WEBVTT - Ep 42: Fischerspooner

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<v Speaker 1>Loud and Quiet presents Midnight Chats.

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<v Speaker 2>Evening everyone, and welcome to this new episode of Midnight Chats.

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<v Speaker 2>Not just a new episode, but a sneaky bonus episode.

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<v Speaker 2>Regular listeners will know that we put one of these

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<v Speaker 2>out at midnight on a Thursday every fortnight, but well

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<v Speaker 2>we were feeling generous, so we've thrown in an extra one.

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<v Speaker 2>Think of it as a late Christmas present or something.

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<v Speaker 2>Last week was Stuart's conversation with Welsh artist Gueno. Check

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<v Speaker 2>that one out if you haven't already. Fascinating hearing about

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<v Speaker 2>her experience of leaving home at seventeen, leaving Cardiff and

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<v Speaker 2>going to Vegas to start in Michael Flatley's Lord of

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<v Speaker 2>the Dance, amongst other things. Some great stories from Gueno,

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<v Speaker 2>so do check that one out. We will have another

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<v Speaker 2>podcast next week as well, so loads of Midnight Chats

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<v Speaker 2>for you at the moment. But onto my guest tonight,

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<v Speaker 2>someone who has seen a lot of life, as they say.

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<v Speaker 2>Back in the late nineties, Casey Spooner, an artist and

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<v Speaker 2>photography assistant at the time, got together with the classically

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<v Speaker 2>trained songwriter Warren Fisher in New York and formed the

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<v Speaker 2>art pop duo Fisher Spooner. Unbelievably, that's two decades ago now,

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<v Speaker 2>and as Casey says in the conversation, You're about to hear,

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<v Speaker 2>it was never designed as a career band. The group

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<v Speaker 2>was supposed to be this conceptual, outlandish of the moment

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<v Speaker 2>electro clash project that was deliberately timed with the turn

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<v Speaker 2>of the millennium and all of the hedonism and the

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<v Speaker 2>hysteria that accompanied that weird period. Fisher Spooner famously played

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<v Speaker 2>their first show in a Starbucks in the East Village

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<v Speaker 2>and were signed by the label Ministry of Sound for

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<v Speaker 2>a fee that at the time was rumored to be

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<v Speaker 2>around a million pounds. Now, you've got to remember this

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<v Speaker 2>was happening in an era when the newly connected world

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<v Speaker 2>was getting very excited about the New York indie rock scene,

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<v Speaker 2>The Strokes, YAA Yeahs, Interpol. Fisher Spooner were the flamboyant

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<v Speaker 2>alternative to all that, both in the way they looked

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<v Speaker 2>and the way they sounded, with tracks like Emerge and

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<v Speaker 2>their debut album Number One. So it's easy to forget

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<v Speaker 2>their influence too on the likes of Scissor Sisters a

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<v Speaker 2>few years later, and then much later the likes of

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<v Speaker 2>Lady Gaga and Kati Perry. Two albums came after number one,

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<v Speaker 2>Odyssey in two thousand and five and two thousand and

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<v Speaker 2>Nine's Entertainment. That album in particular struggled to make an impact,

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<v Speaker 2>and Casey goes into the reasons for that. But there

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<v Speaker 2>is a new album. It's called Sir, and it's out now,

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<v Speaker 2>and while it's taken almost a decade, there is good

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<v Speaker 2>reason for that, all of which Casey goes into, it's

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<v Speaker 2>kind of extraordinary what's happened in between this and their

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<v Speaker 2>last release. Interestingly as well, Sir is produced by Michael Stipe,

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<v Speaker 2>formerly of Rim of course, but on a personal level,

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<v Speaker 2>he was Casey's first boyfriend, his first gay relationship, So

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<v Speaker 2>he talks about that and what it was like going

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<v Speaker 2>to Michael's studio in Athens, Georgia to make the album

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<v Speaker 2>during a period where a lot of other things in

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<v Speaker 2>his life were not necessarily going to plan. So for

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<v Speaker 2>all of the delays and the challenges, though, it does

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<v Speaker 2>feel like all of that happened for a reason, and

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<v Speaker 2>I've got the impression that this is very much the

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<v Speaker 2>beginning of a new chapter. Thank you again to Casey

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<v Speaker 2>He was great company, really entertaining. When he arrived for

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<v Speaker 2>our conversation, he was wearing a spectacular bushy coat and

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<v Speaker 2>some very cool aviators, great mustache as well. An amazing life,

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<v Speaker 2>an amazing character. This is Casey from Fisher Spooner on

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<v Speaker 2>Midnight Chats. Casey, welcome to our Midnight Chats podcast. Thank

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<v Speaker 2>you very much, thanks for joining us. You've pretty much

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<v Speaker 2>just got into London, cold old London.

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<v Speaker 3>I just got down last night.

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<v Speaker 2>Am I right in thinking it was your birthday a

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<v Speaker 2>couple of days ago.

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<v Speaker 3>It was my birthday on Friday, February second, And how

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<v Speaker 3>did you celebrate? Oh? My god. I had an incredible birthday.

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<v Speaker 3>It started on Thursday night, at midnight. I was at

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<v Speaker 3>this little bar called Lapel in Paris and just had

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<v Speaker 3>some drinks, hung out, got a great birthday kiss. It

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<v Speaker 3>was a blue moon. My day started super early, lots

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<v Speaker 3>of phone calls, lots of friends. Went to the Esadine

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<v Speaker 3>Aliyah show, which was incredible with a friend of my Jerome,

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<v Speaker 3>and then I had a kind of a There was

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<v Speaker 3>a photographer I met at the bar the night before

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<v Speaker 3>and we did a photo shoot in the afternoon. So

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<v Speaker 3>we did this great fun photo shoot. One of the

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<v Speaker 3>photos just went live on Vogue dot com today three

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<v Speaker 3>days later. And then went had an amazing dinner this

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<v Speaker 3>really cool little brasserie down by the river, and then

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<v Speaker 3>I went to this cabaret in Paris that I love

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<v Speaker 3>called the Manco, and had birthday cake and drank way

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<v Speaker 3>too much vodka, and you know, ran home and passed

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<v Speaker 3>out at four am.

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<v Speaker 2>I was gonna say, what's time to do with that? Finish?

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<v Speaker 2>That's great?

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<v Speaker 3>And people wanted to keep going, and I was like,

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<v Speaker 3>I got I'm you know. And then I recovered a

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<v Speaker 3>little bit on Saturday and went to my favorite cafe

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<v Speaker 3>in my neighborhood, La pro Gray and had to croak

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<v Speaker 3>my dam. And then I went to the Cartier Foundation

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<v Speaker 3>and saw the Malik Citabey show.

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<v Speaker 2>You've just recently moved to Paris from New York, So

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<v Speaker 2>was part of the attraction of moving to Paris just

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<v Speaker 2>all of the cultural options You've been able to kind

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<v Speaker 2>of dip in to see things like that.

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<v Speaker 3>Yeah, I mean, I feel like in Paris, I'm constantly

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<v Speaker 3>seeing art and around culture and music, and you know,

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<v Speaker 3>it's such a beautiful city and it has such a

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<v Speaker 3>long history of culture that you know. I didn't plan

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<v Speaker 3>to go see the Aliyah show. I just ran into

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<v Speaker 3>a friend and all of a sudden, I'm in this

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<v Speaker 3>beautiful exhibition. And then I had been trying to go

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<v Speaker 3>to the Malik Citabey show for a long time because

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<v Speaker 3>I love the Cartier Foundation. They've done a lot of

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<v Speaker 3>great shows over the years that I love. I went

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<v Speaker 3>to Paris and I just I've never felt like I've

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<v Speaker 3>been able to see everything, and now even living there,

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<v Speaker 3>I'm constantly you know, I've missed the Forsyth show, I

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<v Speaker 3>got the Irving Pin show, and I still haven't been

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<v Speaker 3>to the Oh my god, what's the museum. I'm Gustave Moreau.

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<v Speaker 3>It was one of my favorite painters and he has

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<v Speaker 3>a museum that I didn't even know about. And I

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<v Speaker 3>finally made it to the Rodain Museum, but it was

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<v Speaker 3>during the Dior Ball, so I kind of have to

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<v Speaker 3>go back.

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<v Speaker 2>So there's like it's busy, diary not a lot.

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<v Speaker 3>And I made it to Peril Chazz finally, but I

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<v Speaker 3>never made it to Jim Morrison's grave. I only made

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<v Speaker 3>it to Oscar Wilde's grave. I need to find Maria

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<v Speaker 3>Colossus Gray, you know, so I need to. I mean,

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<v Speaker 3>I love per La Chez.

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<v Speaker 2>So what prompted the move to Paris was it? Is

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<v Speaker 2>it like a kind of a fresh start thing, just

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<v Speaker 2>once to do something different.

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<v Speaker 3>It was really it was an accident, honestly. I finished

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<v Speaker 3>shooting two music big music videos, one for Top Brazil

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<v Speaker 3>and one for Butterscotch Goddamn, and then the next day

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<v Speaker 3>I went to Brazil for two weeks with a friend

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<v Speaker 3>with some friends of mine, this promoter from New York, Ricardo,

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<v Speaker 3>who does a particle Harder and so he was doing

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<v Speaker 3>Harder parties in Brazil. And because it was like a

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<v Speaker 3>Brazilian theme too, a couple of songs on the record,

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<v Speaker 3>I thought it was good strategy to go and also

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<v Speaker 3>a nice way to recover from work. So a group

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<v Speaker 3>of us went down and I did two like little

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<v Speaker 3>nightclub performances and DJed one night and did a fashion editorial,

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<v Speaker 3>shot a music video for the song oh Rio, and

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<v Speaker 3>then I raced back to New York. I packed a

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<v Speaker 3>carry on for two days and flew to Paris to

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<v Speaker 3>just comfort two days to see a premiere a friend

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<v Speaker 3>of mine, Alex Eckman. It's a big choreographer and he

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<v Speaker 3>had a peace premiering at the Gardnier, so I came

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<v Speaker 3>in to go see his piece premiere at the Garnier.

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<v Speaker 3>You know, I had these incredible two days. I came in,

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<v Speaker 3>I went and recorded with Mere Way. I you know,

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<v Speaker 3>had this amazing fitting with this new designer Ludwick, who

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<v Speaker 3>made an evening gown for me to wear to the opera.

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<v Speaker 3>And then I just had this like kind of magical

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<v Speaker 3>night where we had the run of the Garnier. We

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<v Speaker 3>drank way too much champagne. We took all of our

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<v Speaker 3>clothes off. It was a scandal. I was hungover. I

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<v Speaker 3>had a bit of a romance, and I just woke

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<v Speaker 3>up the next day and I didn't feel like leaving.

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<v Speaker 3>I knew I also didn't want to be in New

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<v Speaker 3>York for the winter, and so it was a lot

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<v Speaker 3>of things. It was also being outside of the political

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<v Speaker 3>climate of America felt really nice. I was out of

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<v Speaker 3>kind of the crazy zone, not hearing about American politics

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<v Speaker 3>all the time, and so I sort of relaxed a

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<v Speaker 3>little bit. And my lease was coming up on my apartment,

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<v Speaker 3>and you know, I'm single and didn't work. Was kind

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<v Speaker 3>of done, so it just weirdly was this moment where.

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<v Speaker 2>It sounds like the planets kind of aligned and we're

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<v Speaker 2>telling you something.

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<v Speaker 3>Yeah. And then a week later, I had decided that

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<v Speaker 3>I was going to leave New York and I was

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<v Speaker 3>going to sublet my apartment and I thought I was

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<v Speaker 3>going to move to Madrid because I have a real

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<v Speaker 3>strong connection to Madrid. I went to the airport and

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<v Speaker 3>I missed my return flight right before the holidays by

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<v Speaker 3>five minutes, and you know, I had to carry on.

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<v Speaker 3>It was fifty five minutes before the flight. They still

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<v Speaker 3>wouldn't let me on. So I knew when I missed

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<v Speaker 3>that flight because I had scavenged to find a return

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<v Speaker 3>flight and everything was sold out and extremely expensive because

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<v Speaker 3>it was a week before Christmas. So then I missed

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<v Speaker 3>that flight. I went back into the city and I ran.

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<v Speaker 3>I went to an opening at a gallery Bleiche Hurtling

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<v Speaker 3>and Danielle like Bleiche's an old friend of mine. And

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<v Speaker 3>when I got there, he was like, what what are

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<v Speaker 3>you doing here? And I, you know, I was like, well,

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<v Speaker 3>I just missed my flight. And he was like, where

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<v Speaker 3>are you staying? And I was like I don't know,

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<v Speaker 3>and he was like, well, you're moving in with me

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<v Speaker 3>and I was like okay, and he's like, what are

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<v Speaker 3>you doing for dinner? And I was like, I don't

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<v Speaker 3>have any plans. And he was like, well, you're coming

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<v Speaker 3>to dinner and I was like okay. And then he

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<v Speaker 3>said and you're moving to Paris. And when he said it,

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<v Speaker 3>it was like one of those moments where you're just like.

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<v Speaker 2>Oh, I think I am shit.

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<v Speaker 3>I think wow, you just articulated what I didn't really realize.

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<v Speaker 3>I was already thinking. And so then from there, I

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<v Speaker 3>spent the holidays in Paris by myself, which was kind

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<v Speaker 3>of a little lonely but kind of amazing. Yeah. I

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<v Speaker 3>found a room in the Marae and I called my

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<v Speaker 3>assistant in New York and I had him pack up

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<v Speaker 3>the New York apartment and I put everything in storage

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<v Speaker 3>and I never I'm still you know, I came with

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<v Speaker 3>a carry on and.

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<v Speaker 2>That's it sounds like you've been too busy to miss

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<v Speaker 2>New York in any way.

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<v Speaker 3>Yeah, I'm going back. I'm going back to New York,

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<v Speaker 3>you know, this week for album release, so we have

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<v Speaker 3>two release parties and there's you know a lot of

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<v Speaker 3>stuff going on, so I'll go. I miss my friends,

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<v Speaker 3>you know. Of course, but it feels good, and I've

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<v Speaker 3>you know, I really have always wanted to speak another

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<v Speaker 3>I'm terrible. I don't speak any language other than English,

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<v Speaker 3>and I've studied, you know, I've taken classes, but it

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<v Speaker 3>never really sinks in. So I know, the only way

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<v Speaker 3>I'm really going to learn French or Spanish or you know,

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<v Speaker 3>any of these Romance languages is I have to be

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<v Speaker 3>immersed in it. So this is a way for me

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<v Speaker 3>to not be xenophobic.

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<v Speaker 2>You mentioned the effect that politics can have on your life.

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<v Speaker 2>How did you feel that person when you're in America?

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<v Speaker 2>Did it just feel a bit claustrophobic, like you couldn't

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<v Speaker 2>get away from it? We explain that part.

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<v Speaker 3>Of this, well, I mean, the night of the election

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<v Speaker 3>was and I don't say I don't say his name

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<v Speaker 3>because I don't I feel like it gives it power,

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<v Speaker 3>so I just don't say the name. But the night

0:13:34.280 --> 0:13:43.800
<v Speaker 3>of the election was so traumatizing, and I was you know,

0:13:43.880 --> 0:13:46.920
<v Speaker 3>you couldn't sleep. Yes, I felt claustrophobic. I felt like

0:13:46.960 --> 0:13:48.720
<v Speaker 3>I was living in some kind of a nightmare, like

0:13:48.760 --> 0:13:56.719
<v Speaker 3>I couldn't believe this is possible. And so like panic, claustrophobic, denial,

0:13:57.960 --> 0:14:01.920
<v Speaker 3>and so I was going to leave New York. Basically,

0:14:02.000 --> 0:14:07.120
<v Speaker 3>I was looking for an apartment in New York last

0:14:07.520 --> 0:14:11.440
<v Speaker 3>November and I kind of decided that I was gonna

0:14:11.800 --> 0:14:14.760
<v Speaker 3>leave New York because it was too difficult and too expensive.

0:14:14.880 --> 0:14:19.160
<v Speaker 3>And I kind of reluctantly went to look at an

0:14:19.200 --> 0:14:25.640
<v Speaker 3>apartment and it was a great apartment, and my friends

0:14:25.640 --> 0:14:28.240
<v Speaker 3>were like, you really should take it. I had an

0:14:28.280 --> 0:14:32.960
<v Speaker 3>appointment to meet the landlord, the landlady, and it was

0:14:32.960 --> 0:14:35.600
<v Speaker 3>supposed to be on the Tuesday of the election, and

0:14:35.840 --> 0:14:39.560
<v Speaker 3>she slid the meeting to eleven o'clock on the Wednesday

0:14:40.640 --> 0:14:45.680
<v Speaker 3>after the election, and so I was up all night

0:14:45.720 --> 0:14:50.440
<v Speaker 3>long from the election, and I went to meet her.

0:14:50.560 --> 0:14:52.120
<v Speaker 3>And when I went to meet the landlady to talk

0:14:52.160 --> 0:14:54.920
<v Speaker 3>about the apartment, you know, I was like, listen, I

0:14:54.920 --> 0:14:57.080
<v Speaker 3>don't know why I'm meeting you. I don't know why

0:14:57.120 --> 0:14:58.880
<v Speaker 3>I would rent an apartment. I don't know why I

0:14:58.880 --> 0:15:00.720
<v Speaker 3>would stay in the United States. I don't know why

0:15:00.720 --> 0:15:04.280
<v Speaker 3>I would stay in New York. You know, I'm I'm

0:15:04.600 --> 0:15:07.440
<v Speaker 3>I'm out. I got money in the bank, I can

0:15:07.480 --> 0:15:11.040
<v Speaker 3>go anywhere. I'm I was like, I'm I'm leaving, and

0:15:11.080 --> 0:15:14.120
<v Speaker 3>the landlady was very aggressive and she was like, no,

0:15:14.720 --> 0:15:17.800
<v Speaker 3>you're staying. You should stay. And I don't know if

0:15:17.800 --> 0:15:20.600
<v Speaker 3>it's because she was a Polish immigrant and she had

0:15:20.640 --> 0:15:25.560
<v Speaker 3>feelings about the United States or but she really was

0:15:25.720 --> 0:15:28.200
<v Speaker 3>very aggressive with me, and I did everything I could

0:15:28.200 --> 0:15:29.960
<v Speaker 3>to not take the apartment. I was like, look, i'm

0:15:30.000 --> 0:15:31.960
<v Speaker 3>an artist, I have terrible credit. I'm not going to

0:15:31.960 --> 0:15:35.040
<v Speaker 3>get approved. She was like, no problem, we'll figure it out.

0:15:35.280 --> 0:15:39.520
<v Speaker 3>Someone will make someone else sign something. And then she

0:15:39.640 --> 0:15:41.400
<v Speaker 3>was like, the rent is X amount of dollars. I

0:15:41.440 --> 0:15:43.880
<v Speaker 3>was like, I can't forward that. She's like, fine, I'll

0:15:43.920 --> 0:15:46.960
<v Speaker 3>lower it, you know, six hundred, I'll lower the rent.

0:15:47.120 --> 0:15:49.160
<v Speaker 3>She lowered the rent. No one does that in New York.

0:15:49.200 --> 0:15:53.280
<v Speaker 3>She lowered the rent, and then I even avoided I

0:15:53.320 --> 0:15:56.040
<v Speaker 3>was busy in rehearsals getting ready for show Mexico City.

0:15:56.400 --> 0:15:59.680
<v Speaker 3>I avoided filing the application for the apartment, and she

0:16:00.080 --> 0:16:03.920
<v Speaker 3>asked me to file applications. So finally, you know, this sweet,

0:16:03.920 --> 0:16:06.880
<v Speaker 3>sweet Polish woman kind of forced me to stay in

0:16:06.880 --> 0:16:11.720
<v Speaker 3>New York and rent this gorgeous apartment for one more year.

0:16:12.560 --> 0:16:17.640
<v Speaker 3>And I think it was good because it well, I

0:16:17.680 --> 0:16:21.200
<v Speaker 3>needed to finish the album. I needed to finish mixing.

0:16:21.240 --> 0:16:24.080
<v Speaker 3>I needed to kind of finish everything that had been

0:16:24.160 --> 0:16:28.640
<v Speaker 3>in process. But you know, it also gave me the

0:16:28.680 --> 0:16:31.760
<v Speaker 3>opportunity to I don't know. I mean, I felt bad

0:16:31.800 --> 0:16:35.640
<v Speaker 3>about leaving New York. And the thing that I deliberated was,

0:16:35.640 --> 0:16:39.840
<v Speaker 3>was I being you know, disloyal or unpatriotic because I'm

0:16:39.840 --> 0:16:44.120
<v Speaker 3>not there kind of fighting for the nation that I

0:16:44.120 --> 0:16:45.720
<v Speaker 3>believe America that I believe in.

0:16:47.120 --> 0:16:50.480
<v Speaker 2>Did you feel yourself and presumably yourself and other people

0:16:50.520 --> 0:16:54.600
<v Speaker 2>around you really wrestling with your identity as an American

0:16:55.800 --> 0:16:57.520
<v Speaker 2>post that action result?

0:16:59.000 --> 0:17:02.720
<v Speaker 3>No, because I don't think that represents America. I mean,

0:17:03.040 --> 0:17:05.640
<v Speaker 3>you know, he didn't win by the popular vote. There's

0:17:05.680 --> 0:17:08.520
<v Speaker 3>a whole electoral college thing, and so the actual numbers

0:17:08.640 --> 0:17:11.640
<v Speaker 3>are the majority of the United States did not vote

0:17:11.640 --> 0:17:14.919
<v Speaker 3>for him, So the majority of the country is sane.

0:17:15.560 --> 0:17:17.320
<v Speaker 3>You know. I live in New York also, so New

0:17:17.400 --> 0:17:23.520
<v Speaker 3>York is kind of you know, the more exceptional kind

0:17:23.520 --> 0:17:28.920
<v Speaker 3>of land, very you know, mixing of cultures and there's

0:17:29.000 --> 0:17:32.520
<v Speaker 3>a lot of tolerance. And New York is such a

0:17:32.600 --> 0:17:37.000
<v Speaker 3>magical place because it's this you know, all these extremes

0:17:37.000 --> 0:17:41.720
<v Speaker 3>of like wealth and power, but also this kind of earthiness.

0:17:42.080 --> 0:17:44.560
<v Speaker 3>It's I mean, my life in New York. I really

0:17:44.880 --> 0:17:47.920
<v Speaker 3>mix with a lot of people, and so you feel

0:17:48.560 --> 0:17:53.600
<v Speaker 3>that is the best kind of America. And so I

0:17:53.640 --> 0:17:55.760
<v Speaker 3>have a lot of faith in the kind of the

0:17:55.800 --> 0:18:01.760
<v Speaker 3>ideals of democracy and American values. But a friend of mine,

0:18:01.920 --> 0:18:04.639
<v Speaker 3>Kate Hardy, an artist, said something that's really stuck with me,

0:18:04.680 --> 0:18:06.520
<v Speaker 3>and it's something that I'm trying to put into practice,

0:18:07.119 --> 0:18:08.960
<v Speaker 3>is that I come from the South. I come from

0:18:09.000 --> 0:18:11.760
<v Speaker 3>a very conservative family. They're all Trump supporters. They all

0:18:11.840 --> 0:18:17.359
<v Speaker 3>voted for Trump. I said the name, let's see, it's bad.

0:18:19.080 --> 0:18:24.680
<v Speaker 3>And my friend Kate, her mother is a judge in Texas,

0:18:25.200 --> 0:18:28.280
<v Speaker 3>and Kate said to me, she said, you know, if

0:18:28.600 --> 0:18:31.960
<v Speaker 3>we can't convince our families not to vote for this person,

0:18:32.400 --> 0:18:36.120
<v Speaker 3>who can we convince. So now as we go into

0:18:36.119 --> 0:18:39.159
<v Speaker 3>midterm elections, I've sort of taken it upon myself to

0:18:39.280 --> 0:18:44.520
<v Speaker 3>try to figure out how to engage with my family

0:18:44.600 --> 0:18:50.040
<v Speaker 3>and to have political discussions and how to convince them

0:18:50.520 --> 0:18:56.560
<v Speaker 3>that when they support this administration, they're actually working against

0:18:56.640 --> 0:18:58.080
<v Speaker 3>me on a very personal level.

0:18:58.520 --> 0:19:01.320
<v Speaker 2>You managed to do that without wanting to run out

0:19:01.359 --> 0:19:03.679
<v Speaker 2>of the house screaming on Thanksgiving, then.

0:19:03.720 --> 0:19:07.480
<v Speaker 3>Well, I mean that is definitely you know something I

0:19:08.240 --> 0:19:13.160
<v Speaker 3>have done, and I have to deal with. But I'm

0:19:13.359 --> 0:19:17.720
<v Speaker 3>trying to change the way I connect with people who

0:19:17.720 --> 0:19:21.359
<v Speaker 3>disagree with me, and so I think that's really the

0:19:21.359 --> 0:19:24.200
<v Speaker 3>big lesson for me, is that to not come at

0:19:24.200 --> 0:19:28.200
<v Speaker 3>it with anger and not to come with I mean,

0:19:28.600 --> 0:19:33.320
<v Speaker 3>anger is awesome, and I've been enjoying being angry and

0:19:33.640 --> 0:19:38.919
<v Speaker 3>you know, combative and aggressive. But also if I want

0:19:38.960 --> 0:19:44.760
<v Speaker 3>to have an impact on people like my family, you know,

0:19:44.840 --> 0:19:49.240
<v Speaker 3>anger isn't the way. And so I'm trying to grow

0:19:49.680 --> 0:19:55.760
<v Speaker 3>because of this situation and use this horrible experience as

0:19:55.800 --> 0:20:01.080
<v Speaker 3>a way to change the way I talk about politics

0:20:01.080 --> 0:20:03.920
<v Speaker 3>and change the way I relate to people that disagree

0:20:03.960 --> 0:20:04.199
<v Speaker 3>with me.

0:20:04.880 --> 0:20:08.199
<v Speaker 2>Sounds like you've taken some personal positives from a not

0:20:08.400 --> 0:20:12.040
<v Speaker 2>great experience, obviously, but do you think I mean, it's

0:20:12.160 --> 0:20:15.920
<v Speaker 2>very hard to talk about whether America as a whole

0:20:15.960 --> 0:20:17.840
<v Speaker 2>because you can't really speak for America, But do you

0:20:17.920 --> 0:20:20.480
<v Speaker 2>think there are bigger lessons that have been learned from

0:20:20.520 --> 0:20:23.040
<v Speaker 2>this or could be learned. Do you think there's a positive,

0:20:23.200 --> 0:20:24.879
<v Speaker 2>any positives there in the future, or are you just

0:20:25.000 --> 0:20:29.360
<v Speaker 2>still in the anger stage.

0:20:31.040 --> 0:20:34.560
<v Speaker 3>I mean, it's been exciting. I was never big into

0:20:35.000 --> 0:20:40.919
<v Speaker 3>protest and I was very passive politically the day after

0:20:40.960 --> 0:20:44.480
<v Speaker 3>the election, I went and protested and it was the

0:20:44.480 --> 0:20:49.080
<v Speaker 3>only thing that made me feel good. And it was beautiful. Actually,

0:20:49.400 --> 0:20:55.359
<v Speaker 3>everyone marched up Fifth Avenue and everyone gathered around you

0:20:55.400 --> 0:21:02.000
<v Speaker 3>know Who's hideous building. The energy was intoxicating and incredible.

0:21:02.040 --> 0:21:04.800
<v Speaker 3>I had never experienced like being in that kind of

0:21:04.840 --> 0:21:08.160
<v Speaker 3>a space with that kind of energy kind of gave

0:21:08.200 --> 0:21:12.560
<v Speaker 3>me a different perspective and a renewed faith on protest.

0:21:13.000 --> 0:21:15.440
<v Speaker 3>I always kind of looked at it. It's like, I

0:21:15.480 --> 0:21:19.680
<v Speaker 3>don't know, like drudgery or like work or an obligation.

0:21:20.359 --> 0:21:23.520
<v Speaker 3>I never thought of it as like therapeutic and a

0:21:23.600 --> 0:21:28.080
<v Speaker 3>release and community and connection and kind of spiritual and

0:21:28.320 --> 0:21:32.680
<v Speaker 3>so you know, that's a positive. I think it's made

0:21:32.760 --> 0:21:37.160
<v Speaker 3>people really think about how to make changes and how

0:21:37.240 --> 0:21:42.760
<v Speaker 3>to People are being more thoughtful now, I think because

0:21:43.400 --> 0:21:48.399
<v Speaker 3>if you if we're lazy and we're not vigilant, you

0:21:48.600 --> 0:21:52.639
<v Speaker 3>end up with, you know, a situation like this. So

0:21:52.800 --> 0:21:54.960
<v Speaker 3>now it feels like, oh, we've got work to do.

0:21:55.160 --> 0:21:58.000
<v Speaker 2>I'll ask you about how that feeling, that kind of

0:21:58.000 --> 0:22:02.000
<v Speaker 2>proactivity that came into my mind the new album sir,

0:22:02.320 --> 0:22:05.680
<v Speaker 2>But before we do that, it's been a while since

0:22:05.720 --> 0:22:08.280
<v Speaker 2>you've done you've promoted a new album. Since you've done

0:22:08.280 --> 0:22:10.400
<v Speaker 2>all this come and done the interviews and yeah, talked

0:22:10.440 --> 0:22:13.159
<v Speaker 2>about yourself, et cetera, et cetera. So how does it

0:22:13.200 --> 0:22:16.679
<v Speaker 2>feel to be back on that in the in the

0:22:16.720 --> 0:22:17.720
<v Speaker 2>promotional trail?

0:22:17.800 --> 0:22:21.280
<v Speaker 3>If you like, I guess you're right. I haven't done

0:22:21.440 --> 0:22:25.720
<v Speaker 3>pr in a while. I mean, it feels fine. I mean,

0:22:25.800 --> 0:22:30.600
<v Speaker 3>I'm a storyteller and so I like talking to people,

0:22:30.720 --> 0:22:34.639
<v Speaker 3>and I'm not opposed to publicity, you know, and I

0:22:34.720 --> 0:22:37.320
<v Speaker 3>treat it as kind of like a theater. It's also

0:22:37.800 --> 0:22:42.040
<v Speaker 3>like theater and performance. So to me, press is kind

0:22:42.040 --> 0:22:47.000
<v Speaker 3>of an extension of already my craft. But also I've

0:22:47.080 --> 0:22:50.600
<v Speaker 3>learned a lot, you know. I didn't know how to

0:22:50.640 --> 0:22:53.919
<v Speaker 3>create boundaries before. I didn't know how to maintain a

0:22:54.080 --> 0:22:59.119
<v Speaker 3>kind of personal balance when I've gone through press before

0:22:59.280 --> 0:23:00.960
<v Speaker 3>I was actually thinking about it reasons. It's one of

0:23:01.000 --> 0:23:03.160
<v Speaker 3>the reasons why it's I chose to stay in Europe.

0:23:03.240 --> 0:23:06.479
<v Speaker 3>Also is because in the past, whenever I had to

0:23:06.520 --> 0:23:08.920
<v Speaker 3>do European publicity, I would have to cram it all

0:23:08.960 --> 0:23:13.120
<v Speaker 3>into like a week, and it would be really difficult,

0:23:13.600 --> 0:23:17.760
<v Speaker 3>and I would sort of allow publicists and managers to

0:23:17.840 --> 0:23:21.920
<v Speaker 3>book up schedules, not really knowing that I could turn

0:23:21.960 --> 0:23:25.240
<v Speaker 3>things down or I didn't have to do ten interviews

0:23:25.280 --> 0:23:28.200
<v Speaker 3>a day in a different city every day for two weeks.

0:23:29.000 --> 0:23:31.800
<v Speaker 3>I thought that I had to in order to be successful.

0:23:32.119 --> 0:23:36.080
<v Speaker 3>You know, the more I did what I was told,

0:23:36.200 --> 0:23:39.919
<v Speaker 3>the better things would go. And I've kind of learned,

0:23:40.480 --> 0:23:44.160
<v Speaker 3>you know, I don't know, I'd feel like I don't

0:23:44.240 --> 0:23:47.480
<v Speaker 3>work that way anymore. I'm and I'm determined to enjoy

0:23:47.520 --> 0:23:49.480
<v Speaker 3>success because in the past I've had a lot of

0:23:49.520 --> 0:23:51.200
<v Speaker 3>success and I didn't enjoy it at all.

0:23:51.400 --> 0:23:53.159
<v Speaker 2>You didn't allow yourself the time to do that.

0:23:53.359 --> 0:23:56.560
<v Speaker 3>Cool, I guess, you know, I just was I get

0:23:57.320 --> 0:23:59.120
<v Speaker 3>I don't know. It's like, sometimes I have a hard

0:23:59.160 --> 0:24:03.159
<v Speaker 3>time taking care of my self, and I love my work,

0:24:03.720 --> 0:24:06.800
<v Speaker 3>and so I'll do anything in order to be a

0:24:06.840 --> 0:24:12.840
<v Speaker 3>working artist. But I found that if I don't kind

0:24:12.840 --> 0:24:17.080
<v Speaker 3>of create very specific boundaries, I end up losing myself.

0:24:17.160 --> 0:24:19.600
<v Speaker 3>I end up losing a personal life, I lose I

0:24:19.680 --> 0:24:24.800
<v Speaker 3>end up kind of getting too absorbed in work in

0:24:24.840 --> 0:24:26.879
<v Speaker 3>a way that I don't think happens for other people

0:24:26.880 --> 0:24:29.800
<v Speaker 3>that have like, quote unquote real jobs. You know, when

0:24:29.840 --> 0:24:33.480
<v Speaker 3>you're an artist, it's a job that can completely you know,

0:24:34.680 --> 0:24:39.320
<v Speaker 3>consume you and so yeah, so now I've just kind

0:24:39.320 --> 0:24:41.960
<v Speaker 3>of learned, like if there's something that doesn't get done,

0:24:42.040 --> 0:24:44.480
<v Speaker 3>because there's kind of always something that's not getting done,

0:24:45.600 --> 0:24:46.920
<v Speaker 3>that it's okay.

0:24:47.160 --> 0:24:50.639
<v Speaker 2>This collection of songs Ensor You recorded them with Michael

0:24:50.680 --> 0:24:55.080
<v Speaker 2>Stipe in Athens, Georgia. Yeah, but where was the genesis

0:24:55.160 --> 0:24:57.480
<v Speaker 2>of these songs? Did you write them a few years ago?

0:24:57.560 --> 0:24:59.960
<v Speaker 2>Did you write them with Michael? Where did the process start.

0:25:00.760 --> 0:25:06.720
<v Speaker 3>It's a long and funny path, but we Warren and

0:25:06.760 --> 0:25:12.119
<v Speaker 3>I started working with Chiever Michael Chiever Michael Lane Chiever

0:25:12.800 --> 0:25:17.600
<v Speaker 3>January twenty thirteen, Okay, first week of January. I can't

0:25:17.640 --> 0:25:21.399
<v Speaker 3>remember why, but Warren asked me to. He asked if

0:25:21.400 --> 0:25:24.280
<v Speaker 3>I wanted to work on music. And we had had

0:25:24.320 --> 0:25:28.560
<v Speaker 3>a rocky couple releases. Entertainment was very difficult that it

0:25:28.640 --> 0:25:33.400
<v Speaker 3>was an economic collapse. We were partnered with a label

0:25:33.480 --> 0:25:37.719
<v Speaker 3>that folded the month of release, so it was didn't

0:25:37.840 --> 0:25:40.600
<v Speaker 3>go well. I was very proud of the creative but

0:25:40.800 --> 0:25:45.879
<v Speaker 3>business wise it was a mess. And then so you know,

0:25:46.000 --> 0:25:49.639
<v Speaker 3>and the music business was not It wasn't I just

0:25:49.760 --> 0:25:51.840
<v Speaker 3>it wasn't working for me. So I was really had

0:25:51.920 --> 0:25:53.639
<v Speaker 3>kind of moved on.

0:25:54.040 --> 0:25:55.520
<v Speaker 2>You ready to step away from music.

0:25:55.720 --> 0:25:58.080
<v Speaker 3>Yeah, I mean I was like, but I always, you know,

0:25:58.200 --> 0:26:00.480
<v Speaker 3>I was always doing other things as well. Was working

0:26:00.480 --> 0:26:03.720
<v Speaker 3>with the Wooster Group, doing performance. I made a feature

0:26:03.760 --> 0:26:07.879
<v Speaker 3>film called Dust. Warren and I had been working on

0:26:07.960 --> 0:26:11.520
<v Speaker 3>a couple of books. I did a web series for

0:26:11.560 --> 0:26:15.680
<v Speaker 3>about a year interviewing people about creativity. So I had

0:26:15.720 --> 0:26:20.120
<v Speaker 3>moved on to other projects and didn't feel like fighting

0:26:20.480 --> 0:26:23.320
<v Speaker 3>you know, kind of the lost cause of the failing

0:26:23.440 --> 0:26:30.200
<v Speaker 3>music business. And also never really felt like my process

0:26:30.480 --> 0:26:35.560
<v Speaker 3>fit in the music business, quote unquote, or that they

0:26:35.560 --> 0:26:38.240
<v Speaker 3>could fully kind of comprehend all the facets of what

0:26:38.320 --> 0:26:40.639
<v Speaker 3>I did, which was, you know, not just music but

0:26:40.680 --> 0:26:43.920
<v Speaker 3>also film and photography and performance and how they were

0:26:43.920 --> 0:26:49.439
<v Speaker 3>all one big, kind of cohesive endeavor. So anyway, I

0:26:49.480 --> 0:26:52.639
<v Speaker 3>had moved on from music and was focused on other things.

0:26:53.600 --> 0:26:56.680
<v Speaker 3>Warren asked me to work on a song, and I

0:26:56.840 --> 0:26:59.679
<v Speaker 3>reluctantly agreed to it, and I also said, you know,

0:27:00.040 --> 0:27:02.600
<v Speaker 3>if we're going to work on music, he's famous for

0:27:02.720 --> 0:27:07.360
<v Speaker 3>dragging out the process, and I was like, I'm not

0:27:07.440 --> 0:27:09.600
<v Speaker 3>going to work on a record for two years, So

0:27:10.160 --> 0:27:12.320
<v Speaker 3>you know, let's make a couple songs, Let's make an EP,

0:27:12.800 --> 0:27:15.399
<v Speaker 3>let's do it quickly, you know, I'll commit to this

0:27:15.440 --> 0:27:19.679
<v Speaker 3>for six months. That was January twenty thirteen. So then

0:27:20.119 --> 0:27:23.240
<v Speaker 3>we started working. And when I went into it, I

0:27:23.280 --> 0:27:27.359
<v Speaker 3>had it was I matured in a way because I

0:27:27.720 --> 0:27:30.280
<v Speaker 3>almost I knew what the record was about before I

0:27:30.320 --> 0:27:32.840
<v Speaker 3>started it, which isn't always the case. A lot of

0:27:32.840 --> 0:27:35.400
<v Speaker 3>times I go into writing kind of looking for what

0:27:35.440 --> 0:27:39.600
<v Speaker 3>something is about. But this I knew. I don't know why.

0:27:39.760 --> 0:27:43.880
<v Speaker 3>I knew I wanted to make a record about queer narratives,

0:27:44.000 --> 0:27:49.679
<v Speaker 3>and I was living a really exceptional, beautiful, amazing queer life.

0:27:49.880 --> 0:27:52.800
<v Speaker 3>I felt like I was having these experiences that I

0:27:52.840 --> 0:27:59.399
<v Speaker 3>had never really heard about, were you know, had felt

0:27:59.400 --> 0:28:04.320
<v Speaker 3>that they had been properly portrayed, and so I was

0:28:04.600 --> 0:28:09.280
<v Speaker 3>going into it trying to make very clear queer narratives.

0:28:09.840 --> 0:28:12.280
<v Speaker 3>The other thing was I knew that I wanted to

0:28:12.359 --> 0:28:16.640
<v Speaker 3>change my recording kind of process because when I work

0:28:16.680 --> 0:28:20.960
<v Speaker 3>with the Wooster Group, you work on a performance and

0:28:21.600 --> 0:28:25.520
<v Speaker 3>every day and rehearsal you're required to perform fully. So

0:28:25.800 --> 0:28:29.439
<v Speaker 3>it's not a traditional kind of theater process where you

0:28:29.560 --> 0:28:33.040
<v Speaker 3>kind of mark through or you learn your lines, or

0:28:33.080 --> 0:28:36.440
<v Speaker 3>you know, you get the costume two days before. When

0:28:36.440 --> 0:28:38.800
<v Speaker 3>you work with the Wooster Group. You rehearse in the costume,

0:28:38.840 --> 0:28:43.240
<v Speaker 3>you rehearse with full sound, with full light, and you

0:28:43.400 --> 0:28:49.400
<v Speaker 3>rehearse in full kind of full focus, full character, full energy,

0:28:50.200 --> 0:28:54.920
<v Speaker 3>And it seems crazy, but what it does is it

0:28:55.000 --> 0:28:58.200
<v Speaker 3>really kind of elevates all the elements and they become

0:28:58.400 --> 0:29:05.280
<v Speaker 3>so interconnected. And also you really develop the kind of

0:29:05.320 --> 0:29:08.640
<v Speaker 3>a stamina you know. It's just it was something I

0:29:08.680 --> 0:29:11.440
<v Speaker 3>wanted to bring to the recording process, and so I thought, Okay,

0:29:11.480 --> 0:29:13.440
<v Speaker 3>when I record, I'm not gonna because a lot of

0:29:13.480 --> 0:29:16.680
<v Speaker 3>times I would record and I write a lot on

0:29:16.800 --> 0:29:22.120
<v Speaker 3>the mic, and sometimes it's more sketching and not fully

0:29:22.760 --> 0:29:26.280
<v Speaker 3>committed vocally, and so I knew when I was going

0:29:26.280 --> 0:29:29.840
<v Speaker 3>into record that I wanted a more committed vocal that

0:29:29.960 --> 0:29:35.640
<v Speaker 3>I was delivering almost from the get go, and those

0:29:35.720 --> 0:29:37.720
<v Speaker 3>kind of two things had a big impact. I think

0:29:37.800 --> 0:29:40.640
<v Speaker 3>ultimately the record was like being more committed to a

0:29:40.720 --> 0:29:47.640
<v Speaker 3>vocal performance, not relying on trickery and trying to perform

0:29:47.680 --> 0:29:50.840
<v Speaker 3>a song well, just with a raw vocal. And then

0:29:50.880 --> 0:29:53.320
<v Speaker 3>also this kind of queer narrative. And then I set

0:29:53.360 --> 0:29:56.800
<v Speaker 3>about writing for I would say that was about a

0:29:56.880 --> 0:30:00.040
<v Speaker 3>year and a half. I worked through twenty thirteen, and

0:30:00.080 --> 0:30:02.800
<v Speaker 3>then I think in the spring of twenty fourteen, I

0:30:03.000 --> 0:30:06.040
<v Speaker 3>was pretty much felt that I was done, and there

0:30:06.080 --> 0:30:11.440
<v Speaker 3>were twelve songs and Michael came in in the spring

0:30:11.480 --> 0:30:14.840
<v Speaker 3>of twenty fourteen. There was a last song was a

0:30:14.880 --> 0:30:18.760
<v Speaker 3>track called Empty that I love that still hasn't made

0:30:19.280 --> 0:30:23.040
<v Speaker 3>it out of the studio, but a very difficult piece

0:30:23.080 --> 0:30:27.000
<v Speaker 3>of music, kind of brutalist. Has this big kind of

0:30:27.080 --> 0:30:31.040
<v Speaker 3>booming section and then it has another section that's very

0:30:31.240 --> 0:30:35.120
<v Speaker 3>pretty and lilting, and so it's a very interesting and

0:30:35.720 --> 0:30:40.480
<v Speaker 3>extreme piece of music that Warren made and I could

0:30:40.520 --> 0:30:44.200
<v Speaker 3>not figure out how to write over it. I had

0:30:44.280 --> 0:30:46.480
<v Speaker 3>Jake Shears come in try to work on it. I

0:30:46.520 --> 0:30:49.080
<v Speaker 3>had Coded Creechlow come in and try to work on it.

0:30:49.760 --> 0:30:51.160
<v Speaker 3>I had a lot of people come in, and nobody

0:30:51.160 --> 0:30:52.840
<v Speaker 3>could figure out how to work on this piece of music.

0:30:53.880 --> 0:30:57.960
<v Speaker 3>Michael came in and within an hour he knew how

0:30:58.000 --> 0:31:02.880
<v Speaker 3>to write over this music. Wrote something incredible, and he

0:31:02.960 --> 0:31:05.440
<v Speaker 3>had a very unique process that I had never seen,

0:31:06.440 --> 0:31:08.960
<v Speaker 3>where he recorded in the room with the engineer on

0:31:09.000 --> 0:31:11.800
<v Speaker 3>an s M fifty eight with no monitors, no headphones,

0:31:13.760 --> 0:31:16.880
<v Speaker 3>so he wasn't isolated in a booth. So he had

0:31:16.920 --> 0:31:20.040
<v Speaker 3>like a technique, and so he instantly kind of figured

0:31:20.080 --> 0:31:22.880
<v Speaker 3>out how to attack this piece of music. He was

0:31:23.240 --> 0:31:26.240
<v Speaker 3>coming in to work on that track, which was supposed

0:31:26.240 --> 0:31:29.280
<v Speaker 3>to be the last track on the record, and every

0:31:29.280 --> 0:31:31.560
<v Speaker 3>time he was busy and traveling and this and that,

0:31:31.640 --> 0:31:34.720
<v Speaker 3>and so he would come in every so often, and

0:31:34.760 --> 0:31:37.640
<v Speaker 3>when he would come in, I would be working on

0:31:37.640 --> 0:31:40.400
<v Speaker 3>one of the other twelve songs, doing you know, quote

0:31:40.480 --> 0:31:43.200
<v Speaker 3>unquote like final vocals, and so I was going through

0:31:43.240 --> 0:31:47.200
<v Speaker 3>and like reperforming or editing or cleaning up or doing arrangement,

0:31:47.760 --> 0:31:51.680
<v Speaker 3>and he would come in and he you would hear

0:31:51.680 --> 0:31:54.239
<v Speaker 3>what I was working on, and then he would get

0:31:54.280 --> 0:31:56.560
<v Speaker 3>distracted and he would say, you know, can I give

0:31:56.600 --> 0:32:00.880
<v Speaker 3>you notes on you know, what was originally Top Brazila

0:32:00.960 --> 0:32:03.200
<v Speaker 3>was originally called grinder Blues. And he was like, can

0:32:03.240 --> 0:32:05.080
<v Speaker 3>I give you notes on grinder Blues? And I was

0:32:05.120 --> 0:32:09.680
<v Speaker 3>like sure, And so then we went through and he

0:32:09.800 --> 0:32:14.320
<v Speaker 3>got pretty aggressive and he would really chuck out big

0:32:14.400 --> 0:32:20.640
<v Speaker 3>sections and rewrite parts with me and push the melody

0:32:20.800 --> 0:32:25.240
<v Speaker 3>and the performance. And he did that on which was

0:32:25.320 --> 0:32:27.200
<v Speaker 3>tough because I had been working on these songs for

0:32:27.200 --> 0:32:28.920
<v Speaker 3>a year and a half and I basically thought I

0:32:28.960 --> 0:32:31.320
<v Speaker 3>was at the finish line, and then he was ripping

0:32:31.360 --> 0:32:34.840
<v Speaker 3>them apart and rebuilding them. I think part of it

0:32:34.880 --> 0:32:38.680
<v Speaker 3>was because he had disbanded RAM. He wasn't working in music,

0:32:38.720 --> 0:32:42.440
<v Speaker 3>he was focused on visual art. But I think he

0:32:43.160 --> 0:32:49.280
<v Speaker 3>couldn't resist the process. And I think also there was

0:32:49.320 --> 0:32:52.120
<v Speaker 3>some kind of a freedom in it that it wasn't him,

0:32:52.160 --> 0:32:55.240
<v Speaker 3>and it wasn't his moniker, and it wasn't his character,

0:32:55.360 --> 0:32:58.240
<v Speaker 3>and that he was able to kind of access all

0:32:58.280 --> 0:33:03.120
<v Speaker 3>of his knowledge and love of music but via me

0:33:04.560 --> 0:33:07.120
<v Speaker 3>and I kind of became a mask for him. At

0:33:07.160 --> 0:33:09.440
<v Speaker 3>a certain point, I mean there was I would say

0:33:09.440 --> 0:33:12.480
<v Speaker 3>there were stages. So anyway, he came in, he messed

0:33:12.520 --> 0:33:15.680
<v Speaker 3>around on like four or five of the twelve songs,

0:33:16.080 --> 0:33:18.560
<v Speaker 3>never finished the first song that he came to work on.

0:33:19.880 --> 0:33:22.680
<v Speaker 3>And then at a certain point, you know, I was like,

0:33:22.760 --> 0:33:25.960
<v Speaker 3>do you want to get more involved formally? Do you

0:33:26.000 --> 0:33:28.520
<v Speaker 3>wanna you know, how do you want to be credited

0:33:28.560 --> 0:33:31.240
<v Speaker 3>for this? Or do you you know? And then Warren

0:33:31.360 --> 0:33:33.320
<v Speaker 3>was like, should we ask him to be the producer

0:33:33.440 --> 0:33:37.400
<v Speaker 3>on the record? And I was like, I mean maybe,

0:33:37.520 --> 0:33:40.160
<v Speaker 3>I guess, And so then we asked him if he

0:33:40.200 --> 0:33:42.240
<v Speaker 3>wanted to be the producer and he said definitely no.

0:33:43.120 --> 0:33:45.080
<v Speaker 3>He was like, no, I'm not. I don't work in

0:33:45.160 --> 0:33:49.680
<v Speaker 3>music anymore. I am just here giving you know, advice

0:33:50.520 --> 0:33:54.560
<v Speaker 3>as a friend. I don't expect credit. I don't expect

0:33:54.960 --> 0:34:01.080
<v Speaker 3>you know. It was very casual and yet compulsive. Then

0:34:01.160 --> 0:34:04.160
<v Speaker 3>a couple of weeks later he came back around and

0:34:04.200 --> 0:34:08.400
<v Speaker 3>he said, you know what, I would consider being the

0:34:08.440 --> 0:34:12.240
<v Speaker 3>producer on the record. And I said okay, and he said,

0:34:12.280 --> 0:34:15.319
<v Speaker 3>but I have to have final say on everything, and

0:34:15.360 --> 0:34:18.319
<v Speaker 3>I was like okay. And then Warren agreed to it

0:34:18.360 --> 0:34:22.280
<v Speaker 3>as well. And then once we did that, then everything

0:34:22.280 --> 0:34:26.120
<v Speaker 3>clicked over from him being kind of doing song doctoring

0:34:26.200 --> 0:34:31.520
<v Speaker 3>as a friend and then things got serious and he

0:34:33.320 --> 0:34:36.160
<v Speaker 3>was like, okay, I'm the producer. I have final sand everything.

0:34:36.239 --> 0:34:40.040
<v Speaker 3>And then he took basically, you know, half of the

0:34:40.080 --> 0:34:42.560
<v Speaker 3>record I had written and threw them all out and

0:34:42.719 --> 0:34:45.200
<v Speaker 3>was like these songs are not going on and I

0:34:45.280 --> 0:34:51.880
<v Speaker 3>was like, uh, okay. And then process shifted where we moved.

0:34:52.040 --> 0:34:54.120
<v Speaker 3>I had been writing in this little room in New

0:34:54.200 --> 0:34:58.960
<v Speaker 3>York and Michael we went to Athens and we started

0:34:58.960 --> 0:35:02.920
<v Speaker 3>working in Athens with Andy LeMaster. I would kind of

0:35:02.920 --> 0:35:08.319
<v Speaker 3>get locked into Michael's compound and we would go in

0:35:08.360 --> 0:35:12.600
<v Speaker 3>these very intensive writing and recording sessions with Andy. Then

0:35:12.600 --> 0:35:14.919
<v Speaker 3>we moved into kind of more of like a co

0:35:15.040 --> 0:35:17.640
<v Speaker 3>writing phase where Warren would send a track and then

0:35:18.320 --> 0:35:22.920
<v Speaker 3>Michael and Andy and I would write lyric and melody

0:35:23.040 --> 0:35:27.000
<v Speaker 3>and do arrangement, and that went on for a year.

0:35:27.400 --> 0:35:30.239
<v Speaker 3>I would say maybe, and then while we're working on

0:35:30.280 --> 0:35:32.279
<v Speaker 3>that too, my personal life is going through a lot

0:35:32.280 --> 0:35:34.680
<v Speaker 3>of stuff. Like it's almost the minute Michael kind of

0:35:34.719 --> 0:35:38.720
<v Speaker 3>jumped on his producer, I started having difficulty at home.

0:35:39.320 --> 0:35:44.880
<v Speaker 3>I was happily in a relationship for fourteen years and

0:35:45.480 --> 0:35:49.640
<v Speaker 3>that started to kind of unravel as we were working

0:35:49.719 --> 0:35:54.760
<v Speaker 3>on this latter half of the record. So not only

0:35:54.960 --> 0:35:58.360
<v Speaker 3>was my time in Athens sort of a writing retreat,

0:35:58.360 --> 0:36:02.320
<v Speaker 3>it was also a kind of a safe space as

0:36:03.000 --> 0:36:08.440
<v Speaker 3>my personal life went into chaos. So we wrote through

0:36:09.280 --> 0:36:12.040
<v Speaker 3>a lot of you know, we wrote through a big breakup,

0:36:12.520 --> 0:36:15.960
<v Speaker 3>we wrote through the aftermath of that, We wrote through

0:36:16.680 --> 0:36:19.000
<v Speaker 3>there were a lot of things that happened in the

0:36:19.040 --> 0:36:25.239
<v Speaker 3>next year, and so through twenty fifteen into twenty sixteen,

0:36:26.080 --> 0:36:28.399
<v Speaker 3>we continued to write. Then it kind of moved into

0:36:28.400 --> 0:36:32.240
<v Speaker 3>a phase later towards the end of the writing. Andy

0:36:32.480 --> 0:36:37.040
<v Speaker 3>and Michael really they have a very intense musical connection.

0:36:37.280 --> 0:36:39.239
<v Speaker 3>And for instance, like on the song I Need Love,

0:36:39.920 --> 0:36:41.440
<v Speaker 3>there used to be a point where it's like on

0:36:41.560 --> 0:36:43.800
<v Speaker 3>try Again, you know, it'd be like I'd write a line,

0:36:43.880 --> 0:36:47.560
<v Speaker 3>Michael write a line, Andy write a line, you know, strut,

0:36:48.000 --> 0:36:49.960
<v Speaker 3>I'd write a thing, Andy write a thing. We kind

0:36:49.960 --> 0:36:52.520
<v Speaker 3>of bounce around, and then by the time we got

0:36:52.640 --> 0:36:57.920
<v Speaker 3>to I Need Love, at that point it felt like

0:36:58.000 --> 0:37:00.440
<v Speaker 3>Michael had gotten so into my head and so into

0:37:00.520 --> 0:37:06.120
<v Speaker 3>my world and so into my persona that he could

0:37:06.160 --> 0:37:10.960
<v Speaker 3>write as me for me, and he and Andy really

0:37:11.000 --> 0:37:15.239
<v Speaker 3>went into a very focused writing period on I Need Love,

0:37:15.600 --> 0:37:17.479
<v Speaker 3>and there was kind of a moment where it would

0:37:17.520 --> 0:37:20.680
<v Speaker 3>be like I thought we were in our you know

0:37:21.320 --> 0:37:25.560
<v Speaker 3>period where we would you know, bounce off of each

0:37:25.600 --> 0:37:28.560
<v Speaker 3>other and Michael write a line and Andy write a line,

0:37:28.600 --> 0:37:29.880
<v Speaker 3>and then I'd be like, oh, I have an idea,

0:37:29.960 --> 0:37:33.279
<v Speaker 3>and they'd be like, you know what, it's okay, just

0:37:33.280 --> 0:37:35.120
<v Speaker 3>just stand, just smoke weed and stay in the corner.

0:37:35.520 --> 0:37:38.200
<v Speaker 3>And then you know, they have an idea, and then

0:37:38.520 --> 0:37:39.759
<v Speaker 3>Andy have an idea and they'd be like, I have

0:37:40.840 --> 0:37:43.360
<v Speaker 3>you know what. So then so kind of as we

0:37:43.400 --> 0:37:47.000
<v Speaker 3>got towards the end, which was fine because I also

0:37:47.160 --> 0:37:49.439
<v Speaker 3>you know, a lot of great songs, the singer didn't

0:37:49.440 --> 0:37:52.920
<v Speaker 3>write the song. They're songwriters that write songs for singers,

0:37:53.560 --> 0:37:56.040
<v Speaker 3>and that's more of what the history of music has been.

0:37:56.120 --> 0:37:59.680
<v Speaker 3>So I fine sitting back and having you write for

0:37:59.760 --> 0:38:03.640
<v Speaker 3>me because you also know exactly what I'm saying and

0:38:03.719 --> 0:38:06.400
<v Speaker 3>where I am and what I'm going through. That was

0:38:06.440 --> 0:38:08.000
<v Speaker 3>kind of a moment where I stepped back. But then

0:38:08.200 --> 0:38:11.080
<v Speaker 3>the last song that we wrote in kind of the

0:38:11.120 --> 0:38:15.640
<v Speaker 3>most intensive period was Butterscotch Goddamn. Michael wrote almost all

0:38:15.680 --> 0:38:19.800
<v Speaker 3>the words and I wrote the majority of the melody,

0:38:20.160 --> 0:38:23.840
<v Speaker 3>and they happened really fast and like at three o'clock

0:38:23.880 --> 0:38:26.400
<v Speaker 3>in the morning, in a one hour period, so you know,

0:38:26.440 --> 0:38:28.440
<v Speaker 3>so there were different phases of writing, and so that

0:38:28.600 --> 0:38:31.680
<v Speaker 3>was kind of the process. And then we finished the

0:38:31.719 --> 0:38:39.160
<v Speaker 3>record in February two thousand and sixteen. We waited and

0:38:39.239 --> 0:38:43.680
<v Speaker 3>waited and waited for the record to release. We waited

0:38:43.880 --> 0:38:47.880
<v Speaker 3>for the deals to come in. We waited, and it

0:38:47.960 --> 0:38:51.719
<v Speaker 3>took a really long time, was very slow, and then

0:38:51.880 --> 0:38:58.960
<v Speaker 3>finally we signed a deal in February of twenty seventeen.

0:38:59.120 --> 0:39:01.680
<v Speaker 3>So for a year I sat around waiting for the

0:39:01.719 --> 0:39:05.160
<v Speaker 3>record to release, which made me absolutely crazy. Because also

0:39:05.200 --> 0:39:07.399
<v Speaker 3>in that year, my building was sold in New York

0:39:07.440 --> 0:39:12.080
<v Speaker 3>and I got evicted. So I kept losing. I kept

0:39:12.120 --> 0:39:15.760
<v Speaker 3>losing my relationship, I lost my pets, I lost my home,

0:39:15.840 --> 0:39:18.440
<v Speaker 3>I lost my mind. It was like I kept losing

0:39:18.719 --> 0:39:26.160
<v Speaker 3>everything I had while working on this record. But the

0:39:26.239 --> 0:39:28.680
<v Speaker 3>thing that was great was that because the record was

0:39:28.680 --> 0:39:32.800
<v Speaker 3>postponed a year later than I thought, the election happened,

0:39:33.239 --> 0:39:35.920
<v Speaker 3>and all of a sudden, making a queer record became

0:39:36.120 --> 0:39:39.239
<v Speaker 3>way more relevant. Kind of all the delays and all

0:39:39.239 --> 0:39:44.520
<v Speaker 3>the problems have paid off, and I have this new

0:39:44.560 --> 0:39:47.880
<v Speaker 3>motto which is really working for me, is that I

0:39:47.920 --> 0:39:52.879
<v Speaker 3>love my problems. I've got great problems. It's like, what's

0:39:52.920 --> 0:39:55.239
<v Speaker 3>your problem? My record got delayed a year. That's an

0:39:55.280 --> 0:39:59.239
<v Speaker 3>awesome problem. Because then the thing that was also exceptional

0:39:59.280 --> 0:40:01.960
<v Speaker 3>that happened it was a great problem that got delayed

0:40:02.000 --> 0:40:06.160
<v Speaker 3>a year is then Boots got involved and exactly a

0:40:06.239 --> 0:40:10.040
<v Speaker 3>year later from the record being finished, we ended up

0:40:10.080 --> 0:40:13.480
<v Speaker 3>writing Half Fun Tonight. And that was also a big

0:40:13.520 --> 0:40:17.160
<v Speaker 3>result of me getting trapped in Fire Island because I

0:40:17.239 --> 0:40:19.200
<v Speaker 3>lost my home. So basically I was like a beach

0:40:19.239 --> 0:40:23.440
<v Speaker 3>hobo in this gay resort and it kind of tweaked

0:40:23.480 --> 0:40:27.160
<v Speaker 3>my ear for gay culture, and I was really struck

0:40:27.200 --> 0:40:32.040
<v Speaker 3>by Ariana Grande's So Into You, and so I was like, oh,

0:40:32.080 --> 0:40:35.319
<v Speaker 3>I need to make like a queer version of an

0:40:34.920 --> 0:40:38.640
<v Speaker 3>Ariana Grande song that's going to play, you know, for

0:40:38.719 --> 0:40:42.440
<v Speaker 3>all the queens on the floor. So anyway, Boots got involved,

0:40:42.440 --> 0:40:45.200
<v Speaker 3>and then because Boots got involved in Stuart White got involved.

0:40:45.239 --> 0:40:47.520
<v Speaker 3>And then when Stuart got involved, then we redid the

0:40:47.560 --> 0:40:50.440
<v Speaker 3>mixes on all the singles. So it was like, that's so.

0:40:50.440 --> 0:40:52.640
<v Speaker 3>So the record took a really long time, and there

0:40:52.640 --> 0:40:54.400
<v Speaker 3>were a lot of problems and a lot of delays,

0:40:54.680 --> 0:40:57.560
<v Speaker 3>but basically they were all exactly what needed to happen.

0:40:58.840 --> 0:41:01.720
<v Speaker 2>It's an incredible and this so much has happened.

0:41:01.880 --> 0:41:04.120
<v Speaker 3>Yeah, so sorry I didn't let you ask me. But

0:41:04.239 --> 0:41:05.000
<v Speaker 3>two questions.

0:41:05.520 --> 0:41:09.920
<v Speaker 2>Going back to Michael Stipe briefly, as you mentioned just there,

0:41:09.960 --> 0:41:12.880
<v Speaker 2>your relationship during the making of the record change this.

0:41:13.000 --> 0:41:14.759
<v Speaker 2>He is involved with McKim moore. He obviously was a

0:41:14.840 --> 0:41:18.040
<v Speaker 2>very strong minded producer, took a lead on the project.

0:41:18.520 --> 0:41:20.160
<v Speaker 2>Have you known him long enough for that to be

0:41:20.400 --> 0:41:22.480
<v Speaker 2>like okay, and you trust him well enough for that

0:41:22.520 --> 0:41:25.120
<v Speaker 2>to be fine? All were their moments of contention?

0:41:25.440 --> 0:41:28.520
<v Speaker 3>What was that like well, I mean, Michael is my

0:41:28.640 --> 0:41:32.239
<v Speaker 3>first gay lover and my first boyfriend. We met in

0:41:32.320 --> 0:41:35.640
<v Speaker 3>nineteen eighty eight on the dance floor. He loves to

0:41:35.680 --> 0:41:37.960
<v Speaker 3>say this, and I'll say it for him. He took

0:41:38.000 --> 0:41:42.520
<v Speaker 3>my virginity, and so we've known each other a really

0:41:42.560 --> 0:41:45.719
<v Speaker 3>long time, so we have a lot of history. It

0:41:45.960 --> 0:41:50.320
<v Speaker 3>was great to work with him. He's such an amazing

0:41:50.400 --> 0:41:53.680
<v Speaker 3>creative and I mean it was a little intense because

0:41:54.560 --> 0:41:58.359
<v Speaker 3>you know, I was sort of trapped in his celebrity compound,

0:41:58.680 --> 0:42:04.080
<v Speaker 3>and so it times it was very claustrophobic because we

0:42:04.080 --> 0:42:08.239
<v Speaker 3>were working together, we were living together in this very

0:42:08.320 --> 0:42:12.400
<v Speaker 3>confined environment. It was kind of like boot camp and

0:42:12.520 --> 0:42:15.960
<v Speaker 3>kind of like a spa and kind of great and

0:42:16.080 --> 0:42:19.919
<v Speaker 3>kind of awful because he worked crazy hours. We would

0:42:19.920 --> 0:42:21.880
<v Speaker 3>work from six o'clock at night till six o'clock in

0:42:21.880 --> 0:42:23.800
<v Speaker 3>the morning. I wouldn't get a lot of sleep. I

0:42:23.800 --> 0:42:27.600
<v Speaker 3>would usually wake up around noon. Then I would do

0:42:27.680 --> 0:42:31.560
<v Speaker 3>some kind of like physical training because I had made

0:42:31.600 --> 0:42:33.799
<v Speaker 3>my body a big theme, so I needed to stay

0:42:33.800 --> 0:42:36.560
<v Speaker 3>in shape. So I would do pilates or some kind

0:42:36.560 --> 0:42:39.719
<v Speaker 3>of body work, and then you know, I'd happy to

0:42:39.760 --> 0:42:41.359
<v Speaker 3>be time to go back to the studio and we

0:42:41.440 --> 0:42:45.280
<v Speaker 3>did that, you know, at some days, twenty three days straight,

0:42:46.040 --> 0:42:48.320
<v Speaker 3>and so by the time we get to like the twentieth,

0:42:48.440 --> 0:42:52.879
<v Speaker 3>the twenty second day, I'm not sleeping. I'm fatigued. I mean,

0:42:52.920 --> 0:42:54.839
<v Speaker 3>I think it was a technique for him also because

0:42:54.840 --> 0:42:59.279
<v Speaker 3>it made me super emotional and very raw, and so

0:42:59.480 --> 0:43:03.120
<v Speaker 3>I think he sort of intentionally exhausted me and made

0:43:03.200 --> 0:43:06.680
<v Speaker 3>me a little bit crazy because it led to better

0:43:07.000 --> 0:43:08.560
<v Speaker 3>writing and a better performance.

0:43:09.560 --> 0:43:11.200
<v Speaker 2>Some master techniques coming in there.

0:43:11.480 --> 0:43:15.799
<v Speaker 3>Yeah, But also it was really interesting because you know,

0:43:15.880 --> 0:43:20.359
<v Speaker 3>the record is about homosexuality, and I'm back in the

0:43:20.440 --> 0:43:23.759
<v Speaker 3>house where I had sex with a man for the

0:43:23.800 --> 0:43:26.600
<v Speaker 3>first time when I was eighteen, and that man is

0:43:26.600 --> 0:43:30.280
<v Speaker 3>the man who I'm making the record with. So the

0:43:30.320 --> 0:43:33.400
<v Speaker 3>continuity of that was so crazy.

0:43:33.520 --> 0:43:35.880
<v Speaker 2>Yeah, there's like a cyclical thing to that, isn't that.

0:43:36.000 --> 0:43:38.239
<v Speaker 3>Yeah, And I'm like, I'm sitting in that space and

0:43:38.280 --> 0:43:40.640
<v Speaker 3>I'm thinking about, like where am I? What happened to

0:43:40.640 --> 0:43:43.879
<v Speaker 3>my life? And you know, it's thirty years later, and

0:43:44.600 --> 0:43:47.360
<v Speaker 3>you know, what did I Who was I? Then? What

0:43:47.440 --> 0:43:50.160
<v Speaker 3>am I now? You know? What does it mean to

0:43:50.200 --> 0:43:55.160
<v Speaker 3>be gay? You know who?

0:43:55.360 --> 0:43:55.600
<v Speaker 2>You know?

0:43:56.080 --> 0:43:58.399
<v Speaker 3>It was just crazy to be able to just the

0:43:58.440 --> 0:44:03.120
<v Speaker 3>air and the house and the location and the to

0:44:03.239 --> 0:44:06.400
<v Speaker 3>be kind of you know where I was born in Athens, Georgia,

0:44:06.680 --> 0:44:09.240
<v Speaker 3>and so it's like to be work, to be going

0:44:09.280 --> 0:44:11.960
<v Speaker 3>to go back to where I came from to make

0:44:12.000 --> 0:44:18.560
<v Speaker 3>this thing with this person. It was magical and crazy.

0:44:19.200 --> 0:44:22.160
<v Speaker 2>This year marks twenty years. Am I right in saying

0:44:22.200 --> 0:44:25.120
<v Speaker 2>that Fisher Spooner becomes twenty years old in twenty eighteen?

0:44:25.160 --> 0:44:29.560
<v Speaker 3>In August of Yeah, in August of twenty eighteen. I

0:44:29.680 --> 0:44:32.400
<v Speaker 3>just got a chill, it will be twenty years.

0:44:32.600 --> 0:44:34.080
<v Speaker 2>Did you ever think? No?

0:44:34.719 --> 0:44:37.719
<v Speaker 3>Okay, hell no, no. I mean when we started, the

0:44:37.760 --> 0:44:41.240
<v Speaker 3>idea was that it was a turn of the Millennium project.

0:44:41.440 --> 0:44:44.080
<v Speaker 3>It was supposed to be a one off kind of

0:44:44.080 --> 0:44:47.040
<v Speaker 3>thing that I imagine we would do a performance in New

0:44:47.120 --> 0:44:50.719
<v Speaker 3>York at the stroke of midnight in the year two

0:44:50.760 --> 0:44:54.200
<v Speaker 3>thousand and This was kind of the piece. This was

0:44:54.239 --> 0:44:58.120
<v Speaker 3>the project that was reacting against all the kind of

0:44:58.160 --> 0:45:01.080
<v Speaker 3>like fear and paranoia of Y two K and so

0:45:01.320 --> 0:45:03.359
<v Speaker 3>it was really like my party, like it's nineteen ninety

0:45:03.440 --> 0:45:06.319
<v Speaker 3>nine project. So I was like, okay, if I'm gonna die,

0:45:07.000 --> 0:45:10.839
<v Speaker 3>you know, and everything's gonna like every computer chip isn't

0:45:10.880 --> 0:45:12.640
<v Speaker 3>going to work, and every elevator is going to stop,

0:45:12.640 --> 0:45:16.160
<v Speaker 3>and there isn't going to be any water, and it's over.

0:45:17.000 --> 0:45:20.640
<v Speaker 3>You know, the city is stockpiling body bags. I was like,

0:45:20.800 --> 0:45:25.680
<v Speaker 3>I am gonna be I'm gonna go out dancing in

0:45:25.719 --> 0:45:29.520
<v Speaker 3>a motherfucking jockstrap covered in sweat and glitter. That was

0:45:29.560 --> 0:45:33.239
<v Speaker 3>the initial impulse. So no, I was supposed to have

0:45:33.280 --> 0:45:39.040
<v Speaker 3>a serious career as a gallery and museum artist. Was

0:45:39.080 --> 0:45:42.920
<v Speaker 3>not supposed to be some kind of you know, showbiz

0:45:43.440 --> 0:45:44.440
<v Speaker 3>party sex clown.

0:45:57.480 --> 0:46:00.680
<v Speaker 1>Midnight Chat is a loud and quiet podcast production by

0:46:00.719 --> 0:46:05.120
<v Speaker 1>Emma Snook Music courtesy of gold Panda. Search Midnight Chats

0:46:05.120 --> 0:46:09.040
<v Speaker 1>on iTunes for more episodes and to subscribe. For more information,

0:46:09.239 --> 0:46:16.319
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