Kris chats with film director Rob Roth on his recent documentary, BLONDIE: VIVIR EN LA HABANA.
On this track, Kris and director Rob Roth talk about the short documentary, Blondie: Vivir En La Habana, on the heels of it's premiere at this year's Tribeca Film Festival.
Learn about Rob's friendship with Debby Harry & the band, how the film got made, and what it was like to document a film in Havana Cuba.
For more from Rob, check out his website.
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About the Podcast:
‘TEXT PROSE AND ROCK N ROLL’- is the only podcast dedicated to the written account of musicians. From artist memoirs to band bios, and anything in between. You'll hear first accounts from those who lived the lifestyle; a Book Club that rocks - literally.
It is Created, Hosted & Executive Produced by Kris Kosach.
It is Produced & Edited by Charlene Goto of Go-To Productions.
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blondie film band cuba concert debbie havana knew big night debbie harry felt people document music shot vinyl artist rob moment
Speaker 2, Speaker 1
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That's Debbie Harry. I'm blondies visit to Havana, Cuba in 2019. It comes from the new documentary Blondie Viva La Habana. The capture is the band's first ever concert in Cuba. And for a band who's pretty much seen it all. It's fascinating to watch them discover something new in this island nation. Today on the show, we had the man who made that trip of a lifetime a reality. That's today on text prose and rock and roll.
My name is Kris Kosach. I created this podcast to highlight the written and documented account of music from band BIOS to artists memoirs and the occasional rock dock two, we are the only show of its kind. This is text pros and rock and roll. Track 20 Blondie live in Cuba.
filmmaker and artist Rob Roth was born to create. So when the chance popped up to document his friend Debbie Harry and their live show Blondie played there. Rob was all over it.
Now you're predominantly a short form director as well as a multifaceted artist as well. And I know that you did direct a Blondie video featuring Joan Jett a couple years ago, which is very cool. So I'm wondering, was your film in Cuba meant? Or did it start out to be as a performance music video?
Um, you know, not really, it's kind of, I said this before, but this is how I sort of explain it. This was the very first project that I pitched to them, it's usually the opposite. You know, like if they need a music video, when I found out they were going to Cuba for a cultural exchange. I just knew I had to document it now how, you know what it was was kind of revealing itself as it went, it wasn't like I said, we're going to do a full concert, you know, because really, we didn't have the means to do that. You know, it wasn't like I would have to do a full concert film, I would have needed so much more money, and equipment and all that. So I went in with an experimental film framework. And just to see what I would capture. It's also I shot it on real film, a lot of it not all of it to kind of give it its own story, in a way.
Yeah, the look of it is absolutely beautiful. And it actually was it intentional that was supposed to kind of be picking up that 1950s where they were the record scratched for Cuba. Was that intentional?
So yes, very much. So. I mean, I it's funny that today, everybody has all these filters that make things look like they're super aid or you know, like on Instagram or whatever. But it was really important to me that it be real, because we're going into this place that I had never been in neither had anyone from Blondie and and I you know, of course, I knew that they're kind of like Time Warp of where they're where they are, you know, so I thought it would be the right lens for that. It's also timeless, really, you kind of don't know what time it is. Isn't the 70s Is it a 50s? Is it the 80 you know what I mean? So I kind of felt like that was the right approach because it didn't really matter what time it was kind of about the timelessness of music.
Yeah, yeah. But I love also you kind of like you. You point out different decades, not only the 50s and is it timeless, but you employ that Keith Haring kind of style, both in you know, that little electric 80s thing that is so cool. Yeah, it's really neat. So you brought in all these various things. Was that intentional that like the Keith Haring heyday of the early 80s coincides perfectly with the downtown cbgb Max's Kansas City Blondie vibe, that was intentional, or was that serendipitous?
Kind of both, like, tie, like I said, I went in with a definite experimental film framework mind from like, you know, kind of the no wave, you know, films of downtown in the I guess that was like the late 70s, early 80s. So I did have a frame of reference in my mind, and Keith Haring was kind of in that a little bit after that, but same kind of downtown aesthetic of that time. So yeah, I mean, that was it. I never want to be fully. What would the word be, you know, retro, when it comes to Blondie, they're not really interested in the past as much as they are in the future, but I just thought that it was a good mix of aesthetic.
Yeah, it really is. It's a lot of fun. Okay, so this experience must have been really bizarre, because here you have you an experimental artist, documenting Blondie who was at one time a very experimental cutting edge counterculture band, in perhaps one of the most concentrated controlled environments, ever. Hmm. Please talk about how weird that was.
It was odd. I mean, like I said, this is one of the ferries, maybe the only project I've ever done, that was going to be a big discovery. As I went, like I was I, you know, I prepared as best as I could, because I'm a professional, and I don't, but I knew that it was going to be surprising. And I think the biggest, I mean, the biggest surprises that I got, I did it. Actually, you know, I went to a communist country and shot real film with a very bare crew, and it actually happened, you know, I, I kind of, like, laugh about it sometimes. But um, I was lucky in a certain way too, because my, my cinematographer is originally from Colombia, so he could speak the language. So that was a very, very key, you know, thing for me to make a lot of things go smoother. But as far as the place, I mean, it just felt like I kept saying, I felt like I was in a dream a lot, because particularly at night, and I couldn't get a lot of night shots, because on film, you would have to light it a lot more with real films. So we didn't have that. capacity. But at night, you kind of didn't know where you were because the cars are from the 50s. There's not that many phones. People really aren't on phones. They're your it's it has its own look. It had So you and I traveled a lot. It's not like I haven't been a lot of places. But there was something tough, like you didn't understand what time you were in there. You know that? That was what was sort of interesting to me.
Did you feel like your hand was held by an official the entire time or did you feel that you got to explore,
we got to explore because of the like I said Nick Weisner, who is my cinematographer and I are both kind of crazy. Like, in our in a good way, we we went out on our own, we didn't have a guide. I mean, obviously, the concert was, you know, I wouldn't say there was guide there. But there was a producer on the ground producer helping us get some cameraman from Havana to do the digital stuff of just the, you know, the concerts, but as far as the B roll, and also, Nick and I went on our own, and he would talk I mean, we walked in people's houses that's I got, you know, I got imagery of there's this one shot of this young girl who I always remember keep remembering in Old Havana who No, Nick started talking to her. They were just it was, and she made us pay, you know, which is great to come in to shoot her in her house. And her brother asked for some money and which I was gonna give to them anyway, but I loved their her particularly her kind of Mojo, you know, her kind of, and it reminded me of young girls on the Lower East Side. Like it just it was very familiar to me like these kind of smart, young urban girls who, you know, are kind of beyond their years. So I remember her and we had there was no one guiding us through that. That was just me and Nick running around.
Wow, that's actually very impressive that you were allowed to run around like that. But if you just tapped into something that I wanted to ask you anyway, Debbie Harry says in your film, that she sees similarities with the Lower East Side in the 70s and 80s. and Cuba Havana today. Do you think Havana is in 40 years will be more like New York City or do you think it's going to remain and capsulated in time?
I think it will become more I guess, to answer your question more like New York City but in its own way, you know, I mean, that's the point I think with Debbie is trying to get across in that comment is that she lived through, you know, a particular time and in a particular place where the city was, you know, broke and everything was bombed out and falling apart. But that is where we got such amazing culture from at that point. And like everything is cyclical it comes back. I mean, we when we were also there we went to see, you know, a few of the like bigger hotels that were from the heyday of the jet set in the 50s. And you saw that like, Sinatra was there all these people, so it had what would you call it like a like a gilded age or, you know, that kind of moment. And now, and I think cities are cyclical like that, or anywhere is exactly like that. So I think I can see Havana becoming I mean, it's already in the film, I don't know if you noticed, the very last shot is of her driving, but it's all the new buildings. It's like these, there's some new buildings going up and are modern. And so I don't know, you know, who those are for what it is, but it's just the point of an ever changing city.
I didn't pick up on that. I but I was listening to some of the wonderful quotes towards the end of your film, the some of the really deep things that Debbie was saying, let's talk a little bit about the actual concert. And you mentioned to getting some local crews to help you. But if Havana is so kind of stuck with their cars anyway, 40 5060 years ago, are they kind of stuck with their gear with their education? in the media? Was it hard for you to find crew who was up to your standards?
Um, um, no, I thought all the camera guys were great. They didn't speak much English, which was really the bigger problem. I mean, I would have liked your shot on better cameras, but, you know, they were fine for what it was. And I was, I was just happy to find three of the same cameras so that they had the same, you know, I was I was worried I was gonna have to mix cameras, which is a nightmare. But um, I wouldn't say they were I wouldn't say they're really super behind. I mean, they were they were really, the guys knew exactly what they were doing. They we shot two nights, so I got to get coverage. You know, like, if it was one night, I think I would have been a little more screwed. But it was two nights. And I, you know, like Debbie and I were talking the other day. Like, how long were we there was really only seven days, you know, so we didn't, we met I met a lot of more people because I went out shooting around Havana and ultimatum but, and we had a few dinners, and we didn't meet some young people who were, you know, frustrated with the limitations that they had there as writers or as journalists are whatever they were trying to do. So if there is, you know, it's a communist country, they have the control is totally different. But musically, I could not believe how amazing the musicians were and how music is is free in school. I mean, they actually, how would you say it it's like, it's part of their education, it's a it's a thing that is celebrated, and also, you know, part of their heritage and their life. And it's not, I don't know that that was what was a little different to me, that their music education system is so prominent, and amazing there. So that was really cool. So it's like a double. And, you know, like I said, we weren't there long enough for me to have a lot of comment about the day to day life of a, you know, person in Cuba. It's so I mean, most of my comments can be about the music and just the few people we met, you know? Yeah, yeah. Do people there know who Blondie is? Well, that was I didn't see any record stores or how they get their music. But I one of the things I was thinking as we were getting there and kind of setting up was who's coming to the day they're gonna, you know, is it maybe just one generation when it was more open or whatever. And it turned out, there's this like, I've talked about this, there's one moment in, I think it was night number two, I can't remember. But I was running around with a super eight camera, and I looked up into the balcony. I mean, it was it was sold out every night. So it was packed. And the energy was amazing. It was just what but there was a particular moment where this family was in a balcony and it was for sure, like a mother father, their children may be the grandparents I couldn't really see but it was generations, right? And they were all singing this song like like they knew all delayer I probably tide is high or something, you know, more popular, but they completely knew it. And they all were so joyful to be there. And so I thought, oh, they've heard all those things. It made it sway you know, as Debbie says in the film, it goes through the air. Yeah, kind of it got there. What was
it like for the band to play with with the locals were they just kind of introduced to these people with their an audition process? Who were these local musicians?
Well, that was mostly set up by the promoter and the manager of you know, there was a band called synthesis. I think that's how you pronounce it. And they played before Blondie but, but members of that band, then sat in with Blondie, and I was there for everything. And they only had one rehearsal day, but not even day they and this is what I mean about how, you know, I, I sing and I perform, but I don't play an instrument. So I have a lot of respect and almost jealousy of these kind of unbelievable musicians. They came in, and it was like that, without the length without the language, you know, very, they just were prepared. They're also amazing. And they just fell right in. I mean, it was amazing. I was like, surprised.
Yeah, there's always a moment after a performance and you didn't capture it. I don't think there's always a moment when the band comes, or the artist comes off the stage and goes back after an encore, and just breathe for the first time and takes in what just happened? I imagine you were standing there. When that happened. What was it like?
Well, you know, it's funny, the theater was beautiful, but very small. And it was Debbie's dressing was insanely small. And it's kind of funny, and it was really hot. There was no air conditioning. And so I think every day, it felt like a fever dream or something. It was very atmospheric it was, you know, I think we're all sweating, but in a good way
after an encore when the night and it just sinks in what just happened? I don't mean the energy on stage. That's a completely different energy. But there's almost a reality check. That happens afterwards that when the magic is gone, and you're left with like, wow, the hindsight 2020 that
Yeah, yeah, I mean, them. Well, that's hard. You know that. That's hard to capture on film. I'm trying to think of how I would do that. I mean, really possible. Really? Yeah. No, I mean, I, I'm thinking about the tour bus and how, you know, I've been on tour with them twice. And when you you when you're leaving the show, if you're still heightened, so there's all this like, frenetic kind of energy in this tiny bus that's flying across the desert, or wherever you're going. And that's something that is uniquely a feeling. It's hard to articulate in words, but it's there, it's like this, the buzzing the after buzz of all of that, you know, and what does what was that and that's why people do it, too. That's the that's, you're holding the the thing that's so hard to describe that is why people do live music is the thing you get in the, you know, after the last 20 minutes after what did the concert mean to you? What did it mean to the band? Well, you know, it was for I can't speak to the band fully. But I do know that it was a lifelong dream, that that was a lifelong dream for the band to get there. And as you know, it was bittersweet because Chris The one who was the the one who really wanted to get there didn't make it. So it was this interesting kind of moment where I did not I knew I only found out he wasn't going on the way to the airport. So I had nothing. It was just, you know, catches camp, you know, like, what, what, what's going to happen is going to happen. For me, it was just, um, you know, a privilege and actually an honor to be able to document a moment in such a legendary band's history. You know, you don't, I mean, they've done everything so well, you know, but this was something they never did. And it's more, I don't know, there's something so poignant about it, particularly now, you know, with the fact that we got in there just at that moment, you could have more access there. And now that's, you know, knocked over again. So I just felt like, portals open sometimes. And we had a good doorway, and I took a chance and we did it. And so that's why I'm, I'm proud that I got to be able to do that with them.
Absolutely. It's like a wormhole. It really like. Last couple of questions, because you have to take your own toilet paper. Ah, no, you did it.
Oh, everyone. I know that it's gone to Cuba. We ran out of everything. We had to take toilet paper.
I don't remember. No, you know, it's funny. I think I was so when you when you're trying to do it. I'm what I do. And seven did in seven days. I think toilet paper was the last thing on my mind. there's an amazing soundtrack coming up. Tell us a bit about that this soundtrack that's attached to your film.
Well, there's an EP that has I can't remember I think it's six songs from the concert from both nights. And it's you know, and some of them have the Cuban musicians on it. It's great. It's amazing. And there's I designed the cover actually for the vinyl which is so popular again vinyl. I love that vinyl is Having a big headache again? Well,
I will tell you that I've pre ordered mine from my husband literally received yesterday he kind of read gift we bought his brother, one of these standup turntables because we didn't have a turntable anymore. So it's beautifully prominently displayed in the in the living room. And that's going to be well, the second record on it, but it's going to be the first record that really
Oh, good, it sounds great. I've heard it. And you know, like I said, there's nothing like that vinyl sound. I mean, and this is what I mean about the film, too. It's like, I wanted it to be tactile, you know, that's what the film green and all does. Like, if you can't fake that, you know?
No, you cannot. So, alright, well, your film was fantastic. I enjoyed it very much. But where can everybody else see it,
have a couple of more festivals. The Tribeca was for obviously, for me was the big one. And it was the North American premiere. And we and they performed and all of that. So I had to get through that. But we have I know we have the New Orleans Film Festival coming up and I think one in LA. And then I think from there, we'll find out where it will live. After I you know, I never know, if you thought I was told I was going to premiere at the Tribeca Film Festival after a pandemic outdoors and blenders playing I would have never believed it two years ago. So how did you meet them? I met Debbie. We can't really remember it. I think I'm gonna say 1994 could have been 1993. But at a night left the club called Jackie 60, which was our favorite club of all time, really. And it was on Tuesdays. And we both used to go to it. And we both you know, she was friends with the owners before me but we became friends. And that's how it I mean really, it's that simple. We just hit it off became friends and then next thing I know we're making stuff together. I hope you make more together. Oh, I hope so. Yeah, she inspires me.
Thanks to my guest Rob Roth today and be on the lookout for beaver and La Habana. As for that great concert. It's been made into a soundtrack especially for this film. It's available in a limited edition as your blue vinyl just in time for Record Store Day part two, on July the 16th 2021. I bought my copy. Alright, here's this week's liner notes. Tax pros in rock and roll was written and created by yours truly in association with go to productions Charlene goto producer, thanks to my guest, Rob Roth, and Sarah hustler at Sarah hush your PR, as well as everyone at the Tribeca Film Festival for aiding in today's show. You'll find Rob online at Rob dash roth.com and he's on Instagram at Rob Roth NYC. You'll also find us there at text pros rock and roll. And thanks to those of you who have reached out to say hi on Instagram. For all of us here at Tech pros and rock and roll. Thanks for listening. I'm Kris Kosach rock