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Lana covers Les Inrockuptibles - April 2023 Issue

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53 minutes ago, Rico25 said:

A few interesting things:

 

About A&W :

- she sent an acapella version to Jack but he hadn't read the email so it sat there for 7 months,

- Jack suggessted to add the Jimmy Jimmy Coacoa Puff part but she had it in mind since her relationship with Barrie-James,

- she wasn't sure about releasing it as a single at first but her 11 girlfriends told her they loved it lol

 

we need those 11 girlfriends to start choosing her singles 

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7 hours ago, Rico25 said:

Got 2 copies this morning

 

It's the album and title track photoshoot basically, pictures we've already seen but it's cool because the vinyl variants don't have all the pics

Thanks for the info - only what exactly do you mean by "title track photo shoot" please? I guess it's just 3 double pages with maybe 3 photos inside or so as usually, right? However, would be perfect if you can share a few pics, they don't have to be good quality. Just to see what's inside. (17 Euro for people abroad... Would like to know what's inside to decide if I buy or not) 


It was expensive watch it 

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25 minutes ago, Olympia said:

Thanks for the info - only what exactly do you mean by "title track photo shoot" please? I guess it's just 3 double pages with maybe 3 photos inside or so as usually, right? However, would be perfect if you can share a few pics, they don't have to be good quality. Just to see what's inside. (17 Euro for people abroad... Would like to know what's inside to decide if I buy or not) 

Lemme try to upload it somewhere lol

 

and yes it's a couple of double pages and single ones with pics we've already seen: title track single, Amazon variant cover, green variant cover, original cover, the other one where she's smiling it's on the back of certain versions, and there's also a 2012 pic

 

 

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39 minutes ago, Rico25 said:

Lemme try to upload it somewhere lol

 

and yes it's a couple of double pages and single ones with pics we've already seen: title track single, Amazon variant cover, green variant cover, original cover, the other one where she's smiling it's on the back of certain versions, and there's also a 2012 pic

 

 

Thank you for posting these! 

 

Is she saying something about concerts in that first picture?

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12 minutes ago, fishtails said:

Thank you for posting these! 

 

Is she saying something about concerts in that first picture?

On the second page the interviewer asks her if she gets panick attacks and she talked about Coachella and the tensions with North Korea (LFL era lol)

 

Then she's asked if she watches her own concert videos and she doesn't enjoy it because she's a control freak and sees everything that's wrong

However, she enjoys watching her acapella jazz soundchecks

I'll post more later

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1 minute ago, Rico25 said:

On the second page the interviewer asks her if she gets panick attacks and she talked about Coachella and the tensions of North Korea

 

Then she's asked if she watches her own concert videos and she doesn't enjoy it because she's a control freak and sees everything that's wrong

However, she enjoys watching her acapella jazz soundchecks

I'll post more later

Interesting, thanks for explaining! 

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I don't know any French but I'm translating the interview through Google Translator. So I'll slowly be posting what I have.

 

First page of the screenshot:

Spoiler

How did you experience the pandemic?

Evil. It has been going on for three years and I still and always wear a mask. When I first heard about a world-wide infectious virus, it was as if my worst nightmare had come true. I was terrified. My brother and sister lived near me in California. We sealed ourselves off for months at home. We created a bubble, with my friends and my close family, to try to live despite everything. We spent a lot of time in my garden, especially exercising. I had decided to work the body to counter the confusion of the mind.

 

Musically, you remained very active during this period

Under these strange conditions, I released two albums and a collection of poems: Chemtrails Over The Country Club (2021), Blue Banisters (2021) and the book Violet Bent Backwards Over The Grass (2020). But, strangely, music and writing then became less of a priority in my life. They did not play the usual role of a valve. The music only came back later. Blue Banisters was a light, unique adventure, just four guys and me in Los Angeles, in my living room... Same for the new album, I spent weeks with Mike Hermosa, a guy from my neighborhood, improvising at him, with his guitar. We quickly accumulated songs, and when I felt ready to record them, he explained to me that he never really had a metronome! His work is a cinematographer, he was scared to rediculiser with professional musicians. And on the song Did You Know That There's A Tunnel Under Ocean Blvd, he managed to record his guitar intro from the first take...

 

Has the pandemic changed your priorities?

What mattered was the well-being of my family. Two years in a row, I took all my relatives to Hawaii to celebrate New Year's Day. We must not lose sight of each other, especially since we saw other countries sinking one after the other into strict and long confinements. I couldn't have lived without my freedom to move, that was my obsession. So, every morning, I made myself a Thermos of coffee, then I looked for the most deserted beaches in California possible and I took a long walk. It was my way of reminding myself that I wasn't stuck, imprisoned. I expected the worst: [… this part of the interview is cropped in the picture...]. I knew I would have to distract my mind, keep me from thinking. I tend to spend too much time in my head. Reading has been my way of staying sane. I was looking for a bit of magic, like in the poems of Edgar Allan Poe... I also listened a lot to the podcasts of Esther and Jerry Hicks [authors of esoteric bestsellers like The Law of Attraction or Enter the Vortex]. I also participate a lot in Zoom conferences on women and their experiences.

 

When we first met in 2011, we talked a lot about Jeff Buckley, Elliott Smith. Are you today less fascinated by writing than by sound?

I still talk about Jeff Buckley on a daily basis, I think back to our conversation every time I hear it. Recently, I went to Memphis and I bathed in the same river, the Wolf River, where he drowned... When I was 23, I signed with a small New York label that m advised a lawyer: George Stein. When I realized that he had been manager of Jeff Buckley, I became hysterical, I bombarded him with questions. I wanted to know everything, meet all his relatives, like the singer Joan as Police Woman or her drummer Parker Kindred, with whom I ended up working.

 

You also seem very manic about the choice of your guests. Do you make lists?

On the song Peppers, which I found wobbly, I decided it would be Canadian rapper Tommy Genesis or nothing. We had been looking for what to do with the song for six months, and she came up with this sentence, "Let me put my hands on your knees, I'm Angelina Jolie", which unlocked everything. There were too many proposals, information in this title, it was a mess! I call this kind of puzzle songs a Rubik's Cube. Songs that I can't get right: some of them ended up on my albums! A&W is another Rubik's Cube. The song became epic, experimental over the months. I had recorded a first version of it, a capella in a hotel room, to send it to my producer Jack Antonoff [also at the helm behind Taylor Swift or Lorde]. I knew he was overwhelmed, but still... After seven months, I called him and he had never opened my email, which was out of order. As a result, he quickly called me back to tell me that we had something strong. That's when he offered me this electronic ending and this mantra: "Jimmy Jimmy Cocoa Puff...". It's a phrase I've been hanging around since my relationship with singer Barrie-James O'Neill. However, I was not comfortable with this song, I refused to release it as a single, it seemed too weird to me. But I gave it the radical test of my eleven girlfriends and they all loved A&W! I didn't expect such a reaction for such a different song. I expected the worst...

 

Second page:

Spoiler

-         Are you the victim of feelings of panic, of fears?

-         I remember going to the Coachella festival a few years ago and learning that North Korea had installed missiles capable of hitting the United States. So I decided to return by the most beautiful road possible, the steepest: The Rim Of The World Highway, in the mountains of San Bernardino. I sat in the forest for a long time, and I frantically wrote [she sings]... "What about all these children/What about all their parents?". I was really worried. I don't care to free myself from the world, to get rid of the information that is looping in my head. I sometimes make songs about it [she sings When The World Was At War We Kept Dancing]... But don't be mistaken, I don't carry the weight of the world on my shoulders, I'm very relaxed every day. Except when it comes to starting a tour. There, I drown in the details, the anxieties... Up to questions that prevent me from sleeping, like the effectiveness of my new headset! It may sound conceited, but it matters when you're playing against 400,000 people!

-         Do you sometimes watch the videos of your concerts?

-         It's my need to control all the details that makes watching concerts unbearable: I only see what's wrong. I hate my interventions between songs and I'm not convinced by my voice... On the other hand, during soundchecks, I give myself ten minutes of pure singing, a cappella, generally jazz. And there, I like to watch the recordings of these stolen moments, their purity. I always prefer intimate concerts to stadiums. I find there the person that I fundamentally am. I am very free when I sing, for example in my friends' living room. Because we are not professionals. I feel good. But before that, I have to constantly clean up the superfluous, clear the way. It is the only way to be in relation with my entrails.

-         What do you mean?

-         I have to stay in touch with my six senses at all times. Otherwise, I feel bad. My family's problem is that we are what in psychology are called overthinkers [people who examine, question their negative thoughts and feelings, who ruminate]. While I like the word "incarnation", to live inside a body. I constantly have to seek a balance between mind and body.

-         François Mitterrand spoke of the "forces of the mind". Do these words resonate with you?

-         I am totally dependent on these forces of the spirit. I have to believe it: I have witnessed - and I'm not talking about music here - miracles in my life. Triumphs of perseverance, of the quest for truth. I witnessed it at home, in my family, fans of moments of ecstasy and depression. It's not the burning bush of the Bible, it's less spectacular, but it still changes destinies. I pursue these spirits, without respite. I think that when my music is good, it's because I'm looking for a form of spirituality. There are several steps in this research. The first, of course, is to be open to everything, even pretending to believe in it. The second is to establish a dialogue, to believe in your instincts. It's a very complex approach, often annoying for those around me. But the more I listen to my insides, the better I feel. For example, originally, I was supposed to do this interview with Bret Easton Ellis, who I also really like. But my gut told me I had to talk to you, who's known me since I started. It was an instinctive reaction. But in the end, I don't think Bret Easton Ellis would have talked about the forces of the spirit. The third is not to consider the consequences, not to tell myself: "If I do this, this will happen to me". I refuse to measure what will bring me such a concert, such an interview. What is important is to feel good on arrival, that my emotions have served, without the slightest calculation, as a lever...

 

Third page:

Spoiler

-         Can you estimulate inspiration?

-         I can't provoke these moments, beg for inspiration. It's not me chasing the music, but the music chasing me. She is like a little bird that comes to rest on my shoulder. Mike Hermosa was my friend, he became my guitarist without it being planned, planned: his music came to get me. Sometimes I'm looking for something else in life, but the music comes knocking at my door. I can't leave her outside. The music seems obsessed with me, I can't escape it, it surrounds me. She gives me no respite. Like those little crabs that come and bite my toes when I try to rest at the beach.

-         David Bowie described himself as a vampire. Can you vampirize your collaborators?

-         I have one thing in common with vampires: I don't sleep. My father, my brother, my uncle also go without sleep. For me to admit fatigue, I would have to run a marathon every night.

-         You’re cerebral, but do you use your hands?

-         Apart from playing sports, I am very clumsy with my body. I am unable to paint, draw, make pottery... Even to drive in a nail and hang a picture on the wall, I have to call on someone! In fact, my favorite side activity is TV, I watch it for hours. It's one of the rare moments when I can finally unplug my brain.

 

Fourth page:

Spoiler

-          Most artists fall into line over the albums. You seem to be going the opposite way: some new titles are the most radical of your career.

 

-          I don't know if it's about getting out of my comfort zone or rather shooting myself in the foot... But this album condemns me to take even more risks in the future, that's the lesson it taught me. I didn't need that when I started. But everything was turned upside down fans the music. The era is conducive to risks, to experimentation, the public decides for itself what it wants to hear, without being forced. It gives me a lot of confidence to have fun with my songs. I feel much less alone today than when I started. My favorite is Billie Eilish. He is a good person, which is already rare in itself. Above all, she is divinely talented, I am honored to know her. In pop music, women finally have the right to talk about themselves, about their experiences. Which I did from the start - they would have been crucified in the past. As a result, I understand better the violent and surly reception that was reserved for me when I started, especially in the United States, where the press wanted my skin. I took off my pink glasses, I try to understand why I was shocked, upset... Today I try to assimilate these criticisms, to understand why subjects are taboo, forbidden, even in pop. At Les Inrockuptibles, you have been there since I started, you have always listened to and analyzed my records, without ever being moralistic.

-           

-          Who is your audience?

-          The people who come to meet me in restaurants, for example, are very young. Since twelve years, they are themselves 12 years old! They even consider me a wise man... Well, sometimes. Their vision of me is so different from that conveyed by the news. These yellow teenagers seem to understand me better, they don't judge me. It feels good to be spared the cynicism.

-           

-          Why are you influential in 2023?

-          Because I am very specific. And that is the key to universality. I don't care about playing a fake role, conforming to what is expected of a pop singer. What I want is to stay faithful to the precise moment when the music came to me, however free it may be. Often, my brain does not understand what it receives. Jeff Buckley seemed crossed, pierced by his music.

-          When you started out, you talked a lot about your loneliness. What have you done with it?

-          It's not a good memory, it's a state of affairs that I never chose, that had been imposed on me by other teenage girls. I don't know if it's related, but today I'm rarely alone, I live in a tribe. When I started, I was still alone, I worked almost in a vacuum with Rick Nowels. Today, I welcome everyone, as long as they are available - that's my only criterion! I also have hobbies: I had for example decided on the last two albums to work with Drew Erickson [Mac DeMarco, Weyes Blood...]. In the meantime, he has become a composer and a producer that the industry is snapping up. I consider him a genius, he will become a fundamental songwriter. I am honored to have collaborated with him when it was still possible.

-           

-          Did you envision such a career, already rich with nine albums?

-          Let's be honest: neither you nor I could have considered it. But I don't forget the abyss, those times when nothing worked, when I was seriously considering quitting. I felt like I had achieved my dreams, and it wasn't for me. There really was a feeling of failure. And each time the same terrible conclusion was imposed: I had no other choice but to continue, because I don't know how to do anything else. Courage would have been to disappear. But since I was already famous, I took the easy way out: I continued to make records. There were no B plans.

-          Writing, the novel could have been your plan B.

-          [She bursts out laughing]. I write constantly, a diary provided [on her bed, she leafs through a big blackened notebook of observations]. But I'm only good at the short format. What could come close to writing a novel would be the publication of my diaries. But that would involve tripping fens, some far from being to their advantage. The setting date will therefore probably be: never! When I wrote my poetry book, I did just that for months, every hour of the day. It was so enjoyable... Oddly, though, I can't describe the writing as cathartic. What I write worries me a lot. I shouldn't talk about such things... Writing could be fun though. If only I didn't say such intimate things... There are so many words in my songs, it never ends. [can’t see what’s written after this, probably a couple lines are missed].

 

Fifth page and final (I think?):

Spoiler

-          What is the place of spirituality in your work?

 

-          It remains fundamental in my daily life. When people tell me I'm talented, I immediately think of Tessa DiPietro, a psychic I consult. She enjoys a real gift. There are really crazy and maddening things happening in the world of divination, some and some have a unique flavor. But when I face Tessa DiPietro, I know that there is much more than the physical envelope, much more than what is visible. There is nothing frightening in this afterlife. In this life, or the next, all prayers will have been answered. But not the questions. It's been a long time since I no longer use this word: "why". This decision helped me a lot.

 

-          Spirituality comes from the first notes of the new album, with the gospel choir of The Grants.

 

-          They make a lot of noise, but it's not a choir: they are three women, two of whom have toured with Whitney Houston for a long time. My voice also occupies the ground there, massively [she sings the intro]. At first, they crash on my words, burst out laughing and restart beautifully. I kept this sublime moment on the album. It's perfectly imperfect: I finally had the beginning of the album. When I went to Memphis and swam in the Wolf River, I had one goal: to attend a mass at the church where Al Green officiates. But it's pretty secret, so I went to church every day, I knocked on the door without answer. And one day, finally, I came across the service. It was crazy, but it was too late to record an entire choir on The Grants. "Grant" is my last name, but to talk about her, I used the word of my priest, it simplified everything... "My Pastor told me...". It's practical: it's not me who speaks!

 

-          Did you sing in church yourself?

 

-          Yes, for twenty-three years. These are wonderful memories, probably among the happiest of my life. Even if I have very conflicting relations with Catholicism. I held, in our parish, the role of cantor, the main singer, who led the praises before being taken up in chorus by the congregation. I started when I was 11 and until I was 23 I went to church daily. Fans of our small town of Lake Placid, after St. Agnes Catholic School, I got kicked out and ended up in a public high school. But I came back to church afterwards, relieved of the weight of the Bible. I still go there today.

 

-          What refocused you on music after the pandemic?

 

-          The fact that music in general is becoming more and more exciting. Rappers have raised the level so much... During the pandemic, they have opened up new paths, with more fun, more daring sounds. While other music shrank, rap forged ahead.

 

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10 minutes ago, Roll With me said:

I don't know any French but I'm translating the interview through Google Translator. So I'll slowly be posting what I have.

 

First page of the screenshot:

  Reveal hidden contents

How did you experience the pandemic?

Evil. It has been going on for three years and I still and always wear a mask. When I first heard about a world-wide infectious virus, it was as if my worst nightmare had come true. I was terrified. My brother and sister lived near me in California. We sealed ourselves off for months at home. We created a bubble, with my friends and my close family, to try to live despite everything. We spent a lot of time in my garden, especially exercising. I had decided to work the body to counter the confusion of the mind.

 

Musically, you remained very active during this period

Under these strange conditions, I released two albums and a collection of poems: Chemtrails Over The Country Club (2021), Blue Banisters (2021) and the book Violet Bent Backwards Over The Grass (2020). But, strangely, music and writing then became less of a priority in my life. They did not play the usual role of a valve. The music only came back later. Blue Banisters was a light, unique adventure, just four guys and me in Los Angeles, in my living room... Same for the new album, I spent weeks with Mike Hermosa, a guy from my neighborhood, improvising at him, with his guitar. We quickly accumulated songs, and when I felt ready to record them, he explained to me that he never really had a metronome! His work is a cinematographer, he was scared to rediculiser with professional musicians. And on the song Did You Know That There's A Tunnel Under Ocean Blvd, he managed to record his guitar intro from the first take...

 

Has the pandemic changed your priorities?

What mattered was the well-being of my family. Two years in a row, I took all my relatives to Hawaii to celebrate New Year's Day. We must not lose sight of each other, especially since we saw other countries sinking one after the other into strict and long confinements. I couldn't have lived without my freedom to move, that was my obsession. So, every morning, I made myself a Thermos of coffee, then I looked for the most deserted beaches in California possible and I took a long walk. It was my way of reminding myself that I wasn't stuck, imprisoned. I expected the worst: [… this part of the interview is cropped in the picture...]. I knew I would have to distract my mind, keep me from thinking. I tend to spend too much time in my head. Reading has been my way of staying sane. I was looking for a bit of magic, like in the poems of Edgar Allan Poe... I also listened a lot to the podcasts of Esther and Jerry Hicks [authors of esoteric bestsellers like The Law of Attraction or Enter the Vortex]. I also participate a lot in Zoom conferences on women and their experiences.

 

When we first met in 2011, we talked a lot about Jeff Buckley, Elliott Smith. Are you today less fascinated by writing than by sound?

I still talk about Jeff Buckley on a daily basis, I think back to our conversation every time I hear it. Recently, I went to Memphis and I bathed in the same river, the Wolf River, where he drowned... When I was 23, I signed with a small New York label that m advised a lawyer: George Stein. When I realized that he had been manager of Jeff Buckley, I became hysterical, I bombarded him with questions. I wanted to know everything, meet all his relatives, like the singer Joan as Police Woman or her drummer Parker Kindred, with whom I ended up working.

 

You also seem very manic about the choice of your guests. Do you make lists?

On the song Peppers, which I found wobbly, I decided it would be Canadian rapper Tommy Genesis or nothing. We had been looking for what to do with the song for six months, and she came up with this sentence, "Let me put my hands on your knees, I'm Angelina Jolie", which unlocked everything. There were too many proposals, information in this title, it was a mess! I call this kind of puzzle songs a Rubik's Cube. Songs that I can't get right: some of them ended up on my albums! A&W is another Rubik's Cube. The song became epic, experimental over the months. I had recorded a first version of it, a capella in a hotel room, to send it to my producer Jack Antonoff [also at the helm behind Taylor Swift or Lorde]. I knew he was overwhelmed, but still... After seven months, I called him and he had never opened my email, which was out of order. As a result, he quickly called me back to tell me that we had something strong. That's when he offered me this electronic ending and this mantra: "Jimmy Jimmy Cocoa Puff...". It's a phrase I've been hanging around since my relationship with singer Barrie-James O'Neill. However, I was not comfortable with this song, I refused to release it as a single, it seemed too weird to me. But I gave it the radical test of my eleven girlfriends and they all loved A&W! I didn't expect such a reaction for such a different song. I expected the worst...

 

Wonder if we will get more songs like A&W since her friends loved it:deadbanana:


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❀˖° ⋆.ೃ࿔ this is my idea of fun °❀⋆.ೃ࿔*:・

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1 hour ago, Roll With me said:

I don't know any French but I'm translating the interview through Google Translator. So I'll slowly be posting what I have.

 

First page of the screenshot:

  Reveal hidden contents

How did you experience the pandemic?

Evil. It has been going on for three years and I still and always wear a mask. When I first heard about a world-wide infectious virus, it was as if my worst nightmare had come true. I was terrified. My brother and sister lived near me in California. We sealed ourselves off for months at home. We created a bubble, with my friends and my close family, to try to live despite everything. We spent a lot of time in my garden, especially exercising. I had decided to work the body to counter the confusion of the mind.

 

Musically, you remained very active during this period

Under these strange conditions, I released two albums and a collection of poems: Chemtrails Over The Country Club (2021), Blue Banisters (2021) and the book Violet Bent Backwards Over The Grass (2020). But, strangely, music and writing then became less of a priority in my life. They did not play the usual role of a valve. The music only came back later. Blue Banisters was a light, unique adventure, just four guys and me in Los Angeles, in my living room... Same for the new album, I spent weeks with Mike Hermosa, a guy from my neighborhood, improvising at him, with his guitar. We quickly accumulated songs, and when I felt ready to record them, he explained to me that he never really had a metronome! His work is a cinematographer, he was scared to rediculiser with professional musicians. And on the song Did You Know That There's A Tunnel Under Ocean Blvd, he managed to record his guitar intro from the first take...

 

Has the pandemic changed your priorities?

What mattered was the well-being of my family. Two years in a row, I took all my relatives to Hawaii to celebrate New Year's Day. We must not lose sight of each other, especially since we saw other countries sinking one after the other into strict and long confinements. I couldn't have lived without my freedom to move, that was my obsession. So, every morning, I made myself a Thermos of coffee, then I looked for the most deserted beaches in California possible and I took a long walk. It was my way of reminding myself that I wasn't stuck, imprisoned. I expected the worst: [… this part of the interview is cropped in the picture...]. I knew I would have to distract my mind, keep me from thinking. I tend to spend too much time in my head. Reading has been my way of staying sane. I was looking for a bit of magic, like in the poems of Edgar Allan Poe... I also listened a lot to the podcasts of Esther and Jerry Hicks [authors of esoteric bestsellers like The Law of Attraction or Enter the Vortex]. I also participate a lot in Zoom conferences on women and their experiences.

 

When we first met in 2011, we talked a lot about Jeff Buckley, Elliott Smith. Are you today less fascinated by writing than by sound?

I still talk about Jeff Buckley on a daily basis, I think back to our conversation every time I hear it. Recently, I went to Memphis and I bathed in the same river, the Wolf River, where he drowned... When I was 23, I signed with a small New York label that m advised a lawyer: George Stein. When I realized that he had been manager of Jeff Buckley, I became hysterical, I bombarded him with questions. I wanted to know everything, meet all his relatives, like the singer Joan as Police Woman or her drummer Parker Kindred, with whom I ended up working.

 

You also seem very manic about the choice of your guests. Do you make lists?

On the song Peppers, which I found wobbly, I decided it would be Canadian rapper Tommy Genesis or nothing. We had been looking for what to do with the song for six months, and she came up with this sentence, "Let me put my hands on your knees, I'm Angelina Jolie", which unlocked everything. There were too many proposals, information in this title, it was a mess! I call this kind of puzzle songs a Rubik's Cube. Songs that I can't get right: some of them ended up on my albums! A&W is another Rubik's Cube. The song became epic, experimental over the months. I had recorded a first version of it, a capella in a hotel room, to send it to my producer Jack Antonoff [also at the helm behind Taylor Swift or Lorde]. I knew he was overwhelmed, but still... After seven months, I called him and he had never opened my email, which was out of order. As a result, he quickly called me back to tell me that we had something strong. That's when he offered me this electronic ending and this mantra: "Jimmy Jimmy Cocoa Puff...". It's a phrase I've been hanging around since my relationship with singer Barrie-James O'Neill. However, I was not comfortable with this song, I refused to release it as a single, it seemed too weird to me. But I gave it the radical test of my eleven girlfriends and they all loved A&W! I didn't expect such a reaction for such a different song. I expected the worst...

 

Second page:

  Reveal hidden contents

-         Are you the victim of feelings of panic, of fears?

-         I remember going to the Coachella festival a few years ago and learning that North Korea had installed missiles capable of hitting the United States. So I decided to return by the most beautiful road possible, the steepest: The Rim Of The World Highway, in the mountains of San Bernardino. I sat in the forest for a long time, and I frantically wrote [she sings]... "What about all these children/What about all their parents?". I was really worried. I don't care to free myself from the world, to get rid of the information that is looping in my head. I sometimes make songs about it [she sings When The World Was At War We Kept Dancing]... But don't be mistaken, I don't carry the weight of the world on my shoulders, I'm very relaxed every day. Except when it comes to starting a tour. There, I drown in the details, the anxieties... Up to questions that prevent me from sleeping, like the effectiveness of my new headset! It may sound conceited, but it matters when you're playing against 400,000 people!

-         Do you sometimes watch the videos of your concerts?

-         It's my need to control all the details that makes watching concerts unbearable: I only see what's wrong. I hate my interventions between songs and I'm not convinced by my voice... On the other hand, during soundchecks, I give myself ten minutes of pure singing, a cappella, generally jazz. And there, I like to watch the recordings of these stolen moments, their purity. I always prefer intimate concerts to stadiums. I find there the person that I fundamentally am. I am very free when I sing, for example in my friends' living room. Because we are not professionals. I feel good. But before that, I have to constantly clean up the superfluous, clear the way. It is the only way to be in relation with my entrails.

-         What do you mean?

-         I have to stay in touch with my six senses at all times. Otherwise, I feel bad. My family's problem is that we are what in psychology are called overthinkers [people who examine, question their negative thoughts and feelings, who ruminate]. While I like the word "incarnation", to live inside a body. I constantly have to seek a balance between mind and body.

-         François Mitterrand spoke of the "forces of the mind". Do these words resonate with you?

-         I am totally dependent on these forces of the spirit. I have to believe it: I have witnessed - and I'm not talking about music here - miracles in my life. Triumphs of perseverance, of the quest for truth. I witnessed it at home, in my family, fans of moments of ecstasy and depression. It's not the burning bush of the Bible, it's less spectacular, but it still changes destinies. I pursue these spirits, without respite. I think that when my music is good, it's because I'm looking for a form of spirituality. There are several steps in this research. The first, of course, is to be open to everything, even pretending to believe in it. The second is to establish a dialogue, to believe in your instincts. It's a very complex approach, often annoying for those around me. But the more I listen to my insides, the better I feel. For example, originally, I was supposed to do this interview with Bret Easton Ellis, who I also really like. But my gut told me I had to talk to you, who's known me since I started. It was an instinctive reaction. But in the end, I don't think Bret Easton Ellis would have talked about the forces of the spirit. The third is not to consider the consequences, not to tell myself: "If I do this, this will happen to me". I refuse to measure what will bring me such a concert, such an interview. What is important is to feel good on arrival, that my emotions have served, without the slightest calculation, as a lever...

 

Third page:

  Reveal hidden contents

-         Can you estimulate inspiration?

-         I can't provoke these moments, beg for inspiration. It's not me chasing the music, but the music chasing me. She is like a little bird that comes to rest on my shoulder. Mike Hermosa was my friend, he became my guitarist without it being planned, planned: his music came to get me. Sometimes I'm looking for something else in life, but the music comes knocking at my door. I can't leave her outside. The music seems obsessed with me, I can't escape it, it surrounds me. She gives me no respite. Like those little crabs that come and bite my toes when I try to rest at the beach.

-         David Bowie described himself as a vampire. Can you vampirize your collaborators?

-         I have one thing in common with vampires: I don't sleep. My father, my brother, my uncle also go without sleep. For me to admit fatigue, I would have to run a marathon every night.

-         You’re cerebral, but do you use your hands?

-         Apart from playing sports, I am very clumsy with my body. I am unable to paint, draw, make pottery... Even to drive in a nail and hang a picture on the wall, I have to call on someone! In fact, my favorite side activity is TV, I watch it for hours. It's one of the rare moments when I can finally unplug my brain.

 

Fourth page:

  Reveal hidden contents

-          Most artists fall into line over the albums. You seem to be going the opposite way: some new titles are the most radical of your career.

 

-          I don't know if it's about getting out of my comfort zone or rather shooting myself in the foot... But this album condemns me to take even more risks in the future, that's the lesson it taught me. I didn't need that when I started. But everything was turned upside down fans the music. The era is conducive to risks, to experimentation, the public decides for itself what it wants to hear, without being forced. It gives me a lot of confidence to have fun with my songs. I feel much less alone today than when I started. My favorite is Billie Eilish. He is a good person, which is already rare in itself. Above all, she is divinely talented, I am honored to know her. In pop music, women finally have the right to talk about themselves, about their experiences. Which I did from the start - they would have been crucified in the past. As a result, I understand better the violent and surly reception that was reserved for me when I started, especially in the United States, where the press wanted my skin. I took off my pink glasses, I try to understand why I was shocked, upset... Today I try to assimilate these criticisms, to understand why subjects are taboo, forbidden, even in pop. At Les Inrockuptibles, you have been there since I started, you have always listened to and analyzed my records, without ever being moralistic.

-           

-          Who is your audience?

-          The people who come to meet me in restaurants, for example, are very young. Since twelve years, they are themselves 12 years old! They even consider me a wise man... Well, sometimes. Their vision of me is so different from that conveyed by the news. These yellow teenagers seem to understand me better, they don't judge me. It feels good to be spared the cynicism.

-           

-          Why are you influential in 2023?

-          Because I am very specific. And that is the key to universality. I don't care about playing a fake role, conforming to what is expected of a pop singer. What I want is to stay faithful to the precise moment when the music came to me, however free it may be. Often, my brain does not understand what it receives. Jeff Buckley seemed crossed, pierced by his music.

-          When you started out, you talked a lot about your loneliness. What have you done with it?

-          It's not a good memory, it's a state of affairs that I never chose, that had been imposed on me by other teenage girls. I don't know if it's related, but today I'm rarely alone, I live in a tribe. When I started, I was still alone, I worked almost in a vacuum with Rick Nowels. Today, I welcome everyone, as long as they are available - that's my only criterion! I also have hobbies: I had for example decided on the last two albums to work with Drew Erickson [Mac DeMarco, Weyes Blood...]. In the meantime, he has become a composer and a producer that the industry is snapping up. I consider him a genius, he will become a fundamental songwriter. I am honored to have collaborated with him when it was still possible.

-           

-          Did you envision such a career, already rich with nine albums?

-          Let's be honest: neither you nor I could have considered it. But I don't forget the abyss, those times when nothing worked, when I was seriously considering quitting. I felt like I had achieved my dreams, and it wasn't for me. There really was a feeling of failure. And each time the same terrible conclusion was imposed: I had no other choice but to continue, because I don't know how to do anything else. Courage would have been to disappear. But since I was already famous, I took the easy way out: I continued to make records. There were no B plans.

-          Writing, the novel could have been your plan B.

-          [She bursts out laughing]. I write constantly, a diary provided [on her bed, she leafs through a big blackened notebook of observations]. But I'm only good at the short format. What could come close to writing a novel would be the publication of my diaries. But that would involve tripping fens, some far from being to their advantage. The setting date will therefore probably be: never! When I wrote my poetry book, I did just that for months, every hour of the day. It was so enjoyable... Oddly, though, I can't describe the writing as cathartic. What I write worries me a lot. I shouldn't talk about such things... Writing could be fun though. If only I didn't say such intimate things... There are so many words in my songs, it never ends. [can’t see what’s written after this, probably a couple lines are missed].

 

Fifth page and final (I think?):

  Reveal hidden contents

-          What is the place of spirituality in your work?

 

-          It remains fundamental in my daily life. When people tell me I'm talented, I immediately think of Tessa DiPietro, a psychic I consult. She enjoys a real gift. There are really crazy and maddening things happening in the world of divination, some and some have a unique flavor. But when I face Tessa DiPietro, I know that there is much more than the physical envelope, much more than what is visible. There is nothing frightening in this afterlife. In this life, or the next, all prayers will have been answered. But not the questions. It's been a long time since I no longer use this word: "why". This decision helped me a lot.

 

-          Spirituality comes from the first notes of the new album, with the gospel choir of The Grants.

 

-          They make a lot of noise, but it's not a choir: they are three women, two of whom have toured with Whitney Houston for a long time. My voice also occupies the ground there, massively [she sings the intro]. At first, they crash on my words, burst out laughing and restart beautifully. I kept this sublime moment on the album. It's perfectly imperfect: I finally had the beginning of the album. When I went to Memphis and swam in the Wolf River, I had one goal: to attend a mass at the church where Al Green officiates. But it's pretty secret, so I went to church every day, I knocked on the door without answer. And one day, finally, I came across the service. It was crazy, but it was too late to record an entire choir on The Grants. "Grant" is my last name, but to talk about her, I used the word of my priest, it simplified everything... "My Pastor told me...". It's practical: it's not me who speaks!

 

-          Did you sing in church yourself?

 

-          Yes, for twenty-three years. These are wonderful memories, probably among the happiest of my life. Even if I have very conflicting relations with Catholicism. I held, in our parish, the role of cantor, the main singer, who led the praises before being taken up in chorus by the congregation. I started when I was 11 and until I was 23 I went to church daily. Fans of our small town of Lake Placid, after St. Agnes Catholic School, I got kicked out and ended up in a public high school. But I came back to church afterwards, relieved of the weight of the Bible. I still go there today.

 

-          What refocused you on music after the pandemic?

 

-          The fact that music in general is becoming more and more exciting. Rappers have raised the level so much... During the pandemic, they have opened up new paths, with more fun, more daring sounds. While other music shrank, rap forged ahead.

 

 

Entire interview I think. Sorry for possible typos.

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8 hours ago, lmdr said:

what the heck? and Earthquakes just leaked how weird… but I’m assuming that when she was making Blue Banisters, she was going through her songs done with Barrie and she found Earthquakes and well, she had the idea for A&W and sent that to Jack 

and thank the good lord it wasn't on fucking blue banisters

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i wonder if the first version of a&w she recorded on the hotel already the jimmy part? :lolliney:


─── ・ 。: *.☽ .* :。 ───

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You're the king mafia baby
I am the Queen of Alchemy

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6 hours ago, Rico25 said:

On the second page the interviewer asks her if she gets panick attacks and she talked about Coachella and the tensions with North Korea (LFL era lol)

 

Then she's asked if she watches her own concert videos and she doesn't enjoy it because she's a control freak and sees everything that's wrong

However, she enjoys watching her acapella jazz soundchecks

I'll post more later

Merci beaucoup, also for the pictures of course! 


It was expensive watch it 

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On 3/29/2023 at 1:05 PM, Roll With me said:

I don't know any French but I'm translating the interview through Google Translator. So I'll slowly be posting what I have.

 

First page of the screenshot:

  Reveal hidden contents

How did you experience the pandemic?

Evil. It has been going on for three years and I still and always wear a mask. When I first heard about a world-wide infectious virus, it was as if my worst nightmare had come true. I was terrified. My brother and sister lived near me in California. We sealed ourselves off for months at home. We created a bubble, with my friends and my close family, to try to live despite everything. We spent a lot of time in my garden, especially exercising. I had decided to work the body to counter the confusion of the mind.

 

Musically, you remained very active during this period

Under these strange conditions, I released two albums and a collection of poems: Chemtrails Over The Country Club (2021), Blue Banisters (2021) and the book Violet Bent Backwards Over The Grass (2020). But, strangely, music and writing then became less of a priority in my life. They did not play the usual role of a valve. The music only came back later. Blue Banisters was a light, unique adventure, just four guys and me in Los Angeles, in my living room... Same for the new album, I spent weeks with Mike Hermosa, a guy from my neighborhood, improvising at him, with his guitar. We quickly accumulated songs, and when I felt ready to record them, he explained to me that he never really had a metronome! His work is a cinematographer, he was scared to rediculiser with professional musicians. And on the song Did You Know That There's A Tunnel Under Ocean Blvd, he managed to record his guitar intro from the first take...

 

Has the pandemic changed your priorities?

What mattered was the well-being of my family. Two years in a row, I took all my relatives to Hawaii to celebrate New Year's Day. We must not lose sight of each other, especially since we saw other countries sinking one after the other into strict and long confinements. I couldn't have lived without my freedom to move, that was my obsession. So, every morning, I made myself a Thermos of coffee, then I looked for the most deserted beaches in California possible and I took a long walk. It was my way of reminding myself that I wasn't stuck, imprisoned. I expected the worst: [… this part of the interview is cropped in the picture...]. I knew I would have to distract my mind, keep me from thinking. I tend to spend too much time in my head. Reading has been my way of staying sane. I was looking for a bit of magic, like in the poems of Edgar Allan Poe... I also listened a lot to the podcasts of Esther and Jerry Hicks [authors of esoteric bestsellers like The Law of Attraction or Enter the Vortex]. I also participate a lot in Zoom conferences on women and their experiences.

 

When we first met in 2011, we talked a lot about Jeff Buckley, Elliott Smith. Are you today less fascinated by writing than by sound?

I still talk about Jeff Buckley on a daily basis, I think back to our conversation every time I hear it. Recently, I went to Memphis and I bathed in the same river, the Wolf River, where he drowned... When I was 23, I signed with a small New York label that m advised a lawyer: George Stein. When I realized that he had been manager of Jeff Buckley, I became hysterical, I bombarded him with questions. I wanted to know everything, meet all his relatives, like the singer Joan as Police Woman or her drummer Parker Kindred, with whom I ended up working.

 

You also seem very manic about the choice of your guests. Do you make lists?

On the song Peppers, which I found wobbly, I decided it would be Canadian rapper Tommy Genesis or nothing. We had been looking for what to do with the song for six months, and she came up with this sentence, "Let me put my hands on your knees, I'm Angelina Jolie", which unlocked everything. There were too many proposals, information in this title, it was a mess! I call this kind of puzzle songs a Rubik's Cube. Songs that I can't get right: some of them ended up on my albums! A&W is another Rubik's Cube. The song became epic, experimental over the months. I had recorded a first version of it, a capella in a hotel room, to send it to my producer Jack Antonoff [also at the helm behind Taylor Swift or Lorde]. I knew he was overwhelmed, but still... After seven months, I called him and he had never opened my email, which was out of order. As a result, he quickly called me back to tell me that we had something strong. That's when he offered me this electronic ending and this mantra: "Jimmy Jimmy Cocoa Puff...". It's a phrase I've been hanging around since my relationship with singer Barrie-James O'Neill. However, I was not comfortable with this song, I refused to release it as a single, it seemed too weird to me. But I gave it the radical test of my eleven girlfriends and they all loved A&W! I didn't expect such a reaction for such a different song. I expected the worst...

 

Second page:

  Reveal hidden contents

-         Are you the victim of feelings of panic, of fears?

-         I remember going to the Coachella festival a few years ago and learning that North Korea had installed missiles capable of hitting the United States. So I decided to return by the most beautiful road possible, the steepest: The Rim Of The World Highway, in the mountains of San Bernardino. I sat in the forest for a long time, and I frantically wrote [she sings]... "What about all these children/What about all their parents?". I was really worried. I don't care to free myself from the world, to get rid of the information that is looping in my head. I sometimes make songs about it [she sings When The World Was At War We Kept Dancing]... But don't be mistaken, I don't carry the weight of the world on my shoulders, I'm very relaxed every day. Except when it comes to starting a tour. There, I drown in the details, the anxieties... Up to questions that prevent me from sleeping, like the effectiveness of my new headset! It may sound conceited, but it matters when you're playing against 400,000 people!

-         Do you sometimes watch the videos of your concerts?

-         It's my need to control all the details that makes watching concerts unbearable: I only see what's wrong. I hate my interventions between songs and I'm not convinced by my voice... On the other hand, during soundchecks, I give myself ten minutes of pure singing, a cappella, generally jazz. And there, I like to watch the recordings of these stolen moments, their purity. I always prefer intimate concerts to stadiums. I find there the person that I fundamentally am. I am very free when I sing, for example in my friends' living room. Because we are not professionals. I feel good. But before that, I have to constantly clean up the superfluous, clear the way. It is the only way to be in relation with my entrails.

-         What do you mean?

-         I have to stay in touch with my six senses at all times. Otherwise, I feel bad. My family's problem is that we are what in psychology are called overthinkers [people who examine, question their negative thoughts and feelings, who ruminate]. While I like the word "incarnation", to live inside a body. I constantly have to seek a balance between mind and body.

-         François Mitterrand spoke of the "forces of the mind". Do these words resonate with you?

-         I am totally dependent on these forces of the spirit. I have to believe it: I have witnessed - and I'm not talking about music here - miracles in my life. Triumphs of perseverance, of the quest for truth. I witnessed it at home, in my family, fans of moments of ecstasy and depression. It's not the burning bush of the Bible, it's less spectacular, but it still changes destinies. I pursue these spirits, without respite. I think that when my music is good, it's because I'm looking for a form of spirituality. There are several steps in this research. The first, of course, is to be open to everything, even pretending to believe in it. The second is to establish a dialogue, to believe in your instincts. It's a very complex approach, often annoying for those around me. But the more I listen to my insides, the better I feel. For example, originally, I was supposed to do this interview with Bret Easton Ellis, who I also really like. But my gut told me I had to talk to you, who's known me since I started. It was an instinctive reaction. But in the end, I don't think Bret Easton Ellis would have talked about the forces of the spirit. The third is not to consider the consequences, not to tell myself: "If I do this, this will happen to me". I refuse to measure what will bring me such a concert, such an interview. What is important is to feel good on arrival, that my emotions have served, without the slightest calculation, as a lever...

 

Third page:

  Reveal hidden contents

-         Can you estimulate inspiration?

-         I can't provoke these moments, beg for inspiration. It's not me chasing the music, but the music chasing me. She is like a little bird that comes to rest on my shoulder. Mike Hermosa was my friend, he became my guitarist without it being planned, planned: his music came to get me. Sometimes I'm looking for something else in life, but the music comes knocking at my door. I can't leave her outside. The music seems obsessed with me, I can't escape it, it surrounds me. She gives me no respite. Like those little crabs that come and bite my toes when I try to rest at the beach.

-         David Bowie described himself as a vampire. Can you vampirize your collaborators?

-         I have one thing in common with vampires: I don't sleep. My father, my brother, my uncle also go without sleep. For me to admit fatigue, I would have to run a marathon every night.

-         You’re cerebral, but do you use your hands?

-         Apart from playing sports, I am very clumsy with my body. I am unable to paint, draw, make pottery... Even to drive in a nail and hang a picture on the wall, I have to call on someone! In fact, my favorite side activity is TV, I watch it for hours. It's one of the rare moments when I can finally unplug my brain.

 

Fourth page:

  Reveal hidden contents

-          Most artists fall into line over the albums. You seem to be going the opposite way: some new titles are the most radical of your career.

 

-          I don't know if it's about getting out of my comfort zone or rather shooting myself in the foot... But this album condemns me to take even more risks in the future, that's the lesson it taught me. I didn't need that when I started. But everything was turned upside down fans the music. The era is conducive to risks, to experimentation, the public decides for itself what it wants to hear, without being forced. It gives me a lot of confidence to have fun with my songs. I feel much less alone today than when I started. My favorite is Billie Eilish. He is a good person, which is already rare in itself. Above all, she is divinely talented, I am honored to know her. In pop music, women finally have the right to talk about themselves, about their experiences. Which I did from the start - they would have been crucified in the past. As a result, I understand better the violent and surly reception that was reserved for me when I started, especially in the United States, where the press wanted my skin. I took off my pink glasses, I try to understand why I was shocked, upset... Today I try to assimilate these criticisms, to understand why subjects are taboo, forbidden, even in pop. At Les Inrockuptibles, you have been there since I started, you have always listened to and analyzed my records, without ever being moralistic.

-           

-          Who is your audience?

-          The people who come to meet me in restaurants, for example, are very young. Since twelve years, they are themselves 12 years old! They even consider me a wise man... Well, sometimes. Their vision of me is so different from that conveyed by the news. These yellow teenagers seem to understand me better, they don't judge me. It feels good to be spared the cynicism.

-           

-          Why are you influential in 2023?

-          Because I am very specific. And that is the key to universality. I don't care about playing a fake role, conforming to what is expected of a pop singer. What I want is to stay faithful to the precise moment when the music came to me, however free it may be. Often, my brain does not understand what it receives. Jeff Buckley seemed crossed, pierced by his music.

-          When you started out, you talked a lot about your loneliness. What have you done with it?

-          It's not a good memory, it's a state of affairs that I never chose, that had been imposed on me by other teenage girls. I don't know if it's related, but today I'm rarely alone, I live in a tribe. When I started, I was still alone, I worked almost in a vacuum with Rick Nowels. Today, I welcome everyone, as long as they are available - that's my only criterion! I also have hobbies: I had for example decided on the last two albums to work with Drew Erickson [Mac DeMarco, Weyes Blood...]. In the meantime, he has become a composer and a producer that the industry is snapping up. I consider him a genius, he will become a fundamental songwriter. I am honored to have collaborated with him when it was still possible.

-           

-          Did you envision such a career, already rich with nine albums?

-          Let's be honest: neither you nor I could have considered it. But I don't forget the abyss, those times when nothing worked, when I was seriously considering quitting. I felt like I had achieved my dreams, and it wasn't for me. There really was a feeling of failure. And each time the same terrible conclusion was imposed: I had no other choice but to continue, because I don't know how to do anything else. Courage would have been to disappear. But since I was already famous, I took the easy way out: I continued to make records. There were no B plans.

-          Writing, the novel could have been your plan B.

-          [She bursts out laughing]. I write constantly, a diary provided [on her bed, she leafs through a big blackened notebook of observations]. But I'm only good at the short format. What could come close to writing a novel would be the publication of my diaries. But that would involve tripping fens, some far from being to their advantage. The setting date will therefore probably be: never! When I wrote my poetry book, I did just that for months, every hour of the day. It was so enjoyable... Oddly, though, I can't describe the writing as cathartic. What I write worries me a lot. I shouldn't talk about such things... Writing could be fun though. If only I didn't say such intimate things... There are so many words in my songs, it never ends. [can’t see what’s written after this, probably a couple lines are missed].

 

Fifth page and final (I think?):

  Reveal hidden contents

-          What is the place of spirituality in your work?

 

-          It remains fundamental in my daily life. When people tell me I'm talented, I immediately think of Tessa DiPietro, a psychic I consult. She enjoys a real gift. There are really crazy and maddening things happening in the world of divination, some and some have a unique flavor. But when I face Tessa DiPietro, I know that there is much more than the physical envelope, much more than what is visible. There is nothing frightening in this afterlife. In this life, or the next, all prayers will have been answered. But not the questions. It's been a long time since I no longer use this word: "why". This decision helped me a lot.

 

-          Spirituality comes from the first notes of the new album, with the gospel choir of The Grants.

 

-          They make a lot of noise, but it's not a choir: they are three women, two of whom have toured with Whitney Houston for a long time. My voice also occupies the ground there, massively [she sings the intro]. At first, they crash on my words, burst out laughing and restart beautifully. I kept this sublime moment on the album. It's perfectly imperfect: I finally had the beginning of the album. When I went to Memphis and swam in the Wolf River, I had one goal: to attend a mass at the church where Al Green officiates. But it's pretty secret, so I went to church every day, I knocked on the door without answer. And one day, finally, I came across the service. It was crazy, but it was too late to record an entire choir on The Grants. "Grant" is my last name, but to talk about her, I used the word of my priest, it simplified everything... "My Pastor told me...". It's practical: it's not me who speaks!

 

-          Did you sing in church yourself?

 

-          Yes, for twenty-three years. These are wonderful memories, probably among the happiest of my life. Even if I have very conflicting relations with Catholicism. I held, in our parish, the role of cantor, the main singer, who led the praises before being taken up in chorus by the congregation. I started when I was 11 and until I was 23 I went to church daily. Fans of our small town of Lake Placid, after St. Agnes Catholic School, I got kicked out and ended up in a public high school. But I came back to church afterwards, relieved of the weight of the Bible. I still go there today.

 

-          What refocused you on music after the pandemic?

 

-          The fact that music in general is becoming more and more exciting. Rappers have raised the level so much... During the pandemic, they have opened up new paths, with more fun, more daring sounds. While other music shrank, rap forged ahead.

 

Thank you. 


 

LASSO

lasso.gif

SEPTEMBER 2024

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On 3/29/2023 at 8:47 PM, wildflowerwildfire said:

ordered from their website and it was supposed to ship yesterday but i haven’t got a shipping confirmation, anyone else?

girl how did you do ur address ? if ur from the US? can u do a fake example for me bc like I dont want to format my address wrong on there.

 

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