 men have signed on for this tour; a statement which seems strange, as over the next seven days we follow the tour, we never see more than 30 at any one time. One can only assume that their reasons for attending lie somewhere on the spectrum between searching for casual sex and lifelong commitment. Whatever the case, they’re each prepared to spend US$5,000 – including return airfares from New York’s JFK airport and local accommodation – to be here. The median age of the mostly-American tour group sits between 40 and 45. There’s one Australian: Owen, a West Australian miner in his early 40s. Most of the men are educated professionals. Many of them have at least one divorce under their belt.

    The walls of the basement conference room feature tasteful oil paintings of the London Bridge and World Trade Centre. Four Anastasia reps are seated at the front of the room: Larry, William Tate – an affable American tour representative who served in the United States Marines – and two Ukrainian representatives named Olga and Anna. Before they address us, the mood is somewhat standoffish. Some of the 24 men chat quietly amongst themselves; most sit alone, eyes to the front, wondering silently what they’ve gotten themselves into. None of them give off the impression of being pick-up artists, or Neil Strauss acolytes. Just like in any high school classroom, the back row is full, but the first couple are sparse.

    Eight media types line the aisle, ourselves included. Two comically large TV cameras – one from Australian 60 Minutes, the other from Sky News – scan the room. Their footage will undoubtedly be edited down to include only the most forlorn facial expressions. Over the next hour, the four Anastasia reps give their charges a rough ‘n’ ready guide to the Wild West that is Ukrainian dating. Most of the men have some familiarity with local members of Anastasia, having thoroughly combed the ladies’ profiles in search of their ideal match. Some have already set up dates through the website while they’re in town.

    The company reps explore the concept of scamming – or, as euphemistically dubbed by William, “getting sushi’d” – at length. This is an apparently common situation during these kinds of tours, where a foreign man may unwittingly find himself footing the bill for an entire table’s drinks, entrees, steak, sushi; in the parlance of the overwhelmingly American entourage, ’the whole nine yards’. Local custom deigns that men invariably take care of most monetary concerns, and some of the women they’ll meet in the next week will try to exploit this to their advantage. ”You don’t want to appear cheap, or miserly,” explains Larry, “but you don’t want to appear to be foolish with money.”

    Based on the witty quips a couple of the men toss in throughout the hour, it’s apparent that they’re return visitors to this region. Their knowledge sets them apart as the group’s worldly alpha males, and they seem only too happy to inhabit this role. A pair sat toward the back snigger conspiratorially over a laptop. The younger, shaggy-haired surfer-type, Derek, shows his white-haired pal Roger a photograph of a European-looking lady lying on what appears to be a hotel bed, dressed only in lingerie.

    ++

    The next day, on the bus ride to the first social, I meet a portly, genial German in his early 30s named Edward. He’s a return visitor to Anastasia’s Ukraine tours, but claims to be here more out of boredom – he had a week off from his job in Frankfurt – than any real desire to meet local women. It sounds like he’s hedging his bets in anticipation of failure. He tells me that most of these guys won’t get laid on this trip, let alone find long-term partners. “If you’re looking for a fuck trip, you should go to Germany,” he advises me via a thick accent. He politely declines my offer of a more formal interview later in the week.

    We arrive at The Park Residence [pictured above], a luxury country club-style venue built featuring a central swimming pool and adjacent tennis courts. Anastasia’s photographer and videographer circle the group, madly recording away as the men stroll through a car park. It’s hot; many of the guys are dressed to impress in dark suits, which must be uncomfortable. They all head for the poolside bar, while a house music soundtrack – managed by a bored-looking dude in his 20s – washes over a crowd of women. The vast majority of them are young and stunning. So begins the group’s first six hours of socialising, Odessa-style.

    The men here aren’t only outnumbered by women – perhaps four-to-one at the party’s peak – but female interpreters, too: 45 of them have been commissioned for this event alone, which means that there’s always a few extras lounging around in the shade and picking at fruit platters. Some of the tourists appear to use the trip as an excuse to become new men; performers whose egos float far, far higher than their everyday persona. Others remain trapped by their insecurities and self-esteem issues. They may be in a different country, but it’s hard to forget everything they’ve learned in their life when it comes to women, and the attraction thereof.

    Though initially the mood at The Park is more high-school disco than adult social, owing to the awkwardness and segregation between the sexes, most of the guys are mingling within the hour. Larry’s initial prediction about the nature of this event rings true on two counts: the women are improbably attractive, though to be fair, they’re all members of local agencies whose clients consist entirely of beautiful women. And secondly: they all know that they’re here for the sole purpose of meeting men. Given the median age of the tour group, it’s likely that these guys won’t have been in this kind of environment – as artificial as it may be – since college keggers. Which is ironic, as many of these girls would appear to be college freshmen at best. There’s eye candy on display, sure, but when it comes to the likelihood of a middle-aged man finding both physical and intellectual stimulation in a barely-adult woman, it’s easy to slip into scepticism.

    In the late afternoon, tour host Olga MCs a poolside dance-off that’s narrated entirely in Ukrainian, for the benefit of the local women. Derek is paired with a lustrous blonde, who he later tells us is a stripper. Tour guide William Owen – the West Australian miner, who is being closely filmed by 60 Minutes – and an American attorney named James battle it out over a few rounds. James is incredible shape for a 53 year-old: he pops, locks and swings his partner around like a hula hoop. He’s also a spitting image of a younger Sean Connery. Derek’s shirt is soon removed and he engages in some crude arse-grabbing and breast-motorboating with his partner [pictured below]. As far as gentlemanly conduct is concerned, he and James are oceans apart, yet together they’re the tour’s most extroverted characters. So ends the first of three socials, yet several of the men keep the party going elsewhere by arranging impromptu dates immediately afterwards. Others collect phone numbers with a view to set up dates in a few days’ time.

    ++

    Saturday’s event – in neighbouring city Kherson – is a four-hour bus ride away. The roads in south Ukraine seem to be populated with vehicles driven by sociopaths. The asphalt is falling apart; indicators are rarely used; seatbelts are never used; and no-one is willing to show the slightest compassion for their fellow drivers. It’s vehicular madness, and it’s utterly fascinating. Tour rep William notices our interest and tells us that, for Ukrainian drivers, road signs and speed limits are considered “suggestive”, not prescriptive. He’s lived here on-and-off for six years, and believes that if you have “$100 and a face”, you’ll be given a driver’s license. He replaces the brakes and tyres on his BMW yearly due to the wear and tear caused by the poor road surface. “You’ve never experienced tailgating until you’ve driven here,” he tells us. “If you can fit a credit card between your car and theirs, that’s plenty of room.”

    Luckily we brought three buses on the trip to Kherson, as one breaks down halfway there; its passengers join ours. At the back of the bus, Derek reveals to the group that he met his “smoking hot” Russian ex-wife of five years on a flight from Vienna to New York immediately after an Anastasia tour, not on the tour itself. She recently left him, soon after he’d put her through medical school. Curious. Group morale is high as we pass through the city of Kherson and arrive at a club named Amigo [pictured below]. Its location is anything but central; housing commission-style flats and a couple of convenience stores are Amigo’s only neighbours.

    Walking off a bus at 1pm and upstairs into a dark, hot, smoky club feels as dirty as it sounds. We’re late – the bus driver took a few wrong turns – so most of the club’s seats are already occupied by women, who sip drinks and judge every man in eyeshot. If The Park’s circumstance felt questionably artificial, this feels outright plastic. To make matters worse for the guys, the ratio today is more like 2:1. Which still betters most real-world nightclub situations, but it’s a disappointment after the quantity of women in attendance yesterday. To be fair, Kherson is home to only a third of Odessa’s million-strong population.

    Spending six hours breathing in Amigo’s poisonous atmosphere is a tall ask for non-smokers like us – though, incidentally, the tour’s smokers are thrilled to discover that 12-packs here cost the equivalent of AUD$1. The strangest thing about this club is that it’s attached to a bowling alley. Apparently Ukrainians are crazy about tenpin bowling, and not in an ironic manner. To break up the monotony of watching men dance awkwardly with women half their age, Rachael and I hire a lane for an hour and throw down.

    Halfway through our second round, Olga announces another dance-off. Predictably, Derek and James reappear; the former loses his shirt again, while today James is paired with a chesty 20 year-old in a green dress who appears to be having the time of her life. Alarmingly, one of the tour’s oldest – and heaviest – men is relieved of his shirt and tie by a cunning local. A topless, sweating fat man is not something I thought I’d ever witness on a Saturday afternoon in south Ukraine. 7pm rolls around, mercifully, and then it’s adios, Amigo.

    There’s a striking contrast between the tour’s mood upon arrival and departure. Under the blazing sun it was all laughs and optimism; as night descends on the ride home, it’s more funereal, with a dash of crushed expectations. No-one really knows what to say. Many of the tourists opt to stare out the window, lost in thought. To complicate matters and unintentionally rub salt in the group’s wounds, one Canadian guy has picked up a woman and is bringing her back to Odessa. Other than Rachael, she’s the only female on board. James is practically beside himself with incredulity. “How did this happen?” he asks the smug dude and his date, who both appear to be in their mid-30s. “You only met today, and you’re bringing her home?”

    Moments before we left the venue, Derek gave a silver dress to a woman he’d met here years ago, yet within minutes of the gift-giving she left him drunk, shirtless and dejected. As our bus begins the long trek back to Odessa, Roger won’t stop giving him shit about it. “What happened with your gal? She didn’t like the dress?” Derek says she fed him a story about having to leave due to a sick mother – which makes sense, he says, as last time they met, she bailed on him to take care of her sick father. Roger laughs like a hyena. Derek, nonplussed, passes out flat on his back, blocking the aisle with his feet. His accomplice, too, has been drinking, and he deems now an appropriate time to share his perspective on these tours.

    Roger – a personal trainer from St Louis, Missouri in his early 40s – has toured Odessa with Anastasia four times. He’s the relatively introverted yin to Derek’s relentlessly provocative yang. “I come for the party; for the kick of it,” he says. This’ll probably be his last trip. “The only reason I did it this time was because whine-bag back there” – he points his thumb at his recently-divorced friend Derek – “begged me to.” In his mind, he can either spend “$5,000 to go to Florida and lay on a beach for 10 days”, or the same amount of money to do the same thing here. He’s sceptical about the long-term prospects of any relationships formed here. ”I’m not saying that guys don’t find girls, because I’ve brought two back to the States.” Neither worked out for him; one was an interpreter who was simultaneously courting both him and another guy in Texas, unbeknownst to either of them. She used Roger for the airfare to St Louis, then fled south. It was a crushing disappointment at the time, but an experience he can laugh about now.

    He believes that every man on this trip will return home alone. “You ain’t gonna meet somebody and fall in love in five days.” Roger says hasn’t used the website in 11 years, but still gets weekly email notifications from the site that Ukrainian women are allegedly “trying to connect with him” – which he deletes, unread. His take on Anastasia is that it’s simply “bringing a bunch of old men a little bit of happiness. It’s money for [Anastasia], but it’s also happiness for the old guy on the computer thinking he’s writing a cute girl.” Which is not always the case: often, the girls’ interpreters answer their mail on their behalf, he says. These tours are rarely a try-before-you-buy scenario for guys seeking potential brides; Roger says he “guarantees that 95 or 96% of the guys never sleep with the girls.” He laughs and tells me that “all men are lonely old fools. You’ll get there one day.”

    We pull into a petrol station for a break, which rouses Derek from his slumber. He hasn’t eaten all day, yet he selects a Stella Artois for sustenance, returns to the bus, and starts drunk-dialling every woman in his phone. Which is amusing for a while, until I realise I’m speeding through the dark Ukrainian countryside, listening to a grown man acting like a desperate and dateless teenager. It’s a dark thought, and I try to shake it immediately, but it’s stuck. If the tour’s most experienced and extroverted guy is striking out, what chance do the rest of these dudes have? My mind is filled with despair for the plight of the summer romance tour. It’s nearly midnight when we return to Odessa. The Kherson trip has been a failure, and everyone knows it – except for the Canadian guy and his date, perhaps.

    The tour’s third and final social takes place on Sunday evening, and it’s going to have to be something special to recoup the team morale lost in Kherson. It’s also the guys’ last realistic opportunity to meet local women and set up dates for the remaining five days. After this, they’re essentially on their own, which is a tough place to be in an unfamiliar country. Stakes are high.

    ++

    On Sunday afternoon, we’re ushered into the same room used for orientation on Friday morning. Again the mood of the room tilts toward tension, as an overweight, greying Anastasia media rep named Walter Bodkin treats the 24 guys in attendance like naughty schoolchildren by, essentially, warning them to behave themselves tonight as there’ll be “loads of media there”. Upon our arrival in Ukraine, Larry spoke in awed tones of Walter’s presence on this trip: his 35 years of experience at US television network CBS lends heft to his professional capabilities. On Friday, Rachael and I spent nearly an hour listening to his tales and theories regarding international dating. Walter has been married twice; his most recent divorce cost him over $1 million – which he didn’t tell us, but I later discovered online.

    Ostensibly, a lot is riding on this final social for Anastasia in PR terms, and they don’t want the guys to mess it up. Tonight’s centrepiece is the Miss Bikini 2011 contest, which, frankly, the Anastasia staff seem more excited about than the tourists. Walter takes an ominous tone when advising the group that “once the local guys hear that there’s a bikini show on, they’re gonna want to get inside”, and that security will be tight. Yet, walking down Odessa’s main shopping strip a few days ago, we came across several large billboards advertising all three Anastasia socials in Ukrainian. To publicly advertise what’s being portrayed – by Walter, to the tourists – as a secret event seems deceptive. Olga presents each man with an Anastasia-branded gift bag containing a white sailor cap, which the guys are asked to wear before disembarking from the bus and strolling down the main strip of the popular Arcadia Beach. It’s corny as hell, but most of them comply.

    The footpath to the social venue – a beachside club named Itaka – is congested with human traffic heading in the opposite direction to our group. Someone comments on this, and Walter laughs as he tells us that “they” – Anastasia, presumably – have cleared the beach ahead of our arrival. Which sounds like it’d take considerable cash and muscle to pull off, as there are hundreds of shirtless, suntanned locals streaming past us and throwing dirty looks. It’s impressive, to some extent, that they’d do that just for a couple of dozen guys, but also questionable considering that all these people were, until a few moments ago, doing their best to snatch some sunny Sunday joy amid a challenging day-to-day life. As in any other tourism-reliant city around the world, cash is king.

    The group pauses for a brief photo opportunity outside the club [above], and then we venture into the belly of the beast. We’re led down three flights of stairs and through a busy bar to the bottom level, where 22 bikini-clad models are fanning themselves and posing for photos. Like Friday’s social, it’s centred around a swimming pool; like on Friday, security are actively discouraging patrons from diving in. Opposite the impromptu stage is the ocean, which shimmers as the sun starts to dip. The cordoned-off section of water at the foot of Itaka’s real estate is eerily sparse for such an idyllic location, until I remember the fleeing crowds. Now, dozens of empty plastic sun lounges face the Black Sea [pictured below]. A stray cat paws at the sand in search of salty snacks. House music – a fixture in this part of the world, it seems – thumps soullessly from the speakers as final preparations are made for Miss Bikini 2011.

    The tour group has been led into this surreal scene and left to fend for themselves. There’s a lot of standing around and gawking at the bikini girls. The wiser members of the tour fan out and begin introducing themselves to women seated poolside, interpreters in tow. The smartest guys ignore the bikini contest altogether and relocate to a second, smaller pool area to court women away from the glare and noise. The West Australian miner Owen – who, incidentally, is attending this tour for free as a guest of Anastasia – is judging the contest; so too is Walter, a British journalist from Loaded magazine, and a woman named Dasha Astafieva, who was Playboy’s 55th anniversary Playmate in January 2009.

    Larry MCs the event in English; a female offsider does the same in Ukrainian. He introduces Dasha with an air of reverence, as if she discovered penicillin. Interestingly, scores of local women queue for photos with the porn star between breaks in her judging duties. Here, she has far more female fans than males, but that could also be because there are far more women in attendance. I’m watching the fawning group from behind [pictured below], when an overzealous admirer suddenly clutches her too hard and Dasha’s left breast momentarily slips out of her strapless dress. The crowd of surrounding women gasp in amazement as she quickly fixes herself, embarrassed. I’m convinced that I’m the only male in attendance who saw this happen.

    We meet another Australian named Chris. He is dressed in a blue singlet, jeans, work boots, trucker cap and sunglasses, and sports ponytailed grey hair and a foot-long grey beard. He wields an explosive laugh and speaks in the broadest Australian accent imaginable. Within our first five minutes of conversation, he reveals himself to be a xenophobe and a climate change sceptic. It’s fascinating to meet an archetypal bogan in a place like this. Naturally, 60 Minutes sink their claws into him immediately, and he’s plainly thrilled by the idea of appearing on national television while holidaying in Ukraine. This is his first trip outside of Australia. He’s only paid to attend this one social; the rest of his trip was self-arranged, including his apartment on the outskirts of Odessa. I’m impressed, because organising something of this scale seems far beyond his abilities. [Pictured below, left to right: 60 Minutes reporter Michael Usher, Chris, and myself.]

    The bikini contest is won by a petite blonde from neighbouring city Nikolaev named Natalia, who earns a Yamaha jetski for her trouble. Dasha then leads a performance by her pop group, Nikita [pictured below], which features another female vocalist, backup dancers, and a shirtless male DJ who does little more than press ‘play’ and show off choreographed dance moves. There’s around 50 girls in the audience. I can only see five guys from the tour in the throng. After their eight-song set – performed alternately in English and Ukrainian – the stage is broken down and a dance floor opens up in front of the bar.

    By this point, Itaka could be any club anywhere in the world. Some guys pick up; some don’t. Chris hits the beer pretty hard; he’s tanked before midnight, and asks an Anastasia rep to arrange a taxi home, alone. Looking across the crowds dancing poolside or conversing with the opposite sex, it does seem quite a stretch that this is all worth it, romantically speaking. In terms of meeting new people and having new experiences – sure. Just by signing up to this thing, it’s impossible for the guys not to tick both boxes. But finding a long-term partner – let alone a casual sex partner – in Odessa seems no more likely for these men than in their hometowns, were they actively pursuing either outcome.

    ++

    With the three socials over, the rest of the week is left fairly open. Daily sightseeing tours run to nearby venues like a winery and the Odessa catacombs. They’re sparsely-attended, but interesting and worthwhile for Rachael and I; less so for the single tourists, it seems, though a couple of guys bring dates and interpreters. From an Irish bar on the main strip on Tuesday night, we spy three of the tour guys walking alongside a tall, leggy blonde. ”So many hoops to jump through to probably not get laid,” remarks the American journalist we’re drinking with.

    We get to talking with a couple of the other guys about their impressions of this trip. Lee [pictured in foreground, above], 43, owns a small trucking company in western Pennsylvania. “I’ve been married three times before,” he says. “No regrets. I never wanted to be divorced once; never thought it would happen three times.” He’s been a member of Anastasia since January 2011. This is his first trip outside of the US. He’s been on several dates and is particularly keen on two women: one in Odessa, who we’ve seen him with on several occasions and seems lovely, and another in Nikolaev who has been having problems finding a babysitter for her young child in order to meet Lee again. He doesn’t think dating here is any easier than back home. “If everything was easy, why would I need to come to Odessa? If it was easy I could walk down to the local pub, and – there she is.” He advises those intending to join a tour like this to “not set your expectations so high that they’re unattainable, because then you’re going to be disappointed”, and “just be yourself. I’ve been myself since the day I landed.” It seems to be working well for him.

    Like Lee, James – the 53 year-old attorney, stunning dancer, and Sean Connery lookalike – wears his heart on his sleeve. They’re both totally sincere, and make no bones about their intentions here: to find their respective soulmates. “Most of these men are here for that reason,” James believes. “We’re not looking for a good time for a week. We’ve had that back home. We’re looking for somebody we can share our life with, but we have to be attracted to them as well, on every level. Do you really think we’d come all this way if we could find it at home? We can’t!” He first visited Odessa in May 2011, and says he did everything he was told not to do – “except wander off by myself. I didn’t do that. But – did I take them shopping? Yes. Did I fail to attend the socials in full? Yes. Women took me elsewhere; they took me out of the competition. I bought girls a pair of shoes, a purse, a cell phone, a laptop… it was about a $2,000 lesson, in total. Painful, but necessary.” He wasn’t self-aware last time, but believes he is now. He’s been on several dates, and he’d been corresponding with almost all of them through Anastasia beforehand. “I genuinely want to find the person who can love me the way I want to love them,” he says. “That’s what my parents had for 59 years. I’ve seen it. It exists.”

    Word spreads among the group that Roger got sushi’d big-time earlier that night; his date and interpreter took him to the tune of US$900. We also hear that the oldest guy on the tour, Richie, yesterday proposed to a local girl. We catch up with him on our final night in Odessa, and he lays it all out on the table during a two-hour conversation. Like many elderly people, he goes to great pains to describe the smallest, most insignificant details of his stories, as if to justify his continuing existence. He tells us of his three failed marriages; his six children; his careers in construction, firefighting and police investigation, and everything in between. He tells us of meeting his new fiancée, Tanya, through Anastasia in March, after dreaming of a woman who looked exactly like her and combing the website for nearly a year.

    “I flew 7,000 miles – a third of the way around the world – to meet the most gorgeous woman I’ve ever met in my life,” Richie says. “She’s beautiful inside and out. Every word she said on the computer, she’s proven beyond any reasonable doubt that she is the person that she claimed to be. I love her dearly. We’re hoping that we can get her visa and passport through as quickly as possible. We’re both very excited. We both want it to happen,” he says of his intention to take her back to his home in the United States. “I’m ecstatic. I can’t even begin to tell you how much I love her. Our biggest argument is who loves whom more. If our whole life goes that way, it’ll be the best argument the world has ever seen!”

    At 29, Tanya is 39 years Richie’s junior. She doesn’t speak English; he doesn’t speak Ukrainian. I suspect deep down he knows the odds are against him. But what is love if not an insane leap at happiness? As we shake hands and say goodbye, I wish Richie all the best, and mean it more than I have in my whole life.

    Andrew McMillen (@Andrew_McMillen) is an Australian freelance journalist.

  • A Conversation With Neil Strauss, New York Times Bestselling Author, 2009

    Neil Strauss and his entourage. I wonder what the kneeling girl is up to.It’s June 23, 2009. Minutes away from meeting Neil Strauss, I catch myself being self-conscious. I realise that when I sit, my jeans reveal my red-and-white striped socks above my white basketball shoes, which were hastily pulled on before a flight from Brisbane to Sydney earlier that day. Shit. What will Neil think?

    I can see him in the opposite corner of the Sofitel Hotel’s lobby, closing an interview with another young, starry-eyed guy, and chatting with his publicist. I change sitting positions a couple times to try and find the optimum spot that’ll make me look relaxed and in control. I want to exhibit both of these traits before Strauss, one of my favourite writers, because I want this to be perfect.

    As I walk toward them, the publicist turns and says, “you must be Andrew”. We shake hands, and Neil offers his. “Hey Andrew, what’s up man?” he asks warmly. They’re finalising his plans for tonight; an opportunity to watch a taping of The Chaser’s War On Everything seems to be on the cards. Neil turns to the otherwise empty lobby antechamber and asks me to pick a comfortable seat for our interview. I select a window seat, and run my eyes across the page of questions written in my notebook.

    I don’t admit that I was self-consciously readying myself just moments earlier. I don’t describe to him the trepidation I feel as a fan almost half his age, speaking to my favourite writer. The one who wholly shared his personal demons and sexual exploits in the 2005 book The Game: Penetrating The Secret Society Of Pick-Up Artists; an autobiographical account of the two years that Strauss spent investigating the lives of men devoted to improving themselves by attracting women.

    As I ponder, Neil bounds over and sneaks a look at the page.

    Neil: Ready for all fifteen questions!

    Andrew: I think fifteen’s a good number. Or is it too many, or too few?

    Here’s what I do. I write out like a hundred questions, even though I rarely get to ask them all. I write them out, while researching and studying them beforehand, and then just have a conversation. And if the conversation stalls, I turn to a prepared question.

    But that’s just the way I do it. I don’t know if it’s the best way; no-one ever told me!

    So I really enjoyed Emergency [his 2009 book on survivalist preparedness]. What did you set out to achieve with the book?

    Note: book may not actually save your life.The main thing was to write an interesting, hopefully somewhat humourous story. But what I set out to achieve is always different to what I achieve. I originally set out to write a book that would influence the (2008) American election, so that a Bush-like type of person didn’t win the election. So the original goal was to look at the country and ask, “Why isn’t anybody having a revolution?” That’s even almost how I pitched it. And they let me do the book like that in the first place – “okay, go do your fun little pet project, and then give us a real book” – and then it just turned into this whole other thing about self-sufficiency and learning to be independent of the system.

    Did you come across that accidently?

    My favourite composer is John Cage, and his credo is “be open to whatever comes next”, and I think that’s it. You start with one idea in mind, but you have to be willing to go further. Like when I did the Marilyn Manson article for Rolling Stone, I planned to tear him apart, because I didn’t like him. And when I met him, I liked him, and it turned out to be a positive article. The first book I wrote was with him, and if I hadn’t challenged my preconception, maybe I wouldn’t have started my career writing books.

    So the original thing was to activate and politicise apathetic Americans, but then I realised that the whole idea of voting for a person is a pretty pathetic way of empowerment. One person isn’t really doing that fucking much. It’s like that lyric – “meet the old boss; same as the new boss” [The Who‘s ‘Won’t Get Fooled Again], you know. And even though there are major differences, I realised that it’s more about one’s own self, and not entrusting your safety to someone else. To become self-sufficient, and not depend on the system so much. The way you leave home when you’re a child, and eventually have to leave your parents and become an adult, in the same way you have to eventually step outside the normal political system.

    Was one of your goals to encourage others to become self-sufficient, as opposed to living a life of convenience, which you describe at the beginning of the book?

    Yeah. It’s also to wake up from some of the delusions you were taught as a child, from the history books and in class. And to do whatever it takes to give yourself peace of mind. The other thing is to – rather than having these anxieties and fears – take them to the extreme and get rid of them. In that way, one of my aims for the book was basically generational Prozac (laughs).

    The economy’s falling apart around you; people are freaking out over these pandemics; terrorism alerts are always in a shade of orange or red.. so, you know, learning what this stuff is and what it means, and how to protect yourself. That was my Prozac for this generation’s panic attack.

    How soon did you finish the book before it was published? There’s some stuff near the end that’s pretty recent.

    Strauss: shadowed skull indentsI literally finished it in February, and it came out in March. That’s the cool thing about publishing, and why I love writing versus movies or TV, because you can literally get it from your pen to the reader so soon. And I’m lucky enough that my publisher’s pretty cool, and they can turn it around (quickly). I think if it came out now, it’d be a slightly different time.

    I’m really interested with what you’re doing with your publishing company, Igniter.

    Thanks for asking about that! I’m fucking stoked that you asked me about that.

    How did that idea come about with [fellow Rolling Stone writer] Anthony Bozza?

    We were on Tommy Lee’s tour bus. He’d just written the Tommy Lee book, and I’d written the Mötley Crüe book [The Dirt: Confessions Of The World’s Most Notorious Rock Band]. And we started talking, and exchanging notes, and found that the same people had been approaching us about books. We both got approached by Slash to do a book, and Axl Rose. Over the course of that night, three different people approached both of us about writing their books. And we were like, “fuck, this is weird!” Every now and then, there’d be a good one that we didn’t have time to do.

    So when someone came to us with a good book that they wanted written, we’d pass them onto agents and publishers and it’d never get made. It couldn’t get through the (publishers’) doors. So we just thought “fuck it, let’s put these books out ourselves.”

    Why do you think that they couldn’t get published? What was stopping these projects – the idea of working with unknown, unpublished authors?

    Yeah, unknown authors, and that most people don’t trust their taste. The phenomenon of social proof – no one thinks something is good, unless other people tell them it’s good beforehand.

    I was going to ask you about social proof, because you’re now, what, a six times New York Times bestselling author? That’s a pretty massive social proof there.

    Yeah, exactly.

    So with you and Anthony behind Igniter, do you think that your names will hold sway in the publishing community?

    That’s our hope, that we can get people to read good books. And also, we don’t want to deal with agents. If an agent has a book, he’s already shopping it to every publisher. We want to go find raw talent. I’ll give you an example: in our first book, which is out this fall…

    Is that the book on the mafia guy?

    No, the first one is on Bozo The Clown.

    Ah, I know you’re a big fan of his.

    Exactly. So you’re on my mailing list, I take it, since you knew about the mobster book?

    Yeah.

    Amber Smith: massive stalker. Be careful.When I did the writing contest, for the mobster book, there were three guys who got through to the final. The mobster chose a different guy to the winner of the public vote, who was Ian Kelk. He’s an unemployed computer programmer. So Ian didn’t get to do the mobster book, but I said to him “listen, I’m going to find writing work for you.” And so a few weeks ago, Amber Smith [pictured left], who’s this gorgeous supermodel – she’s been on the cover of Vogue, Playboy, FHM, and also now has a reality show – she wanted to do a book. Her story is insane: she’s a supermodel, but she’s only been in two relationships for like three months each, and afterwards she stalked the guys for like ten years. It’s awesome – she’s one of the most beautiful women in the world, yet she stalks guys and they run away from her! (laughs)

    So I called up Ian, and said “why don’t you phone her, see if you guys get along, then come down and work on her book.” So this guy who applied for my writing contest – an unemployed computer programmer – is now hanging out with, and writing a book for a supermodel. That’s the kind of stuff that we like making happen.

    So Igniter’s goal is to get unknown writers published?

    It’s just to get good books published. It could be a known or an unknown writer, it just has to be good. But I’m more excited about someone, maybe, who.. like when I wrote for the New York Times, there were certain bands that I was one of the first to write about, like Elliott Smith, or Built To Spill, or Ryan Adams. There were artists I’d find and write about, and then the world would embrace that person, and I could be like “cool, I hope I helped in some way”.

    That’s the kind of feeling (of talent discovery) that we’re looking to replicate with Igniter.

    It’s interesting how certain writers can hold that kind of control, or influence, over popular culture.

    In my case, The New York Times was a good platform because it reaches a billion people. And they’ll let you do.. do you know who Robert Randolph is?

    No.

    In other words, I could say to my editors, “man, there’s this guy who performs pedal steel music in churches, it’s an old church tradition, and people just fucking dance on the rafters and it gets crazy.” I did a story on him, and now he’s huge. He plays at Bonnaroo and all those kinds of festivals. And they put it on the front page of the Arts section, so it was cool to have a platform like that for people be able to listen to.

    As well artists you liked, were you pressured by the Times to write about artists that you didn’t like?

    Kenny G: everything I know about him is from that South Park episodeAll the time, but I could choose how I wrote about them. For example, I had to write about [the saxophonist] Kenny G [pictured right]. I thought, “well, I could write the normal fucking shit about Kenny G – he’s too easy to make fun of”. But then I found out that he was a pilot. So I thought, “why don’t I have Kenny G pick me up in a plane, then we’ll go fly somewhere, then have dinner together, and we’ll talk.”

    So I did that and I realised that I’d developed a respect for Kenny G, because he’s a guy who plays what he feels. And what he feels just happens to be very simple, and sweet. He’s just a simple, sweet guy playing simple sweet music, and he’s playing what he feels. He’s not like, you know, [jazz musician] Sun Ra. I have respect for Kenny G’s integrity, and I’m glad that I met him, because it would have been too easy to make fun of him.

    You seem to have preconceptions of artists and people before you meet them. Have you tried to stop having those preconceptions?

    I think it’s okay to have preconceptions, but you have to be willing to discard them in the face of the truth. I only think they’re bad when you stick to them, regardless; that’s just dogmatic thinking. It’s impossible to learn if you don’t listen.

    What preconceptions do you think that people have of you, based on your experiences in The Game?

    Generally when I walk into an interview, they definitely expect to see some arrogant fuck. You know, some arrogant, shallow fuck. And that’s fine, because people who think that generally haven’t read the book. They think it’s some lad’s manual, and that there’s a guy out there acting like that guy from Magnolia, screaming “respect the cock!” at guys. It’s fine for people to have preconceptions about me, because I usually am not like the preconception, and they’re thrown off.

    I lent The Game to a bunch of my friends, and the ones who read it loved it. But the ones who didn’t pick it up had that preconception of it being a guide for guys to get laid. They find something morally wrong in the idea of a book teaching something that should be inherently known.

    It’s the weirdest book, because the people who’ve read it know what it is, but those who haven’t don’t get it. I think the book is like that – you expect it to be one thing, but it turns out as something else. Like how it begins with the greatest pickup artist in the world about to kill himself. And while reading, you think “okay, maybe this isn’t going to be like what I had in mind”. And I think with all my books, I try to give the audience what they wouldn’t expect. Like with the Jenna Jameson book [How to Make Love Like a Porn Star: A Cautionary Tale], you know it’s going to deal with sex and porn, so I started it off somewhere really dark.

    When did you realise that you had a book on your hands with Emergency?

    It was originally just going to be a story about getting the St Kitts passport, and that was it. The original pitch was just ‘escaping America’ (laughs). And then I went to Tom Brown’s Tracker School, and I called my editor and said “listen man, I need like, another year!” I realised that I had so much to learn; I had to learn how to be human all over again. And he was cool enough to be okay with it. I still remember that cell phone call to my editor from Tracker School.

    I guess that’s before you dropped your Blackberry in the water?

    Exactly! (laughs)

    You mentioned your parents throughout the book, and that they’d always lived a ‘life of convenience’ in the city. Have their views changed since they read the book?

    Neil Strauss: look how trustworthy he is!It’s funny, because I went to visit them, and I was doing a radio interview from the back of their car, and the interviewer asked what my parents feel about the book. I was like, “I don’t know, ask them!”. And they said, on air, that they wished they got the St Kitts passport with me, now.

    It’s funny, that always happens with everything I do. When I’m doing it, all my friends and family make fun of me, but once it’s done, they’re like “oh, I should have done that”. Whether it’s The Game, and learning to be more attractive to women, or Emergency, and the need to be safe and self-sufficient.

    What do your parents think of your evolution as a writer, from starting with places like Ear and Village Voice, to writing New York Times bestsellers?

    Man, you want to know something hilarious? My next book’s probably going to be an anthology of articles I’ve written for Rolling Stone and stuff, and my parents just sent me a book proposal letter I wrote when I was eleven years old. It’s the fucking funniest thing!

    In it, I’m like: “Dear publisher, this is my book. Please send a printed copy, and all money to..”, and I gave my address. And the grammar is really good, it’s just weird to read that I was sending out book proposals at age eleven.

    What was the book proposal?

    It was a series of fictional mystery novels. “The Smith Mysteries“.

    Did you end up writing them?

    I wrote the first book, and I think my parents attached it to the letter they sent. I can’t wait to read it again, it’ll be fucking weird.

    Dude, eleven?!

    Yeah, I know. But my parents were always against me becoming a writer; they actually cut me off when I was writing for Ear Magazine and stuff. I had to support myself, because they really wanted me to study business, and do what they felt was safe. Ironic how business is the least safe thing to do right now! It’s much safer to be writing.

    But eventually, once I was at The New York Times.. they were always a little hard [on me], but I think it drove me to excel more. Like when the Marilyn Manson book [The Long Hard Road Out Of Hell] reached the New York Times Bestseller list, they told me, “well, it’s awesome that you’ve been on the list for one week, but it doesn’t really count unless it’s for two weeks”.

    Damn, they’ve got high standards!

    Yeah, and that’s why in Rules Of The Game, the book is dedicated to “Your parents. You may be upset with them for what’s wrong with you, but don’t forget to give them credit for what’s right”. So I can’t really blame them for shit, because I feel that I’m happy with stuff I’ve done, and I feel that they gave me everything I needed to succeed.

    How do you feel that the experiences in The Game and Emergency have shaped how you view yourself?

    The Game: one of my favourite book designsThey’re completely different. With The Game – even separate from the book – I always think about how if I’d never come across this underground group of guys, I always would have lived my life in the dark, and died never having emerged from my little shell. Like, there are good things and bad things about The Game, and I thought I’d neither attack nor defend it, but when I do interviews, I will defend guys’ right to learn it. The right that guys should be able to learn those skills if they want to. Because I think “fuck, if I’d never learned it, I would have just lived my life with blinders on”, not knowing who I could be, or the experiences I could have.

    Even if the book never came out, I’m so grateful for those experiences. It’s just weird, I was just a completely different person [beforehand], and I just wasn’t me. I was just so intimidated, and shy about everything.

    But after going through your experiences and sharing them, you’ve allowed how many thousand people to improve themselves?

    Yeah, it’s pretty fucking weird. Because I didn’t know that the book would have that effect, and I think if I was trying for that effect, I probably wouldn’t have had it, because I would have tried too hard.

    You share a lot of yourself and your experiences through your writing. Did that come easily, or did you hesitate?

    No, I had to do it. When I did those books with celebrities, I had a rule, which is you have to tell the whole truth; you can’t hold anything back. You’d have to be willing to make yourself look bad, if that’s how it happened. I hold myself to the same standards I held those other people to. I couldn’t be hypocritical about it.

    With The Game, many times I considered doing it under another name. My alias was ‘Chris Powles’. I used ‘Style’ online, but if I needed to use my real name, most of the time I was ‘Chris’. I thought I’d write the book under that person’s name, and pretend it was another book I had ghost written for somebody else, like what I’ve done using my real name in the past. I thought many times about not doing it, and then I thought, “If you’re not willing to put your name on what you did, then why did you do it?”

    You mentioned at the start of Emergency that when you were researching those crazy groups around the year 2000 that you were a bad reporter because you got nervous talking with people. That’s not still the case, is it?

    I still feel like a horrible reporter. My last two interviews were with Jay Leno and [comedy film director] Judd Apatow for Rolling Stone. I still feel like, “Oh shit, I didn’t ask the hard questions.” I still leave every interview feeling like I didn’t get all the stuff.

    If I do an article for Rolling Stone, I feel like it’s got to be the best article and that I’ve got to get the most out of the person. I always just leave feeling I should have asked them harder questions, or been tougher, or I don’t know what. But then I listen to the interview afterward, and I actually end up getting good stuff, so I don’t know.

    Even after your hundred questions, you still feel like your hundred and first would have been the best.

    Yeah, exactly, like I missed something or I didn’t explore something with them or didn’t dig in deep enough or didn’t have enough rapport with them, or whatever.

    How do you prepare for an interview?

    I just make myself an expert on them. I brainwash myself. If it’s music or movies, I listen to every album, watch every movie, read every interview, and write down every possible question I could ever think of. So I brainwash myself with their lives. (laughs)

    How does that compare to being interviewed? Do you prepare for things like this?

    Talking about a book is different than writing it, so before each book comes out I’ll think about how would I describe this thing I went through and summarize it. Sometimes, I come to realizations I didn’t have in the book. People ask me about The Game and Emergency. I don’t friggin’ know. I just wrote this book and that book. If I think about them, it’s “Well, both books are really about fear.” The Game is about fear of approaching women, getting rejected, social humiliation, let’s say. Emergency is about fear of dying. Both are about ways to conquer your fear through knowledge and experience.

    So you’ve been a journalist, biographer, and an autobiographer. Which do you prefer?

    I think I just like writing, whatever it is. I love storytelling; anything that is storytelling, I love.

    The Rules Of The Game: continuing the trend of naked women silhouettes

    You’re pretty good at storytelling. Your writing style in The Game is so good. It’s one of my favorite books, just because of how you wrote it. The Style Diaries, at the end of Rules Of The Game, some of those stories are really different to the style of The Game, as well.

    I’m curious; how do you feel they’re different? You’re probably right, whatever you’re going to say.

    The Style Diaries were more personal, more focused in each vignette, and in how those stories fit into the whole picture of ‘the game’. The one where you were climbing up the back of your apartment building; that one was pretty crazy.

    I think it’s funny; I like the writing in The Style Diaries better. I think The Game is a better book. I think I like the writing in The Style Diaries better because it’s like you said; it’s more focused and on the subject. That some of my favorite stuff that I’ve written, all those little vignettes. Also, it was just exploring the idea of relationships, which doesn’t get to be explored in The Game.

    One of the main arguments against the concept of pick-up artists that you raised in The Game was “what do you do after the orgasm?”.

    Exactly.

    So in The Style Diaries, you explored that a little bit.

    Exactly. I think I also want to expand on that writing. I’ve had some even crazier experiences than what I described in The Style Diaries; insane shit. I was thinking of just putting it all out as a little secret book. I might do that.  (laughs)

    I read in another interview that you were a bit of a workaholic when you first started writing.

    Yeah.

    But I’ve seen you tweet about procrastinating by watching YouTube and stuff. How do you deal with procrastination or maintaining productivity, when you’re on deadline?

    The best thing for procrastination is a hard deadline looming over your head, like your editor is saying, “If this doesn’t come in now…”

    [American actor and 30 Seconds To Mars singer/guitarist] Jared Leto [pictured below right] told me that he had a thirteen day deadline for the band’s next album. If it wasn’t done, they were going to fine him $2 million. That’s a good way to not procrastinate, to have a hard deadline with consequences. I find that’s the only way to get shit done.

    Jared Leto, a.k.a. Angel Face.I’m a workaholic but I’m also a lazy workaholic. I fucking work really hard, but at the same time, if I don’t have to work I can be at the beach.

    It’s hard; I was much the same with university, and now with writing assignments. It all comes together right near the end; for better or worse, and I often think it’s for worse. You think you could do it better if you plan the whole way along, rather than cramming it all in.

    Exactly. What I’ll do is wait until the night before it’s due and fucking really transcribe it and then, “Fuck, I gotta…” But something I noticed when I started working at the New York Times, when I had a weekly column: it went from ‘finish your work the night before’ to writing it on the due day. Sometimes I find I do my best stuff under pressure.

    Do you have any interview transcribing tips?

    Yeah – outsource it. (laughs)

    For real. Even if I couldn’t afford it.. I just have to have someone else transcribe it. Sometimes it’s good to listen to because then you relive the conversation, but sometimes I find it easier if if I can fucking find someone I could pay a little bit to do it. Even when I didn’t have the money, I was like, fuck – it just makes my life easier.

    Do you have any advice for people who want to start becoming contributing writers to Rolling Stone or New York Times; those big-name publications?

    I think they need to be willing to write wherever, for no compensation. I never applied for Rolling Stone; I never applied for The New York Times. They just saw my writing in little shitty magazines and were like, “Why don’t you write for us?”

    I think you could be the greatest writer in the world, but unless someone can see your writing, no one is going to know. Just get your stuff seen. I would take every opportunity. I did a weekly column in the paper called the New York Press. I got paid $75 a column but it would take me all week to research and write it.

    It was a free weekly paper, and because of that, everyone in New York would read it on the subway, and that’s how it came to the attention of The New York Times. When the job opened up at The Times, someone recommended that I apply for it. I didn’t even apply for it. I thought, “I’m not good enough; I just write for this little paper,” and then one day they called me and said, “We like your stuff.”

    I think you should not be precious about shit. My advice would be that paragraph in The Game, about not waiting for opportunities to come to you, but meeting them halfway and putting in the work.

    Have you read the book Outliers, by Malcolm Gladwell [pictured below left]?

    Yeah.

    Outliers: a pretty sweet book. Read it.I think that 10,000 hours concept is pretty interesting [where Gladwell suggests that expertise is built after spending approximately 10,000 hours working toward a skill or pursuit]. The first stuff I wrote fucking sucks, you know? (laughs)

    If I look at the first articles I wrote for Ear Magazine, you’d never know I could be a decent writer.

    I guess you’ve got to start somewhere. How did you get the start with Ear, did you apply for that?

    Yeah, it was an internship. I was in my college dorm room and a guy had gone to New York and applied for an internship at this magazine. He was rejected because he was too well-dressed. I thought, “That sounds perfect for me!” and I just wanted to be in New York. I didn’t really think about writing. I got the internship. It’s good to have an internship somewhere small, because after a while they’ll let you write for them and take on other responsibilities.

    I’ve read that you kind of fell into writing; you didn’t set out to be a writer.

    Now I don’t know. Now my parents sent me that thing from when I was eleven years old. Maybe, I don’t know; it’s confusing. I feel as a kid you want to do everything. You want to be a writer, you want to be an astronaut, you want to be a farmer, and you want to be a movie star.

    I take it that your journalistic urges haven’t been quelled, because you’re still contributing to Rolling Stone.

    Absolutely.

    Do you read newspapers?

    I still read The New York Times, not just because I work for them, but I do feel like that’s the closest you get to the full story.

    How do you feel about newspaper readerships declining?

    It’s fucking weird, especially the idea that a lot of these papers folded and going online. I just feel like online is a place for information, not writing. You don’t necessarily go online to read good writing. I still like the printed word.

    That’s one of the theories behind the decline though, that people are becoming less attached to good writing, and strong reporting. They want instant facts, which is what the web is for.

    You know what I think is interesting though? I think Twitter and all that are making people better writers. Twitter is what I had to do my whole life, where you need to get a certain word count. On Twitter, everyone is becoming their own editors. “How can I express this idea in..” How many characters is it?

    140.

    “How can I express this idea in 140 characters?” You have to slim it down, change your words, cut out things, so it’s making everybody an editor of themselves. I think that’s the closest that the mass population has come to being writers. Do you know what I mean? It’s pretty cool.

    You started a book club with Emergency after it came out. How did that go? I knew you were trying to organize some teleconferences or something, to get everyone together.

    It went so well that I had another book club that I killed and made this one my main book club, because I got really good people on it. We read Emergency, and then we finished that. I thought, “I like this group; let’s do another book,” so we read a book called The Rise And Fall Of The Great Powers, which I mentioned in Emergency. We all read that and it went great, but I think we’re going to do one more book and then I’ll close it down. It’s kind of fun and it motivates me to finish reading some books too. It worked out pretty awesomely.

    What are your reading interests? I assume you read widely in music and culture.

    I mostly read fiction, almost 90%, because I feel it’s good writing and I want to be influenced by stylists. I also think you learn more about life from fiction than nonfiction because people feel with nonfiction, “This is useful,” but to me fiction is metaphors for real life and the brain works better through metaphor. I feel like I learn more through fiction. I love it.

    Can you recommend any good fiction books that have come out recently, or even historically, old things?

    Some of my favorites are Ask The Dust, by John Fante. It’s a story about a struggling writer in Los Angeles; it was written maybe seventy years ago, but it could’ve been written now and it’s fucking hilarious, especially as a writer. You would love it. He has a picture of his editor on his wall that he worships and it’s a total AFC story too. He has a crush on a waitress, and he totally blows it with her. There’s a horrible movie adaptation, but the book is great.

    The Painted Bird by Jerzy Kosinski is a brutal book about a kid wandering through the villages during World War II, in Poland. I like Life Is Elsewhere by Milan Kundera, which is about life choices; doing what you’re born to do, versus doing what society and family pressures you to do. I like Mishima Haruki MurakamiGabriel García Márquez; Jim Carroll’s The Basketball Diaries is awesome.

    I don’t know; I really love fiction, which is ironic because what I do is so different from what I love.

    That’s really surprising to me.

    It’s weird to me, too, because my goal is always to be.. there’s this bookstore called St. Marks, in New York. Behind the desk, they have a counter of their most stolen books. There’s [Charles] Bukowski, and William S. Burroughs, and my goal was to be on that list of their most stolen books. One day I saw The Game there and I was like, “Yes!”

    I went to another bookstore once and they said their most stolen books were the Bible and The Game. I don’t know if that means people thought The Game was the Bible and stole it, and I also thought it was kind of fucked up; how could you live with yourself if you stole the Bible? The book’s about ethics, yet people still steal it. It’s so weird.

    When you’re writing, actually sitting down, and writing a book, do you shut yourself away from the world?

    Yeah, for sure. I have to. It involves an intense amount of focus; a lot of it is organisation, and how you organize 500 type-written pages. How do you organise that? It’s like there is a string unspooling in your head and you need to focus to make it snap taut, if that makes sense.

    There’s a little place I go to on the beach in southern California, a little shack on the water where I go and get focused.

    Not St. Kitts?

    St Kitts, in the West Indies. Not pictured: Neil Strauss, writing.Yeah, I go to St. Kitts [pictured right] a lot to write, too.

    What ever happened to Spencer [the character from Emergency]? Do you still see him?

    Yeah, I just saw him in St. Kitts. He bought a couple of Segways for his house and so we were riding those around. Now he has all his money out of U.S. dollars. He has a lot of money in Australian dollars. He wanted currencies that were backed by something stable. I think the Australian dollar is on the gold standard?

    Gold standard?

    I think it’s backed by gold, versus the U.S. currency which isn’t backed. Canadian currency is kind of backed – he studied it and he felt he wanted a currency backed by something solid, versus a free floating currency, if that makes any sense.

    I’m still friends with Spencer, and the same with the guys in all the books; Mystery and Spencer and the Manson guys. Everybody I’ve written with and about.

    I never watched [the VH1 reality TV series] The Pick-up Artist. How did that fare, ratings-wise? Did that get a good response?

    I think it did really well. It did well enough for a second season. They represent it pretty well. There’s a lot of empathy for the guys trying to learn it. As far as reality goes, I thought it was portrayed in the best possible light,as far as the TV medium goes.

    I watched the videos that you did for Rules of the Game.

    Those are my favorites! (laughs)

    I like David Faustino in those.

    Yeah, he’s fucking hilarious, isn’t he? He’s so fucking funny. I really think he’s a comic genius. Those are really eye-opening. To me, the video where he goes blindfolded – no, with his hands tied behind his back, and gagged, and has to meet women and get phone numbers. He has a hat on and no one can recognise him. The fact that he got four out of five phone numbers, while fucking gagged and blindfolded; it kind of means most of this stuff guys are worried about are just their own limiting beliefs.

    Yeah. You mentioned your next book project earlier – I didn’t catch the name.

    It’s just an anthology of stuff I’ve written for The New York Times and Rolling Stone. I’m probably going to do something to make it more interesting, like weave together funny, early writing days stories.

    Like maybe your first book proposal?

    Exactly, the book first book proposal, and I got cut off by my parents when I was trying to write, and dealing with all that stuff.

    Stylelife [Neil’s “online academy for attraction”] is still going on, while you’re doing your book tours abroad. Who takes care of that?

    Join Stylelife and you, too, can wear a tuxedoI really like the Stylelife guys. I don’t know if you know the guys, but they’re really sweet. Gypsy, Bolshevik, Bravo.. they do a really good job running it and they’re good-hearted guys. They do it. I feel bad because I haven’t been around enough; I’ve been traveling too much.

    They just put together an anthology of our newsletters. I couldn’t believe that it sold out really fucking quickly.

    The other good thing is the teleconferences we did with most of the guys in The Game. We did a seminar, and those guys are all pretty good. I know I spent most of the time talking but when I saw The Sneak do his thing, I was like, “Fuck!” I like those guys. It’s fun; I’m proud of them.

    Well, I’m out of questions. How did I do?

    You did awesome. I was just thinking as we were talking. The TV interviewers, they generally haven’t read the book and they just want some entertaining shit about “five tips for our viewers”. This is more fun for me because you know – I can talk about Igniter, and talk about the stuff that I’m passionate about right now. It was great. I enjoyed it. I thought you definitely cover your stuff pretty well.

    Cool. I’m still pretty new to this.

    I knew when I saw you that it’d be a cool interview. Plus you just had a regular conversation, which is better than just going one-by-one through the questions. I thought it was interesting. I like these interviews the most, because it’s someone who knows the work versus somebody who is like, “Here’s the world’s greatest pick-up artist; let’s get some tips and say “this wouldn’t work on me!”

    To back up their bias.

    Exactly.

    I knew when I saw that interview list, I knew you and the guy I talked to before, I knew you guys would be good.

    Who was the last guy?

    I think he writes for a student newspaper, at the university of whatever it is. I knew you guys would be guys who follow this shit.

    Cool.

    Are you going to stick around for the book signing thing on Wednesday?

    No, I’m flying back in about two hours.

    Are you serious man? You just came down today to hit and run?

    Yeah.

    Did you fund it yourself?

    Yeah.

    That’s cool man, thank you.

    Thanks for having me, man.

    That’s really cool. I did the same thing. With Emergency, I spent more money on the book than I made from the book. I’ll do whatever it takes for the stories, even when I was a kid; I flew to Europe to cover a festival when I was a sophomore in college, just because I would do anything for a story. That’s awesome.

    What are your interests? What do you want to do?

    Writing, but I kind of want to pursue your style of writing, like the interviews written in feature style; the kind of thing that you do for Rolling Stone. I’m not sure if I have a book in me, yet.

    Even though I did that book proposal [as a kid], I never thought seriously about writing a book. Even when I did the Marilyn Manson book, I wasn’t ready to write my own book yet. It just happened. You know when it’s right.

    I think that ten thousand hours thing is true, too. You pay your dues writing for websites and writing for magazines, and then when you get that opportunity for your book, your reflexes are there.

    I’m writing for four publications at the moment.

    That’s awesome.

    The bylines are gradually getting bigger and bigger, and they’re paying more and more.

    That’s cool. That’s exactly what I did. Are you out of school?

    Yeah, I just finished last week. I studied Communication, which is half journalism, half media studies. It was a lame course, man.

    They’re all lame.

    It was a waste of my three years. Well, no; I was at college two years, like residential college on campus, and that was great, making friends and stuff. In terms of the educational content…

    It doesn’t matter what you major in. Unless you’re going pre-med or pre-law. Just because I majored in psychology doesn’t mean anything; I learned so much more about psychology from living and writing The Game.

    I think it’s important just to get real life experiences. I think because I took those internships in college, instead of writing in college, I learned more from the people I was around – like from that kid in the dorm room who said he didn’t do that internship – than I did from any economics class I took.

    So you write mostly for websites?

    Half websites, half print.

    Cool man, what kind of print?

    Street press, which is a free newspaper you pick up off sidewalk, like music newspapers.

    Cool, it’s like me with the New York Press! (laughs)

    As well as a weekly publication for the  music industry , which is really aimed at the major labels [The Music Network]. I’ve been writing a column about digital music and the changes that are happening in the industry.

    That’s cool.

    I have to be careful with what I say, though, because they’re so major label-centric and I can’t really be attacking their methods, or how they’re still tied to the old way of thinking when distributing music and stuff.

    It’s so weird; I remember I worked for The New York Times when I first heard about ‘the World Wide Web’, but I never knew what it was. I heard The Rolling Stones were doing a promotional thing where they were doing something on the World Wide Web, broadcasting a concert. I didn’t know what it was. I just knew what the internet was. I didn’t know what the World Wide Web was. To me, the internet was all the news groups you had.

    I remember someone said, “It’s the backbone of the internet,” and I still had no fucking idea what the World Wide Web was. Everything was dialup. Then I remember writing about the first music download, which was the quality of an AM radio in a bad car, and it took like two hours to download. Then I remember going to these conferences every three years, and someone saying that one day it will be “all you can eat”.

    I think that’s the future; it’s the all you can eat services. Like the subscription model with [online music service] Rhapsody. I have [the multi-room music system] Sonos. Do you know what that is?

    Yeah.

    Luke Steele's Sleepy Jackson: Neil's a fanIt’s fucking life-changing. It’s changed my entire musical life. When I come home, the first thing I do is “Where’s Sonos?” It’s like a pet. I pick it up and I’m like, “Okay, shit, I went out and I talked to that guy on the street and he told me about a fucking Sleepy Jackson album [pictured right]” or whatever, so I put it in and I hear it right away. It’s fucking great. Then someone comes over, like some club girl, and she wants to hear Lil Wayne, and I’m like, “Okay cool, here’s Lil Wayne.” If you’re talking on the phone and someone recommends a song, you can hear it right away.

    I got it for my parents for one of their birthdays. They love it. I think it’s game-changing, even though it’s just hooked up to Rhapsody. The whole idea that it’s your home stereo component and it’s all you can eat.. I love it, and it’s also the price of one CD a month. Napster is now like $5 a month. It’s fucking insane. 80% of what you’re going to want to hear is going to be on that.

    That’s the challenge for new artists though, because there is so much music out there. How do you get heard? How do you differentiate your product from everything else that’s going around?

    I think it’s always true that gatekeepers emerge. In other words, the internet happened, and there was so much shit out there; then search engines come up as the portals. I think gatekeepers always impose themselves. I keep a running list of everything that people recommend to go ahead and listen to.

    I have a physical recommendation for you.

    Oh, cool.

    It’s a Brisbane electronic artist. He does pop songs with an electronic edge. [Yeah, I pimped Hunz to Neil Strauss.]

    Cool, like The Notwist and The Postal Service kind of stuff?

    He’s influenced by Radiohead and Boards Of Canada.

    I love both of those. This sounds great. Is there anything else I should listen to?

    There’s a band called The Middle East. They’re indie folk from North Queensland, way up north. They’re really unique and powerful.

    Cool, I’ll see if I can get that. What kind of music are they?

    Indie folk.

    Cool. It’s kind of old, but have you heard the Yeasayer record? It’s about a year old, but it’s awesome. It takes a couple of listens to get into it, but I’ve been listening to that a lot lately. There’s also a group called Margot & the Nuclear So and So’s, do you know them?

    I’ve heard of them.

    It’s about a year old, but I like that too. Then there is a band I liked, called The Felice Brothers. Their first album was amazing; their next album wasn’t as good.

    Cheesy? Totally. But worth it.

    Do you still find that face-to-face recommendations are your strongest musical markers?

    Definitely. When I was in Australia last with Mystery, I bought a bunch of CDs and did an article on the top ten favorite Australian CDs back then. It’s cool to see that sometimes they end up getting to the States. I think that was maybe five years ago. I think it was when The Sleepy Jackson and Architecture In Helsinki were first getting popular. I always take recommendations because even if one in twenty is good, it’s worth it.

    Shit man, I can’t believe you just came down for the day. That’s crazy.

    Totally worth it. I really appreciate it.

    Cool man. It was cool meeting.

    Can I be cheesy and ask for a photo?

  • A Conversation With Christie Eliezer, music journalist

    Christie Eliezer: owns more reflective sunglasses than youChristie Eliezer. Dude is one of the mostly widely-read music journalists in the world. Though I first heard of Christie through his weekly Australian music industry round-up for themusic.com.au – which is syndicated in one of the publications I write for, Rave Magazine – I soon found that his influence extends far beyond that column. He’s written three music-related books; his latest, High Voltage Rock ‘N’ Roll, was released in 2007. I asked Christie for this interview because he’s a super-huge music journalist, and I wanted to know how he does it and why he loves it. Righteous.

    Christie, your weekly industry round-ups comprise a huge amount of information. Is this your full-time job on behalf of themusic.com.au?

    Writing is my full-time job, but writing for themusic.com.au is just one of the many things that I do. I actually write for about 23 different publications around the world on music, fashion, travel and new technology. In between this, I also do projects like “High Voltage“, which was released two years ago. I’m currently writing a film script.

    I syndicate a column of music industry news not just for themusic.com.au but also to Beat in Melbourne, The Brag in Sydney, Rave in Brisbane and dB in Adelaide. So each week I collect the news, and send different items to different magazines. I also write for the US magazine Billboard, so some of the column goes in there as well.

    I’ve seen your writing in Australian Musician, too. Which do you prefer writing – artist interviews or your weekly industry round-up – and why?

    Every aspect of writing is exciting. I must say, though, that artist interviews are more satisfying. You’re interacting with someone; you’re getting access to aspects of their music that few others do. It’s exciting when the interview goes well – when the journalist has done his or her research, and the artist is responsive. If it’s an artist who has especially touched your life, the feeling is unbeatable.

    The weekly roundup is a bit of a plod; lots of double-checking and hard work. Nothing glamorous there!

    christie_hv_cropYou must get sent newsworthy items for the round-up from many sources. How do you balance keeping the PR hyperbole in check in order to report on factual content?

    The whole idea is to present a picture of what’s been happening in the music scene in any given week. Sometimes it’s a thin line between hype and news. Generally if I feel comfortable, I’ll use the PR stuff. But a lot of the items are scoops and exclusives too, so it balances it out. The amount of people who feed me gossip is amazing!

    Are you your own editor, or is there someone within themusic.com.au who proofs your work each week?

    I always ask for the editors of magazines to look over my stuff. Sometimes when you’re rushing to finish a story, mistakes do slip in. Like the time when Bob Marley‘s band The Wailers were to tour here. My brain meant to say “The late Bob Marley’s former band The Wailers are coming”. But what I wrote — and I must have written it at 2 am — was “Bob Marley and The Wailers are coming”. This would have been a mite difficult as Marley had been dead for years.

    Anyway, one of the local radio stations had a great time sending me up, by saying I had the power to make people come to life.

    I read in High Voltage’s introduction that you became a freelance writer while still at school; what attracted you to this career?

    Partly to impress girls, and partly because I loved music and had a flair for writing. I used to spend a lot of time in record stores and played drums in a high school band – I wasn’t good, nor was the band. I remember the first time I saw the video for The Rolling Stones‘ “Jumpin’ Jack Flash” which was so surreal and eerie that I knew I had to write about it.

    I sent a story to a magazine called Go-Set, and they sent me a cheque. As a 15-year old, this cheque was twice the amount of money I was earning cutting grass and cleaning gutters for neighbours.

    Jaggermouth: highly inspirationalSo I sent in another story. Back came another cheque. Another story. More cheques. Then the editor rang one day and asked if I wanted to interview The Rolling Stones. After that, I was hooked. Plans to become either a lawyer, a political journalist or a diplomat went out the window…

    You’ve been in the industry since before internet usage became widespread, and now you use its capacity for information dissemination to syndicate your column across the world. Can you describe some of the changes you’ve seen in the industry across your 30-odd year career?

    In terms of journalism, in the old days I had to “research” by going through old magazines. Now the internet gives me stuff in half a second – although, a lot of that info can be incorrect, so I do have to double check. Readers get news in seconds, so my approach to journalism is no longer just about breaking stories, but providing background to the stories.

    And yes, my stuff – not just the column, but the other stories I write – is used across the world as a result. Someone estimated I reach a readership of 2.5 million a week.

    In terms of the music industry, the short answer is that the music consumer is now in control. They can buy their record in a minute, which means the record stores or record companies who don’t have their music get ignored. There’s no longer the need to wait for weeks for delivery.

    In the ’70s, if a consumer wanted to watch a music TV show like “Countdown“, they had to wait around the house from 6pm to 7pm on Sundays. Now they can video tape it, or they can see them on their mobiles and watch while they’re on the move.

    The internet also means that music fans can find new styles and acts from other countries while surfing the net, they don’t have to wait for radio DJs or music journos to find these for them.

    However, readers will always follow respected music journos – the ones who help to find new acts for them.

    2.5 million readers per week – that’s astounding. How do you manage the responsibility associated with ensuring that your facts are correct; on deadline, do you just aim for ‘close enough’?

    If you have this attitude “close is enough”, people will stop reading you and magazines will stop paying for your stuff. You have to get it right. If you’re not sure, say you’re not sure. If not, keep the story for a week.

    Your comment about how readers will always follow respected music journalists is interesting. The manner in which blogs and web communities have allowed every punter to voice their opinion has resulted in powerful signals being lost amongst the noise; you’d understand this better than most. In this information age, how has the role of the music journalist changed?

    Christie Eliezer: more comfortable than youIt hasn’t changed all that much. A good journalist will provide info with honesty and impartiality.

    This is different from a blogger like Perez Hilton, who happens to hang out with artists and is now respected only because he breaks news stories. People love gossip!

    The role of the music journalist hasn’t changed much since you started writing?

    Nope, same as ever. Maybe there’s more of a need to be more responsible about what you write, because the internet takes you to billions of people, and you need to be careful of people’s reputations.

    What do you love about music writing?

    The sheer joy of an idea coming to fruition on the page. Your ideas are passed on to others. The biggest thrill is to do an interview which is so good that no-one else can match it.

    What makes an interview so good that no-one else can match it?

    You’ve got to research so well that the person being interviewed becomes comfortable and opens up. Doing the interview at their house helps.

    What do you hate about music writing?

    The long hours. Sometimes I have to work until 3 or 4 am. I love the fact it’s very quiet, but sometimes when the brain is tired, silly mistakes slip through.

    Do you get out to see bands often? What kind of music excites you?

    Yes, all the time! I also listen to demos, browse MySpace pages, talk to others in the music industry, and so on.

    My favourite music is hard rock – The Stones, Zeppelin, The Who, Foo Fighters – but I also like hip hop, R&B, folk and world music. Only country music is something I don’t like.

    How do you recognise a talented music journalist? Or, to phrase it another way: what qualities must a successful music journalist possess, in such a subjective industry that relies heavily upon personal tastes?

    You can be impartial, or, given that music is such a personal taste, be subjective. I personally think you make more impact if you’re impartial with a touch of subjectivity.

    Not exactly a question, but I’m guessing you have an enormous record collection.

    25,000 CDs counted five years ago. Probably close to 30,000 now.

    Whoa. Hefty. What’s your preferred method of listening to music?

    CD or radio. If I turn it up, I like the music. If I turn it down, it’s crap. Very simple really.

    So the iPod’s not good enough for Christie Eliezer?

    iPods are banned at the Eliezer residence. Into the bin!

    No, to be honest. The music’s on all day: either through the CD player in my study, or on the radio when I’m driving, or when I’m checking out acts on MySpace.

    So sometimes it’s nice to take a break. I don’t listen to iPods even though people have given me some as gifts. On long trips, for instance, I prefer to read books or watch movies, just to get a break from music.

    How do you keep your criticism in check when reporting on artists whose music you find terrible?

    You either ignore them, or try like hell to find something!

    You’re speaking at Brisbane’s Big Sound music industry summit in September 2009. Who approached you with this opportunity, and what are you planning to speak about?

    I was approached by Stephen Green, who runs Big Sound.

    Most likely I’ll talk about the need for acts to foster a strong relationship with the media, the need for them to create a strong image, and the best ways to market their acts.

    I spoke at the Fuse Festival in Adelaide in March; I had to turn down speaking at music conferences in Tasmania and Darwin in July because I’ll be overseas, and I’ll be a panellist at the Australasian Music Business Industry conference in Sydney in August.

    What do you enjoy about public speaking? Does it come easily to you, or do you find it difficult to step out from behind the pen, so to speak?

    I used to be terrified in the early days. I was always nervous, and often wondering whether I was being boring or mediocre. But nowadays, I am quite relaxed, and I do enjoy it.

    Music critic Everett True believes in being memorable, above all else, because “if you’re not memorable, then why the fuck are you writing about music?” Agree or disagree?

    Depends on what you are being “memorable” for. Because you’re talented with great taste in music, or you can provide a new perspective to an issue? That’s fine.

    Or because you’re controversial? Or just being trendy? Because you bag big names? The last three reasons are crap.

    Do you strive to be memorable in your writing? What do you want the memory of Christie Eliezer to be associated with?

    Step 1: Write about music. Step 2: ???? Step 3: Babes and profit.

    My writing is going to be around for ages, long after I’ve karked it. So I want to leave a worthy piece of work behind. If there’s a legacy, it’s that Christie Eliezer was part of a movement of rock journalists that improved the quality of rock journalism in Australia and abroad.

    I’d hope people remember me as a writer who was fair and knowledgeable. More importantly, I hope that I made a difference to someone, somewhere.

    Finally – you started music writing to impress girls, or at least in part. Did it work?

    Bloody oath, mate! But I must admit that my singer mates got the good-looking ones, my roadie mates got the ugly ones, and I got the ones who wanted to read poetry to me!

    Be a music journalist, get the babes. I knew I started writing about music for a reason. Thanks, Christie. He can be contacted via email. His excellent Australian music industry weekly round-up is updated each Tuesday afternoon.