- YOUTUBE SERPENTWITHFEET BETTER EARS SKIN
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Lucy : Yeah, I gave Skin something to work with – drafted out the first section, sent it to her and naturally she then looked at it, and amended. I just felt I like I didn’t have anything to say – like “what am I going to talk about?” Then you sent me three chapters and I was like “ok, this is a start…” You wrote something and sent it to me, which was the catalyst.
But also, how else would we do this? I definitely wanted to co-write it and not have it written for me, and I think it took about three months before I started returning your emails. Skin : I mean, yeah, it’s a scary thing to talk about personal stuff for me because I’m quite a private person. But I had to woo you a bit! The thought of writing a memoir is quite a scary thing – to put yourself out there and tell everyone about your life.
Lucy: By then you had tentatively agreed. Did you say something to me then? I can’t remember… Skin: I think I went to your book launch, the Dusty Springfield one. Skin was in New York and I was here – we were doing everything through Skype, talking through all the stories, and it just grew from that.
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And I was thinking “bloody hell Skin, your story is really inspiring, you should tell your story.” It grew from that really, starting off as a series of conversations, then drafting chapters, sending them back and forth.
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We didn’t throw the hotel TV out the window, but we did throw plant pots out the window, God knows why… We were young! Fast forward to two years ago and we were on the phone, and Skin was talking about how she’d been to see ‘I, Tina’ the musical in the West End and what an amazing story Tina Turner had had as a black woman in music. Got up to all sorts of mischief, and stayed friends! I was commissioned to travel out with them and interview them and we spent three or four days in LA and it was brilliant, we got on really well. Lucy : I first met Skin in about 1995 when Skunk Anansie were sent over to LA to film a scene in Catherine Bigelow’s film Strange Days and I was writing for Vox Magazine. Let’s talk about ‘It Takes Blood and Guts’, co-written by both of you – how did this project come about, and how did you both end up working together? I mean, it’s great when I hear your stories, it makes me think – “Ah that’s good, it’s worth all the struggles, that’s good.” But yet I’m still inside, a little bit timid and I get a little bit bashful. So, if I’m honest, I don’t really think about that a lot. For a lot of people in rock music, it’s angsty music, it’s aggressive music, it’s “I JUST WANNA BE ME” music. And you don’t really think about everybody else and what everybody else is doing.
You just want to be yourself and that’s in your mind – this kind of drive to do what you want to do, the way you want to do it. Skin: Embarrassing! If I’m honest, I’m not very good at taking compliments. And I mean that in all aspects of your identity, as a black gay British woman in music… And I wondered what that feels like for you? You’ve made such a big impact on peoples’ lives by simply being you, openly yourself. To see someone who I admired and respected being so open, it was incredible. But I’ll never forget when I found out that you were into women, and it just blowing my mind as a young gay kid who literally didn’t know anyone else who was gay. Not to fangirl too hard, but we love Skunk Anansie and your solo work at Get In Her Ears! Your music was so integrated into my teen year – growing up, throwing myself around to your songs, from my bedroom and the dance floor, to strutting down the street. Our Tash caught up with Skin and music journalist and writer, Lucy O’Brien, who co-wrote the book. Having had an epic, inspirational career as front woman of Skunk Anansie, and as a solo artist, Skin has just released her autobiography It Takes Blood And Guts – named after the album track on 1995’s Paranoid & Sunburnt.
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