🌛◾ℙ𝕃𝔸ℂ𝔼𝔹𝕆 𝕃𝕌𝕃𝕃𝔸𝔹𝕀𝔼𝕊 – 𝕡𝕒𝕣𝕥 𝕀𝕏.◾🌜

⭐"𝐋𝐨𝐯𝐞 𝐀𝐧𝐝 𝐃𝐫𝐮𝐠𝐬 𝐀𝐫𝐞 𝐎𝐧𝐞 𝐁𝐢𝐠 𝐏𝐢𝐥𝐥𝐨𝐰"⭐

Hello soulmates,
tonight we will spend again with Placebo lullabies.
This time I have two songs for you that will surprise you with their contrast and you can choose which will be the best for your mood today.

Today's songs are really full of contrast, maybe more so than usual for Placebo.

𝙒𝙞𝙩𝙝 𝙩𝙝𝙚 𝙛𝙞𝙧𝙨𝙩 𝙤𝙣𝙚, 𝙬𝙚 𝙘𝙖𝙣 𝙜𝙚𝙩 𝙩𝙤 𝙥𝙡𝙖𝙘𝙚𝙨 𝙞𝙣 𝙩𝙝𝙚 𝙢𝙞𝙣𝙙 𝙬𝙝𝙚𝙧𝙚 𝙩𝙝𝙚 𝙗𝙤𝙧𝙙𝙚𝙧 𝙗𝙚𝙩𝙬𝙚𝙚𝙣 𝙧𝙚𝙖𝙡𝙞𝙩𝙮 𝙖𝙣𝙙 𝙙𝙧𝙚𝙖𝙢𝙞𝙣𝙜 𝙗𝙡𝙪𝙧𝙨.

Have you ever experienced a situation where in the middle of the day your brain suddenly shuts down completely, you feel like closing your eyes and going into the dreamland for a little while...?

...You close your eyes, even when you are engaged in some important activity, but the body simply refuses to obey the brain at that moment...

Photo credit unknown

~~~~~~~~~~~~~~~~~~~~~~

🎶🔹𝐍𝐀𝐑𝐂𝐎𝐋𝐄𝐏𝐓𝐈𝐂🔹🎶

~~~~~~~~~~~~~~~~~~~~~~𝐓𝐡𝐞 𝟏𝟏𝐭𝐡 𝐬𝐨𝐧𝐠 𝐟𝐫𝐨𝐦 𝐭𝐡𝐞 𝟐𝟎𝟎𝟎 𝐚𝐥𝐛𝐮𝐦 "𝐁𝐥𝐚𝐜𝐤 𝐌𝐚𝐫𝐤𝐞𝐭 𝐌𝐮𝐬𝐢𝐜".

𝐎𝐟𝐟𝐢𝐜𝐢𝐚𝐥 𝐚𝐮𝐝𝐢𝐨:
https://bit.ly/3W5yNxe

📌𝐅𝐫𝐨𝐦 𝐰𝐢𝐤𝐢𝐩𝐞𝐝𝐢𝐚:
𝘕𝘢𝘳𝘤𝘰𝘭𝘦𝘱𝘴𝘺 𝘪𝘴 𝘢 𝘭𝘰𝘯𝘨-𝘵𝘦𝘳𝘮 𝘯𝘦𝘶𝘳𝘰𝘭𝘰𝘨𝘪𝘤𝘢𝘭 𝘥𝘪𝘴𝘰𝘳𝘥𝘦𝘳 𝘵𝘩𝘢𝘵 𝘪𝘯𝘷𝘰𝘭𝘷𝘦𝘴 𝘢 𝘥𝘦𝘤𝘳𝘦𝘢𝘴𝘦𝘥 𝘢𝘣𝘪𝘭𝘪𝘵𝘺 𝘵𝘰 𝘳𝘦𝘨𝘶𝘭𝘢𝘵𝘦 𝘴𝘭𝘦𝘦𝘱–𝘸𝘢𝘬𝘦 𝘤𝘺𝘤𝘭𝘦𝘴.[𝘤𝘪𝘵𝘢𝘵𝘪𝘰𝘯 𝘯𝘦𝘦𝘥𝘦𝘥] 𝘚𝘺𝘮𝘱𝘵𝘰𝘮𝘴 𝘰𝘧𝘵𝘦𝘯 𝘪𝘯𝘤𝘭𝘶𝘥𝘦 𝘱𝘦𝘳𝘪𝘰𝘥𝘴 𝘰𝘧 𝘦𝘹𝘤𝘦𝘴𝘴𝘪𝘷𝘦 𝘥𝘢𝘺𝘵𝘪𝘮𝘦 𝘴𝘭𝘦𝘦𝘱𝘪𝘯𝘦𝘴𝘴 𝘢𝘯𝘥 𝘣𝘳𝘪𝘦𝘧 𝘪𝘯𝘷𝘰𝘭𝘶𝘯𝘵𝘢𝘳𝘺 𝘴𝘭𝘦𝘦𝘱 𝘦𝘱𝘪𝘴𝘰𝘥𝘦𝘴. 𝘈𝘣𝘰𝘶𝘵 70% 𝘰𝘧 𝘵𝘩𝘰𝘴𝘦 𝘢𝘧𝘧𝘦𝘤𝘵𝘦𝘥 𝘢𝘭𝘴𝘰 𝘦𝘹𝘱𝘦𝘳𝘪𝘦𝘯𝘤𝘦 𝘦𝘱𝘪𝘴𝘰𝘥𝘦𝘴 𝘰𝘧 𝘴𝘶𝘥𝘥𝘦𝘯 𝘭𝘰𝘴𝘴 𝘰𝘧 𝘮𝘶𝘴𝘤𝘭𝘦 𝘴𝘵𝘳𝘦𝘯𝘨𝘵𝘩, 𝘬𝘯𝘰𝘸𝘯 𝘢𝘴 𝘤𝘢𝘵𝘢𝘱𝘭𝘦𝘹𝘺. .../***/

I think everyone who knows the suffering of insomnia has also experienced at least small bouts of narcolepsy. I'm glad that period of falling into darkness is over for me.

The interesting thing about these states is that even during the few seconds that sleep lasts, you dream one or more dreams in very rapid succession. I used to have trouble clarifying what was dream and what was reality after waking up. They were crazy states.

Placebo's 🔹'𝐍𝐀𝐑𝐂𝐎𝐋𝐄𝐏𝐓𝐈𝐂'🔹 was my anthem at the time, mainly because of the title and one verse that touched on my states of losing track of what was real... I wanted to end everything that was hurting me, a long-term relationship, an illness, actually my life...

Photo credit: Morten Holm

⭐"...𝙄𝙩 𝙨𝙚𝙚𝙢𝙚𝙙 𝙖 𝙥𝙡𝙖𝙘𝙚 𝙛𝙤𝙧 𝙪𝙨 𝙩𝙤 𝙙𝙧𝙚𝙖𝙢..."⭐

My path to healing came in meditation... My soul was a place of peace, calm and self-acceptance, loving me unconditionally and not flooding me with constant guilt and my failure.

But to this day I still feel a connection to the song that accompanied me in difficult times, even though it was just one of many, of course...

'𝐍𝐚𝐫𝐜𝐨𝐥𝐞𝐩𝐭𝐢𝐜' is a beautiful melancholic fragile ballad mainly due to Brian's voice.

It's again about a relationship that is dying... One of the couple already feels the state of impending self-destruction, while the other doesn't want to feel it yet...


„𝙔𝙤𝙪 𝙩𝙖𝙡𝙠 𝙞𝙣 𝙥𝙖𝙧𝙖𝙜𝙧𝙖𝙥𝙝𝙨 ...𝙄 𝙬𝙧𝙞𝙩𝙚 𝙢𝙮 𝙨𝙚𝙣𝙩𝙚𝙣𝙘𝙚 ...𝙄𝙩'𝙨 𝙣𝙤𝙩 𝙩𝙧𝙚𝙖𝙨𝙤𝙣, 𝙞𝙩'𝙨 𝙣𝙤 𝙡𝙞𝙚...“


The song, named after the disease of narcolepsy, seems to describe the illness of a relationship that is already on the verge of changing reality - falling asleep - dying."𝘾𝙧𝙪𝙨𝙝 𝙖𝙣𝙙 𝙘𝙧𝙪𝙢𝙗𝙡𝙚 𝙪𝙣𝙙𝙚𝙧 𝙮𝙤𝙪𝙧 𝙙𝙚𝙛𝙚𝙣𝙨𝙚𝙨... 𝙄𝙩'𝙨 𝙣𝙤𝙩 𝙩𝙧𝙚𝙖𝙨𝙤𝙣, 𝙞𝙩'𝙨 𝙣𝙤 𝙡𝙞𝙚...

𝙔𝙤𝙪 𝙛𝙧𝙖𝙢𝙚 𝙩𝙝𝙚 𝙥𝙝𝙤𝙩𝙤𝙜𝙧𝙖𝙥𝙝... 𝙄 𝙨𝙞𝙩 𝙤𝙣 𝙛𝙚𝙣𝙘𝙚𝙨... 𝘾𝙝𝙖𝙣𝙜𝙚 𝙤𝙛 𝙨𝙚𝙖𝙨𝙤𝙣, 𝙡𝙤𝙫𝙚 𝙘𝙖𝙣 𝙙𝙞𝙚..."

"𝙄𝙛 𝙬𝙚 𝙩𝙚𝙖𝙧 𝙤𝙪𝙩 𝙩𝙝𝙚 𝙩𝙪𝙢𝙤𝙧... 𝙄𝙩'𝙨 𝙡𝙖𝙩𝙚𝙧, 𝙣𝙚𝙫𝙚𝙧 𝙨𝙤𝙤𝙣𝙚𝙧"

Photo credit: Stefan Malzkorn

Of course, drugs as an escape from painful reality also play a role here... „𝙔𝙤𝙪'𝙙 𝙗𝙚𝙩𝙩𝙚𝙧 𝙠𝙚𝙚𝙥 𝙞𝙩 𝙞𝙣 𝙘𝙝𝙚𝙘𝙠... 𝙊𝙧 𝙮𝙤𝙪'𝙡𝙡 𝙚𝙣𝙙 𝙪𝙥 𝙖 𝙬𝙧𝙚𝙘𝙠... 𝘼𝙣𝙙 𝙮𝙤𝙪'𝙡𝙡 𝙣𝙚𝙫𝙚𝙧 𝙬𝙖𝙠𝙚 𝙪𝙥... 𝙒𝙖𝙠𝙚 𝙪𝙥...“ as 𝐁𝐫𝐢𝐚𝐧 describes in his quotes for this song:

💬🔹„𝘞𝘩𝘦𝘯 𝘐 𝘧𝘪𝘳𝘴𝘵 𝘸𝘳𝘰𝘵𝘦 𝘥𝘰𝘸𝘯 𝘵𝘩𝘦 𝘵𝘳𝘢𝘤𝘬𝘭𝘪𝘴𝘵𝘪𝘯𝘨 𝘰𝘧 𝘵𝘩𝘦 𝘢𝘭𝘣𝘶𝘮, 𝘐 𝘸𝘳𝘰𝘵𝘦 𝘶𝘯𝘥𝘦𝘳𝘯𝘦𝘢𝘵𝘩 𝘦𝘢𝘤𝘩 𝘵𝘳𝘢𝘤𝘬 𝘢 𝘴𝘦𝘤𝘰𝘯𝘥 𝘵𝘪𝘵𝘭𝘦. 𝘛𝘩𝘦𝘺 𝘥𝘪𝘥𝘯'𝘵 𝘮𝘢𝘬𝘦 𝘵𝘩𝘦𝘪𝘳 𝘸𝘢𝘺 𝘰𝘯 𝘵𝘰 𝘵𝘩𝘦 𝘢𝘭𝘣𝘶𝘮, 𝘣𝘶𝘵 𝘵𝘩𝘦𝘺 𝘸𝘦𝘳𝘦 𝘢 𝘴𝘶𝘮𝘮𝘪𝘯𝘨 𝘶𝘱 𝘪𝘯 𝘰𝘯𝘦 𝘱𝘩𝘳𝘢𝘴𝘦 𝘰𝘧 𝘸𝘩𝘢𝘵 𝘵𝘩𝘰𝘴𝘦 𝘴𝘰𝘯𝘨𝘴 𝘳𝘦𝘱𝘳𝘦𝘴𝘦𝘯𝘵 𝘵𝘰 𝘮𝘦. 𝘈𝘯𝘥 𝘵𝘩𝘦 𝘰𝘯𝘦 𝘐 𝘸𝘳𝘰𝘵𝘦 𝘧𝘰𝘳 "𝘕𝘢𝘳𝘤𝘰𝘭𝘦𝘱𝘵𝘪𝘤" 𝘸𝘢𝘴 "𝘓𝘰𝘷𝘦 𝘈𝘯𝘥 𝘋𝘳𝘶𝘨𝘴 𝘈𝘳𝘦 𝘖𝘯𝘦 𝘉𝘪𝘨 𝘗𝘪𝘭𝘭𝘰𝘸". 𝘈𝘨𝘢𝘪𝘯, 𝘭𝘪𝘬𝘦 "𝘚𝘱𝘦𝘤𝘪𝘢𝘭 𝘒", 𝘪𝘵 𝘦𝘹𝘱𝘭𝘰𝘳𝘦𝘴 𝘵𝘩𝘦 𝘭𝘪𝘯𝘬 𝘣𝘦𝘵𝘸𝘦𝘦𝘯 𝘥𝘳𝘶𝘨𝘴 𝘢𝘯𝘥 𝘭𝘰𝘷𝘦. "𝘚𝘱𝘦𝘤𝘪𝘢𝘭 𝘒" 𝘪𝘴 𝘶𝘱𝘱𝘦𝘳𝘴 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘳𝘶𝘴𝘩 𝘰𝘧 𝘧𝘢𝘭𝘭𝘪𝘯𝘨 𝘪𝘯 𝘭𝘰𝘷𝘦. "𝘕𝘢𝘳𝘤𝘰𝘭𝘦𝘱𝘵𝘪𝘤" 𝘪𝘴 𝘮𝘰𝘳𝘦 𝘭𝘪𝘬𝘦 𝘥𝘰𝘸𝘯𝘦𝘳𝘴 𝘢𝘯𝘥 𝘮𝘰𝘳𝘦 𝘭𝘪𝘬𝘦 𝘳𝘦𝘭𝘢𝘵𝘪𝘰𝘯𝘴𝘩𝘪𝘱𝘴, 𝘳𝘦𝘭𝘢𝘵𝘪𝘰𝘯𝘴𝘩𝘪𝘱𝘴 𝘵𝘩𝘢𝘵 𝘳𝘦𝘢𝘤𝘩 𝘵𝘩𝘢𝘵 𝘱𝘰𝘪𝘯𝘵 𝘰𝘧 𝘧𝘢𝘮𝘪𝘭𝘪𝘢𝘳𝘪𝘵𝘺 𝘣𝘳𝘦𝘦𝘥𝘪𝘯𝘨 𝘤𝘰𝘯𝘵𝘦𝘮𝘱𝘵.“
(𝙼𝚎𝚕𝚘𝚍𝚢 𝙼𝚊𝚔𝚎𝚛, 𝙾𝚌𝚝𝚘𝚋𝚎𝚛 𝟸000)

💬🔹 "𝘐𝘵'𝘴 𝘢 𝘴𝘰𝘯𝘨 𝘢𝘣𝘰𝘶𝘵 𝘱𝘢𝘴𝘴𝘪𝘯𝘨 𝘭𝘰𝘷𝘦... 𝘋𝘳𝘶𝘨𝘴 𝘢𝘯𝘥 𝘭𝘰𝘷𝘦 𝘢𝘳𝘦 𝘰𝘯𝘦 𝘣𝘪𝘨 𝘱𝘪𝘭𝘭𝘰𝘸 𝘢𝘯𝘥 𝘵𝘩𝘦𝘺 𝘤𝘢𝘯 𝘮𝘢𝘬𝘦 𝘺𝘰𝘶 𝘧𝘰𝘳𝘨𝘦𝘵 𝘢𝘣𝘰𝘶𝘵 𝘴𝘰 𝘮𝘢𝘯𝘺 𝘵𝘩𝘪𝘯𝘨𝘴 𝘢𝘯𝘥 𝘵𝘩𝘦𝘺 𝘤𝘢𝘯 𝘮𝘢𝘬𝘦 𝘺𝘰𝘶 𝘧𝘰𝘳𝘨𝘦𝘵 𝘢𝘣𝘰𝘶𝘵 𝘭𝘪𝘷𝘪𝘯𝘨 𝘢𝘯𝘥 𝘱𝘶𝘵 𝘺𝘰𝘶 𝘪𝘯𝘵𝘰 𝘢 𝘴𝘰𝘮𝘯𝘢𝘮𝘣𝘶𝘭𝘪𝘴𝘵 𝘴𝘵𝘢𝘵𝘦, 𝘭𝘪𝘬𝘦 𝘴𝘭𝘦𝘦𝘱 𝘸𝘢𝘭𝘬𝘪𝘯𝘨.”
(𝙳𝚎𝚜 𝚌𝚊𝚍𝚎𝚗𝚌𝚎𝚜 𝚎𝚝 𝚍𝚎𝚜 𝚖𝚊𝚞𝚡 𝚋𝚢 𝚂𝚎𝚋𝚊𝚜𝚝𝚒𝚎𝚗 𝙼𝚒𝚌𝚑𝚊𝚞𝚍)

A beautifully painful lullaby, what do you think?

🎬‼ 𝐘𝐨𝐮 𝐜𝐚𝐧 𝐞𝐧𝐣𝐨𝐲 𝐢𝐭 𝐞𝐯𝐞𝐧 𝐦𝐨𝐫𝐞 𝐢𝐧 𝐭𝐨𝐝𝐚𝐲'𝐬 𝐬𝐡𝐚𝐫𝐞𝐝 𝐯𝐢𝐝𝐞𝐨 𝐟𝐫𝐨𝐦 𝐎𝐋𝐘𝐌𝐏𝐈𝐀, 𝐏𝐀𝐑𝐈𝐒 𝟐𝟎𝟎𝟎.‼🎬

~🔹~🔹~🔹~

𝐈𝐭'𝐬 𝐭𝐢𝐦𝐞 𝐟𝐨𝐫 𝐭𝐡𝐞 𝐬𝐞𝐜𝐨𝐧𝐝 𝐥𝐮𝐥𝐥𝐚𝐛𝐲 - one of Placebo's most sensual songs.

A song so hot, with such a significant sexual charge, that it has become one of my favorite lullabies.
A brilliant song with a beautifully tender musical arrangement as if directly designed for playful moments in the arms of a loved one, or for falling asleep, or for falling asleep after making love...

💞With a song like this, you just have to get the urge to cuddle...💞

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🎶🔹𝐁𝐔𝐁𝐁𝐋𝐄𝐆𝐔𝐍🔹🎶

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𝐎𝐟𝐟𝐢𝐜𝐢𝐚𝐥 𝐀𝐮𝐝𝐢𝐨
https://bit.ly/3Na0O2l


This amazing song was released as b-side on the single “Slave to the wage” on September 25th 2000 and re-released on the album “B-sides 1996-2006” in 2011.

I think that in the first part of the lyrics the narrator describes his hectic life as a rock star, the only way to turn off headaches can be a fast lane (maybe cocaine...) and also sex.
"𝙏𝙖𝙠𝙚 𝙩𝙝𝙞𝙨 𝙢𝙞𝙜𝙧𝙖𝙞𝙣𝙚 𝙚𝙫𝙚𝙧𝙮𝙬𝙝𝙚𝙧𝙚 𝙄 𝙜𝙤, 𝙩𝙖𝙠𝙚 𝙩𝙝𝙚 𝙛𝙖𝙨𝙩 𝙡𝙖𝙣𝙚 𝙚𝙫𝙚𝙧𝙮𝙬𝙝𝙚𝙧𝙚 𝙄 𝙜𝙤...
𝙏𝙖𝙠𝙚 𝙩𝙝𝙞𝙨 𝙢𝙞𝙜𝙧𝙖𝙞𝙣𝙚 𝙚𝙫𝙚𝙧𝙮𝙬𝙝𝙚𝙧𝙚 𝙄 𝙜𝙤, 𝙨𝙤𝙢𝙚𝙙𝙖𝙮, 𝙜𝙤𝙣𝙣𝙖 𝙩𝙖𝙠𝙚 𝙞𝙩 𝙨𝙡𝙤𝙬..."

And then the song takes a straight direction... I don't have to say anything about my idea of the narrator's loaded gun, do I?🙈🤔😊

Photo credit: Kevin Westenberg

„𝙄 𝙬𝙖𝙣𝙣𝙖 𝙩𝙪𝙧𝙣 𝙮𝙤𝙪 𝙤𝙣... 𝙛𝙚𝙚𝙡𝙨 𝙡𝙞𝙠𝙚 𝙖 𝙡𝙤𝙖𝙙𝙚𝙙 𝙜𝙪𝙣...“

...and in the next verse the request is clear... the man asks someone to spit out chewing gum and give him head:

„𝙎𝙥𝙞𝙩 𝙤𝙪𝙩 𝙮𝙤𝙪𝙧 𝙗𝙪𝙗𝙗𝙡𝙚𝙜𝙪𝙢... 𝙄 𝙬𝙖𝙣𝙣𝙖...𝙬𝙖𝙣𝙣𝙖...“

...and if you get to the end and your libido isn't bubbling yet, Brian's velvety voice is bound to bring you to your knees...

The ending of this song is the very perfection of sensuality:

„𝙄 𝙬𝙖𝙣𝙣𝙖...𝙄 𝙬𝙖𝙣𝙣𝙖...𝙄 𝙬𝙖𝙣𝙣𝙖...𝙄 𝙬𝙖𝙣𝙣𝙖 𝙘𝙪𝙢.“


There are no band's quotes for this song. So I'll borrow a quote from Brian's interview that I think fits the moment best:

💬🔹 𝐘𝐨𝐮 𝐡𝐚𝐯𝐞 𝐚 𝐫𝐞𝐩𝐮𝐭𝐚𝐭𝐢𝐨𝐧 𝐟𝐨𝐫 𝐛𝐞𝐢𝐧𝐠 𝐚 𝐩𝐞𝐫𝐯𝐞𝐫𝐭.
„𝘈 𝘱𝘦𝘳𝘷𝘦𝘳𝘵 𝘱𝘦𝘳𝘩𝘢𝘱𝘴, 𝘣𝘶𝘵 𝘭𝘪𝘬𝘦 𝘵𝘩𝘦 𝘔𝘰𝘮𝘶𝘴 𝘳𝘦𝘤𝘰𝘳𝘥, 𝘢 𝘵𝘦𝘯𝘥𝘦𝘳 𝘱𝘦𝘳𝘷𝘦𝘳𝘵. 𝘏𝘢𝘩𝘢𝘩𝘢𝘩𝘢𝘩𝘢! 𝘐𝘯 𝘦𝘷𝘦𝘳𝘺 𝘳𝘦𝘱𝘶𝘵𝘢𝘵𝘪𝘰𝘯, 𝘵𝘩𝘦𝘳𝘦'𝘴 𝘢 𝘨𝘳𝘢𝘪𝘯 𝘰𝘧 𝘵𝘳𝘶𝘵𝘩, 𝘣𝘶𝘵 𝘰𝘧𝘵𝘦𝘯 𝘪𝘵'𝘴 𝘢 𝘤𝘢𝘴𝘦 𝘰𝘧 𝘺𝘰𝘶𝘳 𝘳𝘦𝘱𝘶𝘵𝘢𝘵𝘪𝘰𝘯 𝘱𝘳𝘦𝘤𝘦𝘥𝘪𝘯𝘨 𝘺𝘰𝘶, 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘸𝘩𝘰𝘭𝘦 𝘵𝘩𝘪𝘯𝘨 𝘪𝘴 𝘣𝘭𝘰𝘸𝘯 𝘰𝘶𝘵 𝘰𝘧 𝘱𝘳𝘰𝘱𝘰𝘳𝘵𝘪𝘰𝘯. 𝘞𝘩𝘪𝘤𝘩 𝘪𝘴 𝘧𝘶𝘯𝘯𝘺. 𝘐𝘵'𝘴 𝘢𝘭𝘭 𝘱𝘢𝘳𝘵 𝘰𝘧 𝘵𝘩𝘦 𝘳𝘰𝘤𝘬 𝘮𝘺𝘵𝘩, 𝘴𝘰 𝘪𝘵'𝘴 𝘖𝘒.“
(𝙱𝚛𝚒𝚊𝚗 𝙼𝚘𝚕𝚔𝚘, 𝙼𝚎𝚕𝚘𝚍𝚢 𝙼𝚊𝚔𝚎𝚛, 𝙾𝚌𝚝𝚘𝚋𝚎𝚛 𝟸0𝚝𝚑 𝟸000)
~🔹~🔹~🔹~

Photo credit: Scarlet Page

Friends, how perverse is this lullaby for you as a fan of such a provocative band?

My personal opinion is that to describe its sincere sensuality in a careful, roundabout way is an insult to this very lovely song.

And if you combine listening to it with some very pleasant intimate experiences, you give it exactly the energy for which it was created.

Unfortunately for us, this gem has never been played live. Therefore, there is no video to share with you, except for 𝐨𝐧𝐞 𝐨𝐟 𝐬𝐞𝐯𝐞𝐫𝐚𝐥 𝐜𝐡𝐚𝐫𝐦𝐢𝐧𝐠 𝐟𝐚𝐧𝐦𝐚𝐝𝐞 𝐯𝐢𝐝𝐞𝐨𝐬, 𝐰𝐡𝐢𝐜𝐡 𝐲𝐨𝐮 𝐜𝐚𝐧 𝐰𝐚𝐭𝐜𝐡 𝐡𝐞𝐫𝐞:
🎬🔹 https://bit.ly/3f4TMiU

Although according to my feelings - in their music I more often fall steeply down into the depths of darkness, and therefore - you have to enjoy every moment, when it lifts us up beautifully and with a smile on our face.

💖𝐀𝐧𝐝 𝐈 𝐡𝐨𝐩𝐞 𝐲𝐨𝐮 𝐡𝐚𝐝 𝐚 𝐬𝐦𝐢𝐥𝐞 𝐨𝐧 𝐲𝐨𝐮𝐫 𝐟𝐚𝐜𝐞 𝐰𝐡𝐞𝐧 𝐲𝐨𝐮 𝐫𝐞𝐚𝐝 𝐚𝐛𝐨𝐮𝐭 “𝐁𝐮𝐛𝐛𝐥𝐞𝐠𝐮𝐧”.😊

Post by Marti

🌛◾ℙ𝕃𝔸ℂ𝔼𝔹𝕆 𝕃𝕌𝕃𝕃𝔸𝔹𝕀𝔼𝕊 - 𝕡𝕒𝕣𝕥 𝕍𝕀𝕀𝕀.◾🌜

💜Hello friends,
at the beginning of today's lullabies I want to tell you a true story from my immediate surroundings.

Photo credit unknown

💔⚡Once upon a time there was a very shy not very handsome boy and a really very pretty girl. In a fairy tale, this seemingly romantic story would probably have a happy ending. But in reality it was a great tragedy that was deeply etched in my memory.
A boy fell madly in love with a girl who was admired by other classmates. He gathered all his courage and started courting her. The young lady laughed at him in front of everyone and continued to ignore him. But she was his whole life. He still had her image in his mind and his heart was bursting not only with pain but also with jealousy.
Here it feels like I'm describing Thom's reason for writing the Creep (Radiohead) song...
Well, this story continued...


The boy withdrew and for a few weeks did nothing but stand outside her window in the shade of a huge tree in her garden and watch his goddess whenever she was in her room.
I'm not going to stretch you any further. The girl's father called the police and accused the boy of obscenity. The young man could not bear the huge misunderstanding of his expressions of love and one night hanged himself from that huge tree in her garden exactly so that he was looking into her window at the moment of his death.⚡💔

🌛◾ℙ𝕃𝔸ℂ𝔼𝔹𝕆 𝕃𝕌𝕃𝕃𝔸𝔹𝕀𝔼𝕊 - 𝕡𝕒𝕣𝕥 𝕍𝕀𝕀𝕀.◾🌜

𝐃𝐨 𝐲𝐨𝐮 𝐚𝐥𝐫𝐞𝐚𝐝𝐲 𝐤𝐧𝐨𝐰 𝐰𝐡𝐢𝐜𝐡 𝐬𝐨𝐧𝐠 𝐭𝐨𝐝𝐚𝐲'𝐬 𝐩𝐨𝐬𝐭 𝐰𝐢𝐥𝐥 𝐛𝐞 𝐚𝐛𝐨𝐮𝐭?

~~~~~~~~~~~~~~~~~~~~
🎶🔹𝐏𝐄𝐄𝐏𝐈𝐍𝐆 𝐓𝐎𝐌🔹🎶
~~~~~~~~~~~~~~~~~~~~

𝗢𝗳𝗳𝗶𝗰𝗶𝗮𝗹 𝗔𝘂𝗱𝗶𝗼
https://bit.ly/3TizQrU


💜𝐀𝐧𝐝 𝐭𝐡𝐞 𝐛𝐞𝐚𝐮𝐭𝐢𝐟𝐮𝐥 𝐯𝐢𝐝𝐞𝐨 𝐈'𝐦 𝐬𝐡𝐚𝐫𝐢𝐧𝐠 𝐰𝐢𝐭𝐡 𝐲𝐨𝐮 𝐭𝐨𝐝𝐚𝐲 𝐢𝐬 𝐟𝐫𝐨𝐦 𝐭𝐡𝐞 𝐟𝐞𝐬𝐭𝐢𝐯𝐚𝐥 𝐢𝐧 𝐕𝐢𝐞𝐢𝐥𝐥𝐞𝐬 𝐂𝐡𝐚𝐫𝐫𝐮𝐞𝐬 𝟐𝟎𝟎𝟏.💜
*🔹*🔹*🔹*

⭐💬 “𝘗𝘦𝘦𝘱𝘪𝘯𝘨 𝘛𝘰𝘮” 𝘪𝘴 𝘪𝘯𝘵𝘦𝘳𝘦𝘴𝘵𝘪𝘯𝘨. 𝘛𝘩𝘢𝘵'𝘴 𝘢𝘣𝘰𝘶𝘵 𝘷𝘰𝘺𝘦𝘶𝘳𝘪𝘴𝘮. 𝘈𝘨𝘢𝘪𝘯, 𝘐 𝘵𝘳𝘺 𝘵𝘰 𝘱𝘭𝘢𝘤𝘦 𝘵𝘩𝘦 𝘭𝘪𝘴𝘵𝘦𝘯𝘦𝘳 𝘪𝘯𝘴𝘪𝘥𝘦 𝘵𝘩𝘦 𝘦𝘮𝘰𝘵𝘪𝘰𝘯𝘴 𝘰𝘧 𝘵𝘩𝘦 𝘷𝘰𝘺𝘦𝘶𝘳 𝘩𝘪𝘮𝘴𝘦𝘭𝘧 𝘢𝘯𝘥 𝘵𝘳𝘺 𝘵𝘰 𝘱𝘰𝘳𝘵𝘳𝘢𝘺 𝘵𝘩𝘪𝘴 𝘤𝘩𝘢𝘳𝘢𝘤𝘵𝘦𝘳 𝘪𝘯 𝘢 𝘴𝘺𝘮𝘱𝘢𝘵𝘩𝘦𝘵𝘪𝘤 𝘮𝘢𝘯𝘯𝘦𝘳. 𝘛𝘰 𝘴𝘩𝘰𝘸 𝘵𝘩𝘦 𝘭𝘰𝘷𝘦 𝘵𝘩𝘢𝘵 𝘩𝘦 𝘩𝘢𝘴 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘱𝘦𝘳𝘴𝘰𝘯 𝘩𝘦 𝘴𝘱𝘪𝘦𝘴 𝘰𝘯. 𝘛𝘩𝘦 𝘧𝘢𝘤𝘵 𝘵𝘩𝘢𝘵 𝘵𝘩𝘪𝘴 𝘱𝘦𝘳𝘴𝘰𝘯 𝘪𝘴 𝘵𝘩𝘦 𝘰𝘯𝘭𝘺 𝘳𝘢𝘺 𝘰𝘧 𝘭𝘪𝘨𝘩𝘵 𝘵𝘩𝘢𝘵 𝘦𝘹𝘪𝘴𝘵𝘴 𝘪𝘯 𝘵𝘩𝘦 𝘷𝘰𝘺𝘦𝘶𝘳'𝘴 𝘭𝘪𝘧𝘦. '𝘗𝘦𝘦𝘱𝘪𝘯𝘨 𝘛𝘰𝘮' 𝘪𝘴 𝘭𝘪𝘬𝘦 '𝘉𝘶𝘳𝘨𝘦𝘳 𝘘𝘶𝘦𝘦𝘯' 𝘱𝘶𝘴𝘩𝘦𝘥 𝘰𝘯𝘦 𝘴𝘵𝘦𝘱 𝘧𝘶𝘳𝘵𝘩𝘦𝘳. 𝘈𝘯𝘥 𝘪𝘵'𝘴 𝘲𝘶𝘪𝘵𝘦 𝘣𝘦𝘢𝘶𝘵𝘪𝘧𝘶𝘭 𝘢𝘯𝘥 𝘪𝘵'𝘴 𝘱𝘢𝘤𝘬𝘦𝘥 𝘧𝘶𝘭𝘭 𝘰𝘧 𝘱𝘢𝘵𝘩𝘰𝘴 𝘢𝘯𝘥 𝘪𝘵'𝘴 𝘲𝘶𝘪𝘵𝘦 𝘵𝘰𝘶𝘤𝘩𝘪𝘯𝘨. 𝘐𝘵'𝘴 𝘵𝘳𝘺𝘪𝘯𝘨 𝘵𝘰 𝘴𝘩𝘰𝘸 𝘵𝘩𝘦 𝘴𝘺𝘮𝘱𝘢𝘵𝘩𝘦𝘵𝘪𝘤 𝘴𝘪𝘥𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘱𝘦𝘳𝘷𝘦𝘳𝘵. 𝘉𝘦𝘤𝘢𝘶𝘴𝘦 𝘐 𝘥𝘰𝘯'𝘵 𝘣𝘦𝘭𝘪𝘦𝘷𝘦 𝘦𝘷𝘦𝘳𝘺𝘵𝘩𝘪𝘯𝘨 𝘪𝘴 𝘣𝘭𝘢𝘤𝘬 𝘢𝘯𝘥 𝘸𝘩𝘪𝘵𝘦 𝘸𝘩𝘦𝘯 𝘪𝘵 𝘤𝘰𝘮𝘦𝘴 𝘵𝘰 𝘩𝘶𝘮𝘢𝘯 𝘦𝘮𝘰𝘵𝘪𝘰𝘯."
(𝙱𝚛𝚒𝚊𝚗 𝙼𝚘𝚕𝚔𝚘, 𝙼𝚎𝚕𝚘𝚍𝚢 𝙼𝚊𝚔𝚎𝚛, 𝙾𝚌𝚝𝚘𝚋𝚎𝚛, 𝟸000)


My opening story is just one of many. Every time I listen to this lullaby, I get a sense of the fatal act that cannot be undone. What I mean by this is that not every time a person accused of voyeurism is directly affected by this deviation. Sometimes human misunderstanding and condemnation results in a deeper chasm in humanity than we would expect.

🔹𝘋𝘰 𝘺𝘰𝘶 𝘱𝘦𝘳𝘴𝘰𝘯𝘢𝘭𝘭𝘺 𝘩𝘢𝘷𝘦 𝘦𝘹𝘱𝘦𝘳𝘪𝘦𝘯𝘤𝘦 𝘸𝘪𝘵𝘩 𝘵𝘩𝘪𝘴 𝘵𝘰𝘱𝘪𝘤, 𝘴𝘰𝘶𝘭𝘮𝘢𝘵𝘦𝘴?
𝘏𝘢𝘷𝘦 𝘺𝘰𝘶 𝘦𝘷𝘦𝘳 𝘣𝘦𝘦𝘯 𝘢 𝘷𝘪𝘤𝘵𝘪𝘮 𝘰𝘧 𝘷𝘰𝘺𝘦𝘶𝘳𝘪𝘴𝘮? 𝘖𝘳 𝘩𝘢𝘷𝘦 𝘺𝘰𝘶 𝘩𝘢𝘥 𝘢𝘯 𝘪𝘳𝘳𝘦𝘴𝘪𝘴𝘵𝘪𝘣𝘭𝘦 𝘶𝘳𝘨𝘦 𝘵𝘰 𝘣𝘦𝘤𝘰𝘮𝘦 𝘢 𝘷𝘰𝘺𝘦𝘶𝘳 𝘺𝘰𝘶𝘳𝘴𝘦𝘭𝘧, 𝘢𝘵 𝘭𝘦𝘢𝘴𝘵 𝘧𝘰𝘳 𝘢 𝘸𝘩𝘪𝘭𝘦? 🔹

Photo credit: Conny

𝐀𝐧𝐝 𝐰𝐡𝐞𝐫𝐞 𝐝𝐢𝐝 𝐭𝐡𝐞 𝐧𝐚𝐦𝐞 𝐏𝐞𝐞𝐩𝐢𝐧𝐠 𝐓𝐨𝐦 𝐨𝐫𝐢𝐠𝐢𝐧𝐚𝐥𝐥𝐲 𝐜𝐨𝐦𝐞 𝐟𝐫𝐨𝐦?
At the beginning of this special term for the voyeur is a very old legend about Lady Godiva of Coventry, which has several versions. One of them states that her husband, Earl Leofric of Mercia, imposed an oppressive tax on the citizens.

Lady Godiva begged him to end the suffering of the people. But Leofric had a condition - he insisted that Godiva must ride naked - covered only in her long hair - through the city on horseback.

Before beginning this quest to help Coventry, Lady Godiva told everyone to stay indoors and shut their windows to preserve her modesty. She then rode through the streets, her long hair draped so that it covered almost her whole body, allowing only her legs and eyes to remain visible.

The name "Peeping Tom" for a voyeur originates from later versions of this legend, in which a tailor named Thomas watched her ride and was struck blind or killed for it.
Lady Godiva really lived and was married to her husband Leofric in the 11th century. However, the truth of the legend is denied by the fact that, according to historical sources, this noble married couple was known for their charity in favor of the church.
This means that many versions of this legend arose over the next several hundred years as a folkloric tradition associated with the annual fairs in the locality of Coventry.
*🔹*🔹*🔹*

𝘈𝘭𝘵𝘩𝘰𝘶𝘨𝘩 𝘷𝘰𝘺𝘦𝘶𝘳𝘪𝘴𝘮 𝘪𝘴 𝘢 𝘤𝘰𝘮𝘮𝘰𝘯𝘭𝘺 𝘥𝘦𝘴𝘤𝘳𝘪𝘣𝘦𝘥 𝘴𝘦𝘹𝘶𝘢𝘭 𝘥𝘦𝘷𝘪𝘢𝘵𝘪𝘰𝘯, 𝘪𝘵 𝘩𝘢𝘴 𝘯𝘦𝘷𝘦𝘳𝘵𝘩𝘦𝘭𝘦𝘴𝘴 𝘨𝘳𝘢𝘥𝘶𝘢𝘭𝘭𝘺 𝘤𝘳𝘦𝘱𝘵 𝘪𝘯𝘵𝘰 𝘰𝘶𝘳 𝘭𝘪𝘷𝘦𝘴.
𝘕𝘰𝘸𝘢𝘥𝘢𝘺𝘴, 𝘺𝘰𝘶 𝘸𝘢𝘭𝘬 𝘢𝘳𝘰𝘶𝘯𝘥 𝘢𝘯𝘺 𝘤𝘪𝘵𝘺 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘤𝘢𝘮𝘦𝘳𝘢 𝘴𝘺𝘴𝘵𝘦𝘮, 𝘢𝘭𝘰𝘯𝘨 𝘸𝘪𝘵𝘩 𝘧𝘢𝘤𝘪𝘢𝘭 𝘳𝘦𝘤𝘰𝘨𝘯𝘪𝘵𝘪𝘰𝘯 𝘴𝘰𝘧𝘵𝘸𝘢𝘳𝘦, 𝘩𝘢𝘴 𝘢 𝘳𝘦𝘤𝘰𝘳𝘥 𝘰𝘧 𝘰𝘶𝘳 𝘦𝘷𝘦𝘳𝘺 𝘮𝘰𝘷𝘦... 𝘴𝘶𝘱𝘱𝘰𝘴𝘦𝘥𝘭𝘺 𝘣𝘦𝘤𝘢𝘶𝘴𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘵𝘩𝘳𝘦𝘢𝘵 𝘵𝘰 𝘰𝘶𝘳 𝘴𝘢𝘧𝘦𝘵𝘺... 𝘈𝘯𝘥 𝘵𝘦𝘭𝘦𝘷𝘪𝘴𝘪𝘰𝘯 𝘤𝘰𝘮𝘱𝘢𝘯𝘪𝘦𝘴 𝘢𝘳𝘦 𝘳𝘢𝘤𝘪𝘯𝘨 𝘵𝘰 𝘰𝘧𝘧𝘦𝘳 𝘷𝘢𝘳𝘪𝘰𝘶𝘴 𝘳𝘦𝘢𝘭𝘪𝘵𝘺 𝘴𝘩𝘰𝘸𝘴 𝘵𝘩𝘢𝘵 𝘨𝘪𝘷𝘦 𝘶𝘴 𝘢 𝘨𝘭𝘪𝘮𝘱𝘴𝘦 𝘪𝘯𝘵𝘰 𝘵𝘩𝘦 𝘪𝘯𝘵𝘪𝘮𝘢𝘵𝘦 𝘱𝘳𝘪𝘷𝘢𝘤𝘺 𝘰𝘧 𝘮𝘢𝘯𝘺 𝘱𝘦𝘰𝘱𝘭𝘦.


🔹💬 𝐁𝐑𝐈𝐀𝐍 𝐎𝐍 '𝐏𝐄𝐄𝐏𝐈𝐍𝐆 𝐓𝐎𝐌'
⭐𝑻𝒉𝒆 𝒔𝒐𝒏𝒈 𝑷𝒆𝒆𝒑𝒊𝒏𝒈 𝑻𝒐𝒎 𝒊𝒔 𝒂 𝒔𝒕𝒐𝒓𝒚 𝒂𝒃𝒐𝒖𝒕 𝒂 𝒑𝒆𝒆𝒑𝒊𝒏𝒈 𝑻𝒐𝒎 𝒕𝒉𝒂𝒕 𝒚𝒐𝒖 𝒔𝒊𝒏𝒈 𝒊𝒏 𝒕𝒉𝒆 𝒇𝒊𝒓𝒔𝒕 𝒑𝒆𝒓𝒔𝒐𝒏. 𝑰𝒔 𝒊𝒕 𝒂 𝒘𝒂𝒚 𝒐𝒇 𝒓𝒆𝒎𝒊𝒏𝒅𝒊𝒏𝒈 𝒑𝒆𝒐𝒑𝒍𝒆 𝒕𝒉𝒂𝒕 𝒊𝒏 𝒆𝒂𝒄𝒉 𝒐𝒇 𝒐𝒖𝒓 𝒄𝒉𝒂𝒓𝒂𝒄𝒕𝒆𝒓𝒔, 𝒕𝒉𝒆𝒓𝒆 𝒊𝒔 𝒂 𝒅𝒂𝒓𝒌 𝒔𝒊𝒅𝒆?
𝗕𝗿𝗶𝗮𝗻: "I wanted people listening to his songs to feel the emotions of the peeping Tom. I guess I'm trying to bring a human side to what people consider to be something quite perverse but it's interesting that these days we live in a culture where CCTV is very present. There are cameras everywhere. We're obsessed with each other's lives. There are even shows like Big Brother where we watch other people's lives."
(𝙱𝚛𝚒𝚊𝚗 𝙼𝚘𝚕𝚔𝚘 𝚘𝚗 𝙵𝚛𝚎𝚗𝚌𝚑 𝚃𝚅, 𝟸000)
*🔹*🔹*🔹*

Photo credit:  Hamish Brown 

𝘋𝘦𝘢𝘳 𝘴𝘰𝘶𝘭𝘮𝘢𝘵𝘦𝘴, 𝘸𝘦 𝘢𝘭𝘳𝘦𝘢𝘥𝘺 𝘬𝘯𝘰𝘸 𝘵𝘩𝘢𝘵 𝘵𝘸𝘦𝘯𝘵𝘺 𝘺𝘦𝘢𝘳𝘴 𝘢𝘧𝘵𝘦𝘳 𝘵𝘩𝘦 𝘳𝘦𝘭𝘦𝘢𝘴𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘴𝘰𝘯𝘨 𝘗𝘦𝘦𝘱𝘪𝘯𝘨 𝘛𝘰𝘮, 𝘵𝘩𝘦 𝘵𝘩𝘦𝘮𝘦 𝘰𝘧 𝘴𝘱𝘺𝘪𝘯𝘨 𝘰𝘯 𝘱𝘦𝘰𝘱𝘭𝘦 𝘩𝘢𝘴 𝘨𝘳𝘰𝘸𝘯 𝘵𝘰 𝘵𝘩𝘦 𝘢𝘭𝘣𝘶𝘮 𝘕𝘦𝘷𝘦𝘳 𝘓𝘦𝘵 𝘔𝘦 𝘎𝘰 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘴𝘰𝘯𝘨 𝘚𝘶𝘳𝘳𝘰𝘶𝘯𝘥𝘦𝘥 𝘉𝘺 𝘚𝘱𝘪𝘦𝘴, 𝘸𝘩𝘪𝘤𝘩 𝘶𝘯𝘧𝘰𝘳𝘵𝘶𝘯𝘢𝘵𝘦𝘭𝘺 𝘢𝘭𝘴𝘰 𝘳𝘦𝘧𝘭𝘦𝘤𝘵𝘴 𝘉𝘳𝘪𝘢𝘯'𝘴 𝘣𝘢𝘥 𝘱𝘦𝘳𝘴𝘰𝘯𝘢𝘭 𝘦𝘹𝘱𝘦𝘳𝘪𝘦𝘯𝘤𝘦𝘴:

⭐💬 “I then began to ponder the countless ways in which our privacy has been eroded and stolen since the introduction of worldwide CCTV cameras that now employ racist facial recognition technologies; the rise of the internet and the cellphone, which has turned practically every user into a paparazzo and spectators in their own lives, and how we have mostly all offered up personal information to enormous multinationals whose sole intent is to exploit us,”
(𝙱𝚛𝚒𝚊𝚗 𝙼𝚘𝚕𝚔𝚘, 𝙽𝙼𝙴, 𝙽𝚘𝚟' 𝟸0𝟸𝟷)

⭐💬 “We sleepwalk through the city, unaware of the fact that you can be followed from your doorstep to your destination. I thought to myself, ‘If good neighbours of mine can do this, then what else is going on?’ It’s just a microscopic version of what’s happening everywhere.”
(𝚁𝚘𝚕𝚕𝚒𝚗𝚐 𝚂𝚝𝚘𝚗𝚎 𝚄𝙺, 𝙵𝚎𝚋𝚛𝚞𝚊𝚛𝚢 𝟷𝚜𝚝 𝟸0𝟸𝟸)


Honestly - I stopped accepting this senseless human behavior a long time ago and that's why I live in the mountains, where I have the opportunity to think more about everything that is really important.

And no wonder Brian is increasingly asserting his dislike of cell phones at his concerts for the sake of his mental health, even having to move into the unknown because of snoopers around him.

💜𝐓𝐡𝐚𝐭'𝐬 𝐰𝐡𝐲 𝐈 𝐰𝐚𝐧𝐭 𝐭𝐨 𝐬𝐚𝐲 - let's try to perceive Brian's insistence with our hearts rather than with our egos. Let's try to imagine that this man is communicating with us through his talent and his work, in which he has put his heart, and therefore he welcomes our feedback, he wants to feel our hearts, our joy, our tears, our understanding.
It's about the energy that you're sending back towards the stage in that moment.

💜𝐋𝐞𝐭'𝐬 𝐭𝐫𝐲 𝐭𝐨 𝐮𝐧𝐝𝐞𝐫𝐬𝐭𝐚𝐧𝐝 that through the screen of mobile phones, in which we fix our eyes, the pure momentary euphoria that every musician feeds on does not reach him.

💜𝐈𝐟 𝐲𝐨𝐮 𝐜𝐚𝐧 𝐢𝐦𝐚𝐠𝐢𝐧𝐞 for just a moment the uncomfortable feeling of spending every day in front of cell phones recording your every move and step and then your every gesture and word is posted on the internet, then you are well on your way to respecting Brian's decision.

Post by Marti

🎶𝐃𝐀𝐘𝐒 𝐁𝐄𝐅𝐎𝐑𝐄 𝐘𝐎𝐔 𝐂𝐀𝐌𝐄🎶

“𝐃𝐀𝐘𝐒 𝐁𝐄𝐅𝐎𝐑𝐄 𝐘𝐎𝐔 𝐂𝐀𝐌𝐄” is a song from Placebo's third record "𝗕𝗹𝗮𝗰𝗸 𝗺𝗮𝗿𝗸𝗲𝘁 𝗺𝘂𝘀𝗶𝗰" (2000). An album about which Brian said that it “rocks harder then the first two put together. It deals with violence quite a lot” (Kerrang, July 15th 2000). In another interview with the same magazine he stated that it's “anger and energy. It's the final part of our trilogy“.

So what about the debut album (“Placebo”) and its follow-up (“Without you I'm nothing”)? – In hindsight Brian saw it like this: “You know, the first album dealt with sex, drugs and rock and roll. Crazy sex, wild sex, sex on drugs, all that. On the second we're dealing with the after effects of that“ (Circus, May 1999). Or in other words: "The first album was a bit of a party and the second album is kind of the hangover. I describe this record as a post-coital depression" (Steve Hewitt, The Mirror, March 18th 1999).

Photo credit:  Claudia Schmölders 

But back to “Black market music”. The themes that run through the album, actually through Placebo songs in general, are love and drugs. Brian: “That's what people get addicted to most in life. And they are often the same. People have the same reactions to both” (Melody Maker, October 20th 2000). He also said that for him this idea of addiction is not only related to substances and people but also to emotions or situations.
Although “Black market music” is still about the same themes as the previous records it adds something new to the songs: “'It is more of a political record, an anger record. It's simply because we've ceased to navel-gaze as much and started to react to the injustice and the pain of the outside world" (Brian, Eye Weekly, April 26th 2001).

According to Brian “Days before you came” isn't written about someone in particular. He explained that the lyrics can be read either about someone falling in love or someone kicking an intense drug habit. Brian: “I think the provisional line in the song is 'I didn't want you anyway' about something taking over your life without you asking for it (see quote below).

“Days before you came” was recorded at Townhouse Studios in London and produced by Paul Corkett. It was engineered by Lorraine Francis and mastered by Ian Cooper.
The song was played live mainly during the “Black market music” tour in 2000 and 2001. After that it was performed only at three more occasions in early 2003. Altogether it was brought on stage 104 confirmed times. The shared video was recorded at Bizarre Festival in Germany on August 18th 2000. This was a quite short set consisting of only twelve songs.

📌 𝗕𝗥𝗜𝗔𝗡 𝗢𝗡 “𝗗𝗔𝗬𝗦 𝗕𝗘𝗙𝗢𝗥𝗘 𝗬𝗢𝗨 𝗖𝗔𝗠𝗘” 📌
📢 "It isn't written about anyone in particular, it's a song for no one really. It's straightforward lyrically and you can read it as someone falling in love or even someone kicking a really intense drug habit. I think the provisional line in the song is 'I didn't want you anyway' about something taking over your life without you asking for it. Or if you have to give up something bad in your life, healthwise, it's not necessarily because you want to, it could be something as simple as cigarettes or something far more dangerous."
(Brian, unknown magazine, 2000 [source: angelfire])

Photo credit:  Claudia Schmölders 

📜 𝗟𝗬𝗥𝗜𝗖𝗦
Days before you came
Freezing cold and empty
Towns that change their name
And a horn of plenty

Days before you came
Counting breaths inside me
Even crack-cocaine
couldn't start to hide me

Won't you join me now?
Baby's looking torn and frayed
Join the masquerade
Join the masquerade

Won't you join me now?
Baby's looking to get laid
Join the masquerade
Join the masquerade.

Days before you came
It always seemed enticing
to be naked and profane
There is no denying

Days before you came
Thunderbolt and lightning
Each day a brand new vein
Each tourniquet colliding

I didn't want you anyway 

Post by Silke

♦️𝗔𝗡𝗡𝗜𝗩𝗘𝗥𝗦𝗔𝗥𝗬: 𝗕𝗟𝗔𝗖𝗞 𝗠𝗔𝗥𝗞𝗘𝗧 𝗠𝗨𝗦𝗜𝗖♦️

🎶“𝗕𝗟𝗔𝗖𝗞 𝗠𝗔𝗥𝗞𝗘𝗧 𝗠𝗨𝗦𝗜𝗖“🎶 is Placebo's third studio album and was released on October 9th 2000, so today we celebrate its ♦️𝟮𝟮𝗻𝗱 𝗔𝗡𝗡𝗜𝗩𝗘𝗥𝗦𝗔𝗥𝗬♦️ today.

Brian described it as their most political record and as “the final part of our trilogy“ (see quotes below). In an interview with Kerrang he stated that "this album rocks harder then the first two albums put together (July 15th 2000). “Black market music” deals with violence quite a lot and is a quite dark record lyrically. “It's still about falling in love, it's still about the impossibility of love in some places, there's quite a lot of religious imagery and a smattering of politics", Brian explained it to a journalist of Sunday Times.

Photo credit: Cover of the album and covers of the singles / edit by Silke

📀 𝗕𝗟𝗔𝗖𝗞 𝗠𝗔𝗥𝗞𝗘𝗧 𝗠𝗨𝗦𝗜𝗖 (𝗳𝘂𝗹𝗹 𝗮𝗹𝗯𝘂𝗺)
🎵 http://bit.ly/309mIuf 🎵

The long-player was recorded at Olympic Studios, Townhouse Studios and Moody Studios, all three located in London. It was produced by Paul Corkett who had already worked on the band's previous record “Without you I'm nothing” as additional engineer. “Black market music” peaked no. 6 in the UK Albums Chart.

The guiding thread that runs through the album is that what people most get addicted to in life are love and drugs. “People have the same reactions to both. That theme runs though our work. This idea of addiction, whether it be to people, emotions, substances or situations“ (Brian, Melody Maker, October 20th 2000).

Two guest vocalists feature on the album: Severe Loren sings the backing vocals on “Taste in men” and “Special K”, “Spite and Malice” is a duet of Brian and Justin Warfield of She Wants Reenge who sings the rap part of the song.
“Slave to the wage” samples “Texas never whispers” by US indie rock band Pavement. While “Commercial for Levi” is dedicated to sound engineer Levi Tecofski who once saved Brian's life when he pulled him back from the street before he could get hit by a car. The rest of the album is dedicated to the memory of music publicist Scott Piering.
The last song on “Black market music” is a hidden track called “Black market blood”. All songs were produced by Paul Corkett except for “Taste in men”, which was produced by Dare Mason.

It's interesting that Brian gave all the songs of the album a second title when he started to write down the tracklisting. They didn't make it on the record but Brian used them to sum up in one phrase what the songs represented to him. "Narcoleptic" for example was "Love and drugs are one big pillow".

Four singles were released from the album, all of them reached top positions in the international charts. The lead single was “Taste in men“, a song that's "quite unrepresentative of the rest of the album and it creates an interest because people wonder what the hell the records gonna be like", as Brian stated. It was followed by “Slave to the wage“, “Special K“ and “Black-eyed“.

Photo credit:  Kevin Westenberg

🔺🔹𝐈𝐍𝐓𝐄𝐑𝐕𝐈𝐄𝐖 𝐀𝐁𝐎𝐔𝐓 ”𝐁𝐋𝐀𝐂𝐊 𝐌𝐀𝐑𝐊𝐄𝐓 𝐌𝐔𝐒𝐈𝐂”🔹🔻

You expect many things from Brian Molko, the androgynous alien sex fiend who fronts Placebo. Arrogance and sleaze. Paranoia and perversion. Mouthy soundbites and tales of hedonism strewn with the "blood and spunk" of his conquests. What you aren't quite prepared for, however, is his laugh. Half gleeful cackle and half evil snigger, it sounds like Carry On's Sid James reincarnated as a mischievous gothic imp. It sounds like a man having fun.
Lost in a big black sofa, in an East London recording studio, The Notorious Walking Tantrum
Known As Brian Molko actually turns out to be engaging, intelligent company. Point out an instance of perverse nonsense in the lyrics on Placebo's new album, "Black Market Music", and, rather than spit molten venom, he smiles knowingly, raises an eyebrow, and talks about "adding to the rock myth". And then he laughs. The gleeful, contagious laugh of a man who thoroughly enjoys winding people up for a living and doesn't take himself too seriously at all.

𝗛𝗔𝗣𝗣𝗬 𝗪𝗜𝗧𝗛 𝗬𝗢𝗨𝗥 𝗡𝗘𝗪 𝗥𝗘𝗖𝗢𝗥𝗗?
🎤 I'm very happy, it's the most accomplished record that we've done so far. It feels like a much more complex and sophisticated album musically and it's like a distillation of everything we've attempted to do in the past. As a band, we were conscious that we really wanted to make a bigger-sounding rock record and maybe have a few less slow tracks on it. More upbeat and more accessible.

𝗬𝗢𝗨'𝗩𝗘 𝗧𝗔𝗟𝗞𝗘𝗗 𝗔𝗕𝗢𝗨𝗧 𝗧𝗛𝗘 𝗖𝗛𝗔𝗥𝗔𝗖𝗧𝗘𝗥 𝗪𝗛𝗢 𝗙𝗘𝗔𝗧𝗨𝗥𝗘𝗦 𝗢𝗡 𝗧𝗛𝗘 𝗦𝗜𝗡𝗚𝗟𝗘 "𝗧𝗔𝗦𝗧𝗘 𝗜𝗡 𝗠𝗘𝗡". 𝗗𝗢 𝗬𝗢𝗨 𝗖𝗥𝗘𝗔𝗧𝗘 𝗖𝗛𝗔𝗥𝗔𝗖𝗧𝗘𝗥𝗦 𝗡𝗢𝗪, 𝗥𝗔𝗧𝗛𝗘𝗥 𝗧𝗛𝗔𝗡 𝗔𝗨𝗧𝗢𝗕𝗜𝗢𝗚𝗥𝗔𝗣𝗛𝗬?
🎤 Well, my lyrics are definitely getting less and less autobiographical, less like a diary and more like stories. But at the same time, I identify with all of the characters within the stories. It's just that the narrator's voice isn't always mine. I try to make the characters sympathetic and put in as much of me as possible in order to make them personal. I'm interested more in writing stories now about strange people with intense emotions.

𝗪𝗛𝗔𝗧 𝗖𝗛𝗔𝗥𝗔𝗖𝗧𝗘𝗥𝗦 𝗔𝗥𝗘 𝗬𝗢𝗨 𝗗𝗥𝗔𝗪𝗡 𝗧𝗢?
🎤 "Peeping Tom" is interesting. That's about voyeurism. Again, I try to place the listener inside the emotions of the voyeur himself and try to portray this character in a sympathetic manner. To show the love that he has for the person he spies on. The fact that this person is the only ray of light that exists in the voyeur's life. "Peeping Tom" is like "Burger Queen" pushed one step further. And it's quite beautiful and it's packed full of pathos and it's quite touching. It's trying to show the sympathetic side of the pervert. Because I don't believe everything is black and white when it comes to human emotion.

𝗬𝗢𝗨 𝗛𝗔𝗩𝗘 𝗔 𝗥𝗘𝗣𝗨𝗧𝗔𝗧𝗜𝗢𝗡 𝗙𝗢𝗥 𝗕𝗘𝗜𝗡𝗚 𝗔 𝗣𝗘𝗥𝗩𝗘𝗥𝗧.
🎤 A pervert perhaps, but like the Momus record, a tender pervert. Hahahahaha! In every reputation, there's a grain of truth, but often it's a case of your reputation preceding you, and the whole thing is blown out of proportion. Which is funny. It's all part of the rock myth, so it's OK.

"𝗧𝗔𝗦𝗧𝗘 𝗜𝗡 𝗠𝗘𝗡" 𝗔𝗡𝗗 "𝗣𝗘𝗘𝗣𝗜𝗡𝗚 𝗧𝗢𝗠" 𝗕𝗢𝗧𝗛 𝗙𝗘𝗔𝗧𝗨𝗥𝗘 𝗢𝗡𝗘 𝗣𝗘𝗥𝗦𝗢𝗡 𝗢𝗕𝗦𝗘𝗦𝗦𝗜𝗡𝗚 𝗢𝗩𝗘𝗥 𝗔𝗡𝗢𝗧𝗛𝗘𝗥.
🎤 Yeah, I think on the album as well, "Special K" compares the rush of falling in love with the rush of coming up on drugs. There's a theme that runs through the album and that's that what people get addicted to most in life is love and drugs. And that they are often the same. People have the same reactions to both. That theme runs though our work. This idea of addiction, whether it be to people, emotions, substances or situations

𝗪𝗛𝗔𝗧 𝗜𝗡𝗧𝗘𝗥𝗘𝗦𝗧𝗦 𝗬𝗢𝗨 𝗔𝗕𝗢𝗨𝗧 𝗧𝗛𝗘 𝗗𝗔𝗥𝗞𝗘𝗥, 𝗩𝗜𝗢𝗟𝗘𝗡𝗧 𝗦𝗜𝗗𝗘 𝗢𝗙 𝗟𝗢𝗩𝗘?
🎤 Well, take a song like "Haemoglobin". That's our version of [legendary chanteuse] Billie Holiday's "Strange Fruit", but where Billie's walking around observing fruit [dead slaves] hanging from the trees, we've actually placed you inside the man's head. It starts off with him hanging from a tree - he's in a state of resignation. In the second verse, he gets cut down and that resignation turns into confusion. And by the third verse, that confusion has turned into anger and a lust for revenge. It's a simple moral thing, prejudice breeds prejudice and violence breeds violence. We started this band in our early 20s and now we're getting towards our 30s and you look at the world around you a bit more. And it touches you, what people are prepared to do to each other for religion, for land. Violence still exists. There's a war every day, people getting murdered every day. If you watch the news, you get affected by that.

𝗜𝗦𝗡'𝗧 𝗜𝗧 𝗔 𝗕𝗢𝗟𝗗, 𝗔𝗟𝗠𝗢𝗦𝗧 𝗜𝗠𝗣𝗢𝗦𝗦𝗜𝗕𝗟𝗘, 𝗠𝗢𝗩𝗘 𝗧𝗢 𝗧𝗥𝗬 𝗔𝗡𝗗 𝗨𝗡𝗗𝗘𝗥𝗦𝗧𝗔𝗡𝗗 𝗪𝗛𝗔𝗧 𝗪𝗔𝗦 𝗘𝗡𝗗𝗨𝗥𝗘𝗗 𝗕𝗬 𝗔 𝗕𝗟𝗔𝗖𝗞 𝗦𝗟𝗔𝗩𝗘 𝗙𝗥𝗢𝗠 𝗔 𝗖𝗢𝗠𝗣𝗟𝗘𝗧𝗘𝗟𝗬 𝗗𝗜𝗙𝗙𝗘𝗥𝗘𝗡𝗧 𝗦𝗢𝗖𝗜𝗘𝗧𝗬 𝗔𝗡𝗗 𝗘𝗥𝗔?
🎤 Sure. That's true. But I was trying to make a bit more of a universal point. The things that happened in the American South, from slavery onwards, we're still feeling the repercussions of them today. The L.A. riots. There was something recently in America that made the Rodney King incident seem like "The Simpsons". So, it's just placing it in a historical context to make people think about whether or not it's still around today. And it is.

Photo credit: Kevin Westenberg (2), Robin, Rock Sound / edit by Silke

"𝗦𝗣𝗜𝗧𝗘 𝗔𝗡𝗗 𝗠𝗔𝗟𝗜𝗖𝗘" 𝗪𝗔𝗦 𝗜𝗡𝗦𝗣𝗜𝗥𝗘𝗗 𝗕𝗬 𝗧𝗛𝗘 𝗠𝗔𝗬 𝗗𝗔𝗬 𝗥𝗜𝗢𝗧𝗦. 𝗪𝗘𝗥𝗘 𝗬𝗢𝗨 𝗦𝗬𝗠𝗣𝗔𝗧𝗛𝗘𝗧𝗜𝗖 𝗧𝗢 𝗧𝗛𝗘 𝗣𝗥𝗢𝗧𝗘𝗦𝗧𝗘𝗥𝗦?
🎤 Absolutely. Churchill's mohican was one of the funniest things we've seen in a long time. Opening up the paper and seeing such an inventive disrespect for tradition and for the establishment was quite inspiring. I started running around and shouting, "Dope, guns, and fucking in the streets" and that made its way on to the record. I actually put the picture of Churchill's mohican in front of me when I was doing some of the recording of the lyrics.

𝗬𝗢𝗨 𝗧𝗘𝗔𝗠 𝗨𝗣 𝗪𝗜𝗧𝗛 𝗥𝗔𝗣𝗣𝗘𝗥 𝗝𝗨𝗦𝗧𝗜𝗡 𝗪𝗔𝗥𝗙𝗜𝗘𝗟𝗗 𝗙𝗢𝗥 "𝗦𝗣𝗜𝗧𝗘 𝗔𝗡𝗗 𝗠𝗔𝗟𝗜𝗖𝗘". 𝗔 𝗡𝗢𝗗 𝗧𝗢 𝗞𝗢𝗥𝗡/𝗟𝗜𝗠𝗣 𝗕𝗜𝗭𝗞𝗜𝗧'𝗦 "𝗔𝗟𝗟 𝗜𝗡 𝗧𝗛𝗘 𝗙𝗔𝗠𝗜𝗟𝗬"?
🎤 We're not very fond of that and we were aware of that when we were doing "Spite and Malice". I guess in the back of our minds we wanted to do something that was quite anti that. I find that kind of music extremely negative, homophobic and chauvinistic. We've dealt with difficult emotional issues and intense emotions, but there's always been a strain of positively and optimism within that. Which those bands lack, really. And also our music has a variation, whereas Korn, Limp Bizkit and Kid Rock are extremely repetitive. I find it gets a bit boring after two songs.

𝗧𝗛𝗘𝗥𝗘 𝗔𝗥𝗘 𝗦𝗢𝗠𝗘 𝗠𝗢𝗥𝗘 𝗜𝗡𝗗𝗨𝗦𝗧𝗥𝗜𝗔𝗟 𝗠𝗢𝗠𝗘𝗡𝗧𝗦 𝗢𝗡 𝗧𝗛𝗘 𝗔𝗟𝗕𝗨𝗠. 𝗪𝗔𝗦 𝗠𝗔𝗥𝗜𝗟𝗬𝗡 𝗠𝗔𝗡𝗦𝗢𝗡 𝗔𝗡 𝗜𝗡𝗙𝗟𝗨𝗘𝗡𝗖𝗘?
🎤 Not really. More of a drinking partner, hahahahaha, than an influence, hahahahaha! And I haven't seen him in a while. A song called "Wish" off the "Broken EP" by NIN was a bit of an influence. We listened to that while we were doing "Taste in Men", going, "Let's make itthat nasty, let's make it that unlistenable".

𝗪𝗢𝗨𝗟𝗗 𝗜𝗧 𝗕𝗘 𝗙𝗔𝗜𝗥 𝗧𝗢 𝗦𝗔𝗬 𝗧𝗛𝗘𝗥𝗘'𝗦 𝗔 𝗟𝗢𝗧 𝗢𝗙 𝗗𝗘𝗔𝗧𝗛 𝗢𝗡 𝗧𝗛𝗜𝗦 𝗥𝗘𝗖𝗢𝗥𝗗?
🎤 Probably, yeah. "Haemoglobin" deals with death and lynching. "Salve to the Wage" is a song about not working yourself into an early grave. The day I recorded the vocals to that track was the day that I found out that Scott Piering, the legendary plugger and our friend, had died and I was thinking about him that morning. There was a cloud that was hanging over us that day.
I strangely felt his presence.

"𝗖𝗢𝗠𝗠𝗘𝗥𝗖𝗜𝗔𝗟 𝗙𝗢𝗥 𝗟𝗘𝗩𝗜" 𝗔𝗦 𝗪𝗘𝗟𝗟.
🎤 Yeah, yeah. That's a song about grabbing your mate by the scruff of the neck and telling him that he's walking down a rocky road to ruin. It's basically, "You're my mate and I love you, but if you don't watch out you're going to fuck up pretty bad." It's autobiographical in the sense that there have been certain points in my life where the band or other friends have had to do that to me. Which was very beneficial. I love that song because musically it's like a really sweet lullaby and lyrically it's quite a filthy number. It puts a smile on your face.

𝗪𝗛𝗔𝗧 𝗣𝗢𝗜𝗡𝗧 𝗪𝗘𝗥𝗘 𝗬𝗢𝗨 𝗔𝗧 𝗪𝗛𝗘𝗡 𝗦𝗢𝗠𝗘𝗢𝗡𝗘 𝗦𝗔𝗜𝗗 𝗧𝗛𝗔𝗧 𝗧𝗢 𝗬𝗢𝗨?
🎤 Times on the second album. It was a place when I was emotionally... personally I had quite a lot of... sometimes you search for solace in the wrong places. It was a schizophrenic time and a time of identity crisis for me. That was a tough one. But I feel better now, thank you.

𝗪𝗛𝗔𝗧 𝗪𝗔𝗦 𝗬𝗢𝗨𝗥 𝗖𝗥𝗜𝗦𝗜𝗦?
🎤 Like, just not recognizing yourself in interviews. The extreme side of your personality which I chose to sort of display was snowballing and getting a life of its own. It was like looking in a mirror and not recognizing myself, looking in magazines and not recognizing myself.

𝗬𝗢𝗨 𝗦𝗔𝗬 𝗬𝗢𝗨 𝗪𝗘𝗥𝗘 𝗟𝗢𝗢𝗞𝗜𝗡𝗚 𝗙𝗢𝗥 𝗦𝗢𝗟𝗔𝗖𝗘 𝗜𝗡 𝗧𝗛𝗘 𝗪𝗥𝗢𝗡𝗚 𝗣𝗟𝗔𝗖𝗘𝗦, 𝗕𝗨𝗧 𝗜𝗦𝗡'𝗧 𝗧𝗛𝗘𝗥𝗘 𝗔 𝗥𝗘𝗙𝗘𝗥𝗘𝗡𝗖𝗘 𝗜𝗡 𝗧𝗛𝗔𝗧 𝗦𝗢𝗡𝗚 𝗧𝗢 𝗕𝗘𝗦𝗧𝗜𝗔𝗟𝗜𝗧𝗬?
🎤 [Pause] Hahahahahahahaha! Yeah, sure, certainly there is. Yeah, yeah. That's just, that's a bit of artistic licence, you know? Hahahahahahaha! It's just a... yeah, yeah, how filthy can you get? Hahahahahahahaha! But for the record, I've never indulged in it myself. I've seen a couple of movies.

𝗬𝗢𝗨'𝗥𝗘 𝗣𝗟𝗔𝗬𝗜𝗡𝗚 𝗨𝗣 𝗧𝗢 𝗬𝗢𝗨𝗥 𝗜𝗠𝗔𝗚𝗘, 𝗧𝗛𝗘𝗡?
🎤 Yeah, there's definetely a certain amount of irony in "Commercial for Levi", especially if it's directed towards me. I'm smiling wryly at people's opinions of me and what they imagine my lifestyle is like or what I must get up to.

𝗜𝗧'𝗦 𝗢𝗕𝗩𝗜𝗢𝗨𝗦𝗟𝗬 𝟮𝟰-𝗛𝗢𝗨𝗥 𝗕𝗘𝗦𝗧𝗜𝗔𝗟𝗜𝗧𝗬.
🎤 Yeah. And bingeing. Yeah. Hahahahaha!

𝗜𝗦 𝗧𝗛𝗘𝗥𝗘 𝗔 𝗦𝗜𝗠𝗜𝗟𝗔𝗥 𝗧𝗛𝗘𝗠𝗘 𝗥𝗨𝗡𝗡𝗜𝗡𝗚 𝗧𝗛𝗥𝗢𝗨𝗚𝗛 "𝗡𝗔𝗥𝗖𝗢𝗟𝗘𝗣𝗧𝗜𝗖"?
🎤 When I first wrote down the tracklisting of the album, I wrote underneath each track a second title. They didn't make their way on to the album, but they were a summing up in one phrase of what those songs represent to me. And the one I wrote for "Narcoleptic" was "Love And Drugs Are One Big Pillow". Again, like "Special K", it explores the link between drugs and love. "SpecialK" is uppers and the rush of falling in love. "Narcoleptic" is more like downers and more like relationships, relationships that reach that point of familiarity breeding contempt.

𝗪𝗢𝗨𝗟𝗗 𝗜𝗧 𝗕𝗘 𝗥𝗜𝗚𝗛𝗧 𝗧𝗢 𝗔𝗦𝗦𝗨𝗠𝗘 𝗧𝗛𝗔𝗧 𝗬𝗢𝗨 𝗠𝗨𝗦𝗧 𝗛𝗔𝗩𝗘 𝗙𝗔𝗟𝗟𝗘𝗡 𝗜𝗡 𝗟𝗢𝗩𝗘 𝗜𝗡 𝗢𝗥𝗗𝗘𝗥 𝗧𝗢 𝗠𝗔𝗞𝗘 𝗧𝗛𝗜𝗦 𝗥𝗘𝗖𝗢𝗥𝗗?
🎤 Fallen in love, fallen out of love, fallen in love, fallen out of love,
Hahahahaha. Etc. Ad infinitum. Or ad nauseam. Whichever you prefer.

Photo credit unknown

"𝗖𝗢𝗠𝗠𝗘𝗥𝗖𝗜𝗔𝗟 𝗙𝗢𝗥 𝗟𝗘𝗩𝗜": 𝗪𝗛𝗔𝗧 𝗜𝗙 𝗟𝗘𝗩𝗜'𝗦 𝗦𝗨𝗘?
🎤 Levi's our sound man. There was this one time in Milan when I got a bit too drunk at dinner and left the restaurant which was right opposite the venue and there were some fans waiting outside, and I climbed on top of this Fiat Uno, and started screaming "Nancy Boy", doing a performance for the fans. And Levi dragged me off the Fiat Uno, as the owner was approaching and waving the keys. I thought I was going to cross this road in between the two parked tour buses and took off, and Levi just grabbed me as a car zoomed by. So it's quite possible that he did save my life. If I was a Samurai, I would have to follow him around for the rest of my life and take care of him until I saved his life. But my little payback for that is to put his name in a song.

𝗬𝗢𝗨 𝗠𝗘𝗡𝗧𝗜𝗢𝗡𝗘𝗗 𝗕𝗘𝗙𝗢𝗥𝗘 𝗧𝗛𝗔𝗧 𝗬𝗢𝗨'𝗥𝗘 𝗔𝗣𝗣𝗥𝗢𝗔𝗖𝗛𝗜𝗡𝗚 𝗬𝗢𝗨𝗥 𝟯𝟬𝗦. 𝗜𝗦 𝗧𝗛𝗔𝗧 𝗦𝗢𝗠𝗘𝗧𝗛𝗜𝗡𝗚 𝗪𝗛𝗜𝗖𝗛 𝗖𝗥𝗘𝗘𝗣𝗦 𝗜𝗡𝗧𝗢 𝗬𝗢𝗨𝗥 𝗠𝗜𝗡𝗗?
🎤 I've always been conscious of mortality. Who isn't? It can happen any time. I don't really like flying and if I refused to fly, I wouldn't have a career, so every time I get on a plane I think about death. Fucking stewardess on Air Portugal said to me, "Would you like Time magazine, sir?, and on the cover was the Concorde crash! I went, "Are you nuts? Get that thing away from me!" And she took it back and just started laughing. So every time I get on an airplane, I feel like it's a confrontation with mortality. But we enjoy ourselves and enjoy life and have a lust for life and certainly we're having a good time being in Placebo at the moment. Maybe being conscious of your mortality makes you live your life to the full a bit more. On a daily basis.

𝗪𝗛𝗔𝗧 𝗔𝗕𝗢𝗨𝗧 "𝗕𝗟𝗨𝗘 𝗔𝗠𝗘𝗥𝗜𝗖𝗔𝗡" - 𝗪𝗛𝗔𝗧'𝗦 𝗧𝗛𝗔𝗧 𝗔𝗕𝗢𝗨𝗧?
🎤 It's a kind of self-disgust. Three and a half minutes of pure self-disgust, American style. The person in the song is at such a low point in his life emotionally that he's started to hit out at everything that is a part of him. He's attacking his parents, his culture, his culture's history, self-help, psychiatry. It was written when I wasn't in a particularly good mood.

𝗪𝗛𝗔𝗧 𝗜𝗡𝗦𝗣𝗜𝗥𝗘𝗗 𝗧𝗛𝗔𝗧?
🎤 The strangest things can inspire lyrics. I was watching a documentary on TV about novelists trying to get their first novel published and how difficult it was and I often sit and play acoustic guitar when I watch TV. And I thought of "I wrote this novel just for you/It sounds pretentious but it's true". There's a little, I would say self-deprecation in that lyric but I often try and get to a place before my detractors. Hence the "I'm so pretentious, yes it's true" line that comes at the end of the song. It's just saying, "I know exactly what you think about me".

𝗜𝗦𝗡'𝗧 𝗧𝗛𝗘𝗥𝗘 𝗔 𝗥𝗘𝗙𝗘𝗥𝗘𝗡𝗖𝗘 𝗧𝗢 𝗬𝗢𝗨𝗥 𝗠𝗢𝗧𝗛𝗘𝗥 𝗜𝗡 𝗧𝗛𝗘𝗥𝗘?
🎤 Yeah. I wanted to say hi to my mum. I'm the anti-Eminem! Hahahahahaha!
That's really genuine, you know. Hi, Mom. It's so American. And, you know, I still love my mother. And it just fitted. When it came out, I thought it would be really nice to make her quite happy. Because I'm sure most of the subject matter of our songs doesn't make her very happy. So, at one point, maybe for one verse at least, she might think, "Oh, that's nice. My son still loves me."

𝗛𝗔𝗦 𝗦𝗛𝗘 𝗛𝗘𝗔𝗥𝗗 𝗧𝗛𝗘 𝗦𝗢𝗡𝗚?
🎤 Not yet, she hasn't, no. So journalists get to hear it before parents. Hahahahahahaha!

𝗪𝗛𝗔𝗧 𝗪𝗢𝗨𝗟𝗗 𝗕𝗘 𝗬𝗢𝗨𝗥 𝗕𝗜𝗚𝗚𝗘𝗦𝗧 𝗙𝗘𝗔𝗥 𝗙𝗢𝗥 𝗧𝗛𝗘 𝗙𝗨𝗧𝗨𝗥𝗘 𝗢𝗙 𝗣𝗟𝗔𝗖𝗘𝗕𝗢?
🎤 Plane crash. For us to lose our spark and to lose our spontaneity. But I think a lot of it comes from the fact that we're still incredibly good mates. And that will help to sustain that. I think what we enjoy most is playing music with each other. It's the most satisfying thing.

𝗖𝗢𝗨𝗟𝗗 𝗬𝗢𝗨 𝗕𝗘 𝗟𝗜𝗞𝗘 𝗥𝗢𝗕𝗘𝗥𝗧 𝗦𝗠𝗜𝗧𝗛, 𝗦𝗧𝗜𝗟𝗟 𝗞𝗡𝗢𝗖𝗞𝗜𝗡𝗚 𝗢𝗨𝗧 𝗚𝗢𝗧𝗛 𝗣𝗢𝗣 𝗜𝗡 𝗬𝗢𝗨𝗥 𝟰𝟬𝗦?
🎤 I don't know. I hope we'd be more like Bowie, more like several processes of reinvention along the way. Keep a healthy desire for change in our music and a healthy contempt for formula. And to not self-censor yourself, in the way you say, "This is not a Placebo sound." We don't really have that kind of attitude. We're very open. If it comes out of us, then it's Placebo.

Banish all thoughts of a twisted, one-dimensional, ultra-paranoid Brian Molko from your mind, dear reader. Mr Placebo 2000 is an emotionally stable, creatively virile individual and his new album is a worthy reflection. No wonder he's laughing like a man possessed.
(Melody Maker, October 20th 2000)


📌 𝗦𝗧𝗘𝗙𝗔𝗡 𝗢𝗡 “𝗕𝗟𝗔𝗖𝗞 𝗠𝗔𝗥𝗞𝗘𝗧 𝗠𝗨𝗦𝗜𝗖“ 📌
📢 "The new album is the one we are most proud of. It is also the first one where we sort of take a production credit. We did the production with a guy called Paul Corkett who did the engineering in the second album. We just had a really good time recording it as well, we sort of laughed our way through this one. I think if there was one thing we wanted to do with it, it was to have more fast tracks and slow tracks, but nothing suffered from having a divided energy."
(Top 40, October 2000)

📢 “I think its an angrier record. I think is more coherent. I think it rocks more. I think we had all of that in the back of our minds when we wrote this album.“
(Hip Online, February 1st, 2001)

📢 "With the first album, it felt under-produced. The second album felt as though it was overproduced. Also our relationship with our producer on the second album wasn't great, so we just wanted to get away from this producer with a big "P". We just got on very well with Paul as a person. He is very humble and a very experienced person and could capture a bigger rock sound. We also moved on as songwriters and players. It felt right from the word go. It took a lot longer than the second album it's a bit like a baby. Fertilization in October and nine months later, three proud fathers."
(Top 40, October 2000)

Photo credit: Cover of the album, Stefan Malzkorn (2), Scarlet Page (2), Liam Duke, Mark C. O'Flaherty, Robin Francois, Morten Holm / edit by Silke

📌 𝗕𝗥𝗜𝗔𝗡 𝗢𝗡 “𝗕𝗟𝗔𝗖𝗞 𝗠𝗔𝗥𝗞𝗘𝗧 𝗠𝗨𝗦𝗜𝗖“ 📌
📢 "'Black market music' is a reference to something that's sordid and seedy and kept under the counter, basically something illegal that you shouldn't really have. That's where the idea came from, but we were in Japan the other day hanging out with Taylor Hawkins from the Foo Fighters and we told him the name of the album and he was like 'Oh yeah after that music store in LA' - and then it actually occurred to me that it was also the name of the place where we'd bought some of our most expensive guitars in America. We'd never put two and tow together until Taylor had pointed it out to us - so there we were trying to think of a really philosophical answer, but now we can just say it's named after a music store."
(Rock Sound, October 2000)

📢 "'Black market music' gives an "illegal" connotation, the idea of a forbidden fruit from the tree of knowledge."
(Lib, 2000)

📢 "To be honest, it's been an incredibly joyful experience. We laughed all the way through the last nine months. It feels a bit like the end of a trilogy. Everything we've attempted before we've finally realised and purified to make this glorious album."
(Select, September 20th 2000)

📢 "It's aggressive. It's angry. It's our big rock album, the one we've always wanted to make."
(Sunday Mail, October 1st 2001)

📢 "We approached with a creative openness and a spirit of camaraderie - we wanted to make a timeless rock album, so we explored every idea that we wanted to. We threw as much shit against the wall as possible and saw what stuck, and that made the beautiful painting that is ‘Black market music‘."
(Pulse, April 2000)

📢 "It's anger and energy. It's the final part of our trilogy.“
(Kerrang, July 22nd 2000)

📢 "It's difficult not to write something that's auto-biographical but when one grows as an author the writing changes. This record for example, it's less made of introspective looks and more of the reaction to the world and to what hurts you and makes you angry. It's more political."
(DNMais, October 14th 2000)

📢 “It revisits the no-holds-barred punk pop element of the first album, and the more melancholic side of 'Without you I'm nothing'.“
(Boyz, September 2000)

📢 ”It was the most pleasurable recording experience we've ever had, because there was a real spirit of communication, exchange of ideas. For the last two albums we've had female engineers, and it's always been good to have a woman in the room to balance out the testosterone. For the first time, we were able to put the sounds from our heads on tape, and I think we made a really cohesive album. Even though it's quite varied, it has a strong identity. It's aggressive and angry.”
(LA Weekly, May 2001)

📢 “There's a theme that runs through the album and that's that what people get addicted to most in life is love and drugs. And that they are often the same. People have the same reactions to both. That theme runs though our work. This idea of addiction, whether it be to people, emotions, substances or situations.“
(Melody Maker, October 20th 2000)

📢 “‘Black market music’ was a record we were proud of at the time but it definitely sounded self-produced – it has that one-dimensional, blanket sound.”
(Rock Sound, April 2003)

📢 “Looking back on it I think it was a mistake to produce it ourselves. It just sounds one dimensional. Expecially compared to 'Without you I'm nothing'.“
(DNAsix, March 2003)

Post by Silke

♪♫•*¨*•.¸¸ 𝐍𝐀𝐑𝐂𝐎𝐋𝐄𝐏𝐓𝐈𝐂 ¸¸.•*¨*•♫♪

♪♫▪𝐍𝐚𝐫𝐜𝐨𝐥𝐞𝐭𝐩𝐢𝐜 is the eleventh track on the 𝐁𝐥𝐚𝐜𝐤 𝐌𝐚𝐫𝐤𝐞𝐭 𝐌𝐮𝐬𝐢𝐜 album released on October 9, 2000 and is a song with a quiet, almost lullaby-like melody. 𝐁𝐫𝐢𝐚𝐧 annotated this song before choosing the title as "𝑳𝒐𝒗𝒆 𝑨𝒏𝒅 𝑫𝒓𝒖𝒈𝒔 𝑨𝒓𝒆 𝑶𝒏𝒆 𝑩𝒊𝒈 𝑷𝒊𝒍𝒍𝒐𝒘".

Photo credit: Stefan Malzkorn

🎥 𝙉𝙖𝙧𝙘𝙤𝙡𝙚𝙥𝙩𝙞𝙘 (𝙨𝙩𝙪𝙙𝙞𝙤 𝙫𝙚𝙧𝙨𝙞𝙤𝙣)
https://bit.ly/3pAp3Mn 🎵


♪♫▪ The title is inspired by the name of a disease, narcolepsy, which is a disease that manifests itself daily in bouts of sleep that can't be controlled.

♪♫▪ The song describes a relationship that is getting bogged down, where routine and contempt have set in, and from which it's necessary to regain control in order not to let things fall inexorably asleep or to realise that it is necessary to face things instead of remaining in a state of lethargy in a relationship that leads nowhere, where love is dead.

♪♫▪ Like 𝐒𝐩𝐞𝐜𝐢𝐚𝐥 𝐊, 𝐍𝐚𝐫𝐜𝐨𝐥𝐞𝐭𝐩𝐢𝐜 uses the metaphor of drugs to parallel the drowsy state in which the character finds him or herself and the love situation that is obviously coming to an end, and which the character doesn't realise, or doesn't want to realise.

♪♫▪ 𝐍𝐚𝐫𝐜𝐨𝐥𝐞𝐭𝐩𝐢𝐜 was first play at 𝑻𝒉𝒆 𝒁𝒐𝒅𝒊𝒂𝒄 𝒊𝒏 𝑶𝒙𝒇𝒐𝒓𝒅 𝒐𝒏 𝑱𝒖𝒍𝒚 20𝒕𝒉, 2000 and was performed for 32 times during the Black Market Music tour. The video I am sharing with you today is from the concert at 𝑶𝒍𝒚𝒎𝒑𝒊𝒂 𝒊𝒏 𝑷𝒂𝒓𝒊𝒔 𝒐𝒏 𝑵𝒐𝒗𝒆𝒎𝒃𝒆𝒓 4𝒕𝒉, 2000, one of the concert I watched the most. 😊 💖

🌟 𝘽𝙍𝙄𝘼𝙉 𝘼𝘽𝙊𝙐𝙏 𝙏𝙃𝙀 𝙎𝙊𝙉𝙂
📜 Appearing at the tail-end of 2000’s experimental ‘Black Market Music’ album, ‘Narcoleptic’ uses the disorder as a metaphor for the stupor brought on by drug abuse, with a lackadaisical arrangement of lilting drums and meandering guitar suiting the mood perfectly. Here’s what Brian said “𝐷𝑟𝑢𝑔𝑠 𝑎𝑛𝑑 𝑙𝑜𝑣𝑒 𝑎𝑟𝑒 𝑜𝑛𝑒 𝑏𝑖𝑔 𝑝𝑖𝑙𝑙𝑜𝑤 𝑎𝑛𝑑 𝑡ℎ𝑒𝑦 𝑐𝑎𝑛 𝑚𝑎𝑘𝑒 𝑦𝑜𝑢 𝑓𝑜𝑟𝑔𝑒𝑡 𝑎𝑏𝑜𝑢𝑡 𝑠𝑜 𝑚𝑎𝑛𝑦 𝑡ℎ𝑖𝑛𝑔𝑠 𝑎𝑛𝑑 𝑡ℎ𝑒𝑦 𝑐𝑎𝑛 𝑚𝑎𝑘𝑒 𝑦𝑜𝑢 𝑓𝑜𝑟𝑔𝑒𝑡 𝑎𝑏𝑜𝑢𝑡 𝑙𝑖𝑣𝑖𝑛𝑔 𝑎𝑛𝑑 𝑝𝑢𝑡 𝑦𝑜𝑢 𝑖𝑛𝑡𝑜 𝑎 𝑠𝑜𝑚𝑛𝑎𝑚𝑏𝑢𝑙𝑖𝑠𝑡 𝑠𝑡𝑎𝑡𝑒, 𝑙𝑖𝑘𝑒 𝑠𝑙𝑒𝑒𝑝 𝑤𝑎𝑙𝑘𝑖𝑛𝑔.”
✔️ 𝙶𝚒𝚐𝚠𝚒𝚜𝚎 - 𝙼𝚊𝚛𝚌𝚑 𝟸𝟿, 𝟸0𝟸𝟸

💬 When I first wrote down the tracklisting of the album, I wrote underneath each track a second title. They didn't make their way on to the album, but they were a summing up in one phrase of what those songs represent to me. And the one I wrote for "Narcoleptic" was "Love And Drugs Are One Big Pillow". Again, like "Special K", it explores the link between drugs and love. "Special K" is uppers and the rush of falling in love. "Narcoleptic" is more like downers and more like relationships, relationships that reach that point of familiarity breeding contempt.
✔️ 𝙱𝚛𝚒𝚊𝚗 𝙼𝚘𝚕𝚔𝚘, 𝙼𝚎𝚕𝚘𝚍𝚢 𝙼𝚊𝚔𝚎𝚛, 𝟸0 𝚘𝚌𝚝𝚘𝚋𝚛𝚎 𝟸000

💬 It's a song about passing love... Drugs and love are one big pillow and they can make you forget about so many things and they can make you forget about living and put you into a somnambulist state, like sleep walking.”
✔️ 𝙱𝚛𝚒𝚊𝚗 𝙼𝚘𝚕𝚔𝚘 - 𝙳𝚎𝚜 𝚌𝚊𝚍𝚎𝚗𝚌𝚎𝚜 𝚎𝚝 𝚍𝚎𝚜 𝚖𝚊𝚞𝚡 𝚋𝚢 𝚂𝚎́𝚋𝚊𝚜𝚝𝚒𝚎𝚗 𝙼𝚒𝚌𝚑𝚊𝚞𝚍

Photo credit: Mark C. O'Flaherty

🌟 𝙇𝙔𝙍𝙄𝘾𝙎

𝘚𝘭𝘪𝘱 𝘢𝘯𝘥 𝘴𝘵𝘶𝘮𝘣𝘭𝘦 𝘢𝘵 𝘮𝘺 𝘧𝘪𝘳𝘴𝘵 𝘰𝘧𝘧𝘦𝘯𝘴𝘦𝘴
𝘐𝘵'𝘴 𝘯𝘰𝘵 𝘵𝘳𝘦𝘢𝘴𝘰𝘯, 𝘪𝘵'𝘴 𝘯𝘰 𝘭𝘪𝘦
𝘠𝘰𝘶 𝘵𝘢𝘭𝘬 𝘪𝘯 𝘱𝘢𝘳𝘢𝘨𝘳𝘢𝘱𝘩𝘴, 𝘐 𝘸𝘳𝘪𝘵𝘦 𝘮𝘺 𝘴𝘦𝘯𝘵𝘦𝘯𝘤𝘦
𝘐𝘵'𝘴 𝘯𝘰𝘵 𝘵𝘳𝘦𝘢𝘴𝘰𝘯, 𝘪𝘵'𝘴 𝘯𝘰 𝘭𝘪𝘦

𝘐𝘵 𝘴𝘦𝘦𝘮𝘦𝘥 𝘢 𝘱𝘭𝘢𝘤𝘦 𝘧𝘰𝘳 𝘶𝘴 𝘵𝘰 𝘥𝘳𝘦𝘢𝘮
𝘐𝘵 𝘴𝘦𝘦𝘮𝘦𝘥 𝘢 𝘱𝘭𝘢𝘤𝘦 𝘧𝘰𝘳 𝘶𝘴 𝘵𝘰 𝘥𝘳𝘦𝘢𝘮

𝘊𝘳𝘶𝘴𝘩 𝘢𝘯𝘥 𝘤𝘳𝘶𝘮𝘣𝘭𝘦 𝘶𝘯𝘥𝘦𝘳 𝘺𝘰𝘶𝘳 𝘥𝘦𝘧𝘦𝘯𝘴𝘦𝘴
𝘐𝘵'𝘴 𝘯𝘰𝘵 𝘵𝘳𝘦𝘢𝘴𝘰𝘯, 𝘪𝘵'𝘴 𝘯𝘰 𝘭𝘪𝘦
𝘠𝘰𝘶 𝘧𝘳𝘢𝘮𝘦 𝘵𝘩𝘦 𝘱𝘩𝘰𝘵𝘰𝘨𝘳𝘢𝘱𝘩, 𝘐 𝘴𝘪𝘵 𝘰𝘯 𝘧𝘦𝘯𝘤𝘦𝘴
𝘊𝘩𝘢𝘯𝘨𝘦 𝘰𝘧 𝘴𝘦𝘢𝘴𝘰𝘯, 𝘭𝘰𝘷𝘦 𝘤𝘢𝘯 𝘥𝘪𝘦

𝘐𝘵 𝘴𝘦𝘦𝘮𝘦𝘥 𝘢 𝘱𝘭𝘢𝘤𝘦 𝘧𝘰𝘳 𝘶𝘴 𝘵𝘰 𝘥𝘳𝘦𝘢𝘮
𝘐𝘵 𝘴𝘦𝘦𝘮𝘦𝘥 𝘢 𝘱𝘭𝘢𝘤𝘦 𝘧𝘰𝘳 𝘶𝘴 𝘵𝘰 𝘥𝘳𝘦𝘢𝘮
𝘐𝘵 𝘴𝘦𝘦𝘮𝘦𝘥 𝘢 𝘱𝘭𝘢𝘤𝘦 𝘧𝘰𝘳 𝘶𝘴 𝘵𝘰 𝘥𝘳𝘦𝘢𝘮
𝘐𝘵 𝘴𝘦𝘦𝘮𝘦𝘥 𝘢 𝘱𝘭𝘢𝘤𝘦 𝘧𝘰𝘳 𝘶𝘴 𝘵𝘰 𝘥𝘳𝘦𝘢𝘮

𝘐𝘧 𝘸𝘦 𝘵𝘦𝘢𝘳 𝘰𝘶𝘵 𝘵𝘩𝘦 𝘵𝘶𝘮𝘰𝘳
𝘐𝘵'𝘴 𝘭𝘢𝘵𝘦𝘳, 𝘯𝘦𝘷𝘦𝘳 𝘴𝘰𝘰𝘯𝘦𝘳
𝘐𝘧 𝘸𝘦 𝘵𝘦𝘢𝘳 𝘰𝘶𝘵 𝘵𝘩𝘦 𝘵𝘶𝘮𝘰𝘳
𝘐𝘵'𝘴 𝘭𝘢𝘵𝘦𝘳, 𝘯𝘦𝘷𝘦𝘳 𝘴𝘰𝘰𝘯𝘦𝘳

𝘐𝘵 𝘴𝘦𝘦𝘮𝘦𝘥 𝘢 𝘱𝘭𝘢𝘤𝘦 𝘧𝘰𝘳 𝘶𝘴 𝘵𝘰 𝘥𝘳𝘦𝘢𝘮
𝘐𝘵 𝘴𝘦𝘦𝘮𝘦𝘥 𝘢 𝘱𝘭𝘢𝘤𝘦 𝘧𝘰𝘳 𝘶𝘴 𝘵𝘰 𝘥𝘳𝘦𝘢𝘮

𝘠𝘰𝘶'𝘥 𝘣𝘦𝘵𝘵𝘦𝘳 𝘬𝘦𝘦𝘱 𝘪𝘵 𝘪𝘯 𝘤𝘩𝘦𝘤𝘬
𝘖𝘳 𝘺𝘰𝘶'𝘭𝘭 𝘦𝘯𝘥 𝘶𝘱 𝘢 𝘸𝘳𝘦𝘤𝘬
𝘈𝘯𝘥 𝘺𝘰𝘶'𝘭𝘭 𝘯𝘦𝘷𝘦𝘳 𝘸𝘢𝘬𝘦 𝘶𝘱
𝘠𝘰𝘶'𝘥 𝘣𝘦𝘵𝘵𝘦𝘳 𝘬𝘦𝘦𝘱 𝘪𝘵 𝘪𝘯 𝘤𝘩𝘦𝘤𝘬
𝘖𝘳 𝘺𝘰𝘶'𝘭𝘭 𝘦𝘯𝘥 𝘶𝘱 𝘢 𝘸𝘳𝘦𝘤𝘬
𝘈𝘯𝘥 𝘺𝘰𝘶'𝘭𝘭 𝘯𝘦𝘷𝘦𝘳 𝘸𝘢𝘬𝘦 𝘶𝘱

𝘞𝘢𝘬𝘦 𝘶𝘱
𝘞𝘢𝘬𝘦 𝘶𝘱
𝘞𝘢𝘬𝘦 𝘶𝘱
𝘞𝘢𝘬𝘦 𝘶𝘱

𝘐𝘵 𝘴𝘦𝘦𝘮𝘦𝘥 𝘢 𝘱𝘭𝘢𝘤𝘦 𝘧𝘰𝘳 𝘶𝘴 𝘵𝘰 𝘥𝘳𝘦𝘢𝘮
𝘐𝘵 𝘴𝘦𝘦𝘮𝘦𝘥 𝘢 𝘱𝘭𝘢𝘤𝘦 𝘧𝘰𝘳 𝘶𝘴 𝘵𝘰 𝘥𝘳𝘦𝘢𝘮

𝘠𝘰𝘶'𝘥 𝘣𝘦𝘵𝘵𝘦𝘳 𝘬𝘦𝘦𝘱 𝘪𝘵 𝘪𝘯 𝘤𝘩𝘦𝘤𝘬
𝘖𝘳 𝘺𝘰𝘶'𝘭𝘭 𝘦𝘯𝘥 𝘶𝘱 𝘢 𝘸𝘳𝘦𝘤𝘬
𝘈𝘯𝘥 𝘺𝘰𝘶'𝘭𝘭 𝘯𝘦𝘷𝘦𝘳 𝘸𝘢𝘬𝘦 𝘶𝘱

𝘠𝘰𝘶'𝘥 𝘣𝘦𝘵𝘵𝘦𝘳 𝘬𝘦𝘦𝘱 𝘪𝘵 𝘪𝘯 𝘤𝘩𝘦𝘤𝘬
𝘖𝘳 𝘺𝘰𝘶'𝘭𝘭 𝘦𝘯𝘥 𝘶𝘱 𝘢 𝘸𝘳𝘦𝘤𝘬
𝘈𝘯𝘥 𝘺𝘰𝘶'𝘭𝘭 𝘯𝘦𝘷𝘦𝘳 𝘸𝘢𝘬𝘦 𝘶𝘱

𝘠𝘰𝘶'𝘥 𝘣𝘦𝘵𝘵𝘦𝘳 𝘬𝘦𝘦𝘱 𝘪𝘵 𝘪𝘯 𝘤𝘩𝘦𝘤𝘬
𝘖𝘳 𝘺𝘰𝘶'𝘭𝘭 𝘦𝘯𝘥 𝘶𝘱 𝘢 𝘸𝘳𝘦𝘤𝘬
𝘈𝘯𝘥 𝘺𝘰𝘶'𝘭𝘭 𝘯𝘦𝘷𝘦𝘳 𝘸𝘢𝘬𝘦 𝘶𝘱

𝘠𝘰𝘶'𝘥 𝘣𝘦𝘵𝘵𝘦𝘳 𝘬𝘦𝘦𝘱 𝘪𝘵 𝘪𝘯 𝘤𝘩𝘦𝘤𝘬
𝘖𝘳 𝘺𝘰𝘶'𝘭𝘭 𝘦𝘯𝘥 𝘶𝘱 𝘢 𝘸𝘳𝘦𝘤𝘬
𝘈𝘯𝘥 𝘺𝘰𝘶'𝘭𝘭 𝘯𝘦𝘷𝘦𝘳 𝘸𝘢𝘬𝘦 𝘶𝘱

𝘞𝘢𝘬𝘦 𝘶𝘱

Post  by Laetitia

♠️♥️🎵 𝗕𝗟𝗔𝗖𝗞 𝗠𝗔𝗥𝗞𝗘𝗧 𝗠𝗨𝗦𝗜𝗖 𝗧𝗢𝗨𝗥 𝗔𝗡𝗡𝗜𝗩𝗘𝗥𝗦𝗔𝗥𝗬 🎵♦️♣️

🔸 𝐎𝐧 𝐉𝐮𝐥𝐲 𝟐𝟎𝐭𝐡, 𝟐𝟎𝟎𝟎, 𝐏𝐥𝐚𝐜𝐞𝐛𝐨 𝐬𝐭𝐚𝐫𝐭𝐞𝐝 𝐭𝐡𝐞𝐢𝐫 𝐁𝐥𝐚𝐜𝐤 𝐌𝐚𝐫𝐤𝐞𝐭 𝐌𝐮𝐬𝐢𝐜 𝐓𝐨𝐮𝐫. 22 𝘺𝘦𝘢𝘳𝘴 𝘢𝘭𝘳𝘦𝘢𝘥𝘺 ! ☺️

🔸 𝘞𝘪𝘵𝘩 𝘯𝘰 𝘭𝘦𝘴𝘴 𝘵𝘩𝘢𝘯 150 𝘥𝘢𝘵𝘦𝘴, 𝘵𝘩𝘦 𝘣𝘢𝘯𝘥 𝘵𝘰𝘶𝘳𝘦𝘥 𝘧𝘰𝘳 𝘢 𝘺𝘦𝘢𝘳 𝘢𝘯𝘥 𝘢 𝘩𝘢𝘭𝘧 𝘪𝘯 𝘢𝘣𝘰𝘶𝘵 𝘵𝘩𝘪𝘳𝘵𝘺 𝘤𝘰𝘶𝘯𝘵𝘳𝘪𝘦𝘴, 𝘱𝘢𝘴𝘴𝘪𝘯𝘨 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘌𝘶𝘳𝘰𝘱𝘦, 𝘈𝘮𝘦𝘳𝘪𝘤𝘢, 𝘈𝘶𝘴𝘵𝘳𝘢𝘭𝘪𝘢, 𝘌𝘶𝘳𝘢𝘴𝘪𝘢 𝘢𝘯𝘥 𝘈𝘴𝘪𝘢, 𝘸𝘩𝘦𝘳𝘦 𝘵𝘩𝘦𝘺 𝘥𝘦𝘭𝘪𝘨𝘩𝘵𝘦𝘥 𝘑𝘢𝘱𝘢𝘯𝘦𝘴𝘦 𝘧𝘢𝘯𝘴 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘧𝘪𝘳𝘴𝘵 𝘵𝘪𝘮𝘦, 𝘪𝘯 𝘑𝘢𝘯𝘶𝘢𝘳𝘺 2001, 𝘢𝘴 𝘸𝘦𝘭𝘭 𝘢𝘴 𝘵𝘩𝘦 𝘔𝘦𝘹𝘪𝘤𝘢𝘯 𝘧𝘢𝘯𝘴 𝘪𝘯 𝘔𝘢𝘺 2001 ! 𝘈𝘯𝘥 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘧𝘪𝘳𝘴𝘵 𝘵𝘪𝘮𝘦, 𝘵𝘩𝘦𝘺 𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘦𝘥 𝘌𝘷𝘦𝘳𝘺 𝘠𝘰𝘶 𝘌𝘷𝘦𝘳𝘺 𝘔𝘦 𝘪𝘯 𝘢𝘯 𝘢𝘤𝘰𝘶𝘴𝘵𝘪𝘤 𝘷𝘦𝘳𝘴𝘪𝘰𝘯, 𝘸𝘩𝘪𝘤𝘩 𝘢𝘮𝘢𝘻𝘦𝘥 𝘵𝘩𝘦 𝘧𝘢𝘯𝘴.

🔸 𝘛𝘩𝘦 𝘷𝘦𝘳𝘺 𝘧𝘪𝘳𝘴𝘵 𝘤𝘰𝘯𝘤𝘦𝘳𝘵 𝘰𝘧 𝘵𝘩𝘪𝘴 𝘵𝘰𝘶𝘳 𝘸𝘢𝘴 𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘦𝘥 𝘪𝘯 𝘖𝘹𝘧𝘰𝘳𝘥 𝘢𝘵 𝘛𝘩𝘦 𝘡𝘰𝘥𝘪𝘢𝘤, 𝘢 𝘴𝘱𝘦𝘤𝘪𝘢𝘭 𝘧𝘢𝘯 𝘤𝘭𝘶𝘣 𝘨𝘪𝘨 𝘸𝘩𝘦𝘳𝘦 450 𝘭𝘶𝘤𝘬𝘺 𝘧𝘢𝘯𝘴 𝘢𝘵𝘵𝘦𝘯𝘥𝘦𝘥.

Photo credit down below

♠️ 𝐑𝐄𝐕𝐈𝐄𝐖 𝐎𝐅 𝐓𝐇𝐄 𝐎𝐗𝐅𝐎𝐑𝐃 𝐙𝐎𝐃𝐈𝐀𝐂 𝐂𝐎𝐍𝐂𝐄𝐑𝐓 ♠️

🔸 It was their first gig for then months, a secret fan club only show at the 450 capacity Oxford Zodiac. Fans had traveled as far as Japan to see the band showcase their new material from their forthcoming third album 'Black Market Music' for the very first time. The level of excitement and anticipation was high as we waited for the band to come on stage. After what seemed like forever, the intro started and the clapping and screams that filled the venue were possibly audible in neighbouring villages across the county ! Finally, the band appeared, looking relaxed and happy to be back. If there were any nerves in the Placebo camp, they were certainly well hidden.

🔸 Placebo opened with their first new track of the set titled 'Black Eyed', received hungrily by the crowd and followed by another new one, (and Stefan's personal favourite) 'Days Before You Came', a short fix of hard edged rock - pure Placebo ! The classic track 'Allergic' was up next after which Brian asked the audience to dedicate 'You Don't Care About Us' to "your favourite music magazine" (a banner reading "F*** the NME appeared in the crowd at this point, prompting a loud cheer !). Introducing the next song as the follow up single to 'Taste In Men', a sudden hush fell upon the vebue as the audience listened intently to the lyrical 'Slave To The Wage', dedicated to Scott Piering, the band's renowned radio and TV plugger who sadly died of cancer earlier this year.

🔸 'Passive Aggressive' was one of my personal favourites of the show, and proved also to be an instant hit with the audience. Leading to believe you're about to hear a slow track, the song builds gradually and powerfully, hinting at the diversity and sheer musical and typical brilliance of the forthcoming album.'Bionic' and '36 Degrees' were next lifting the crowd even bigger, and afterwards another new one 'Commercial For Levi' prompted a further dedication, this time to Placebo's sound man who saved Brian from certain death by a Fiat Uno ! Brian insisted Placebo hadn't been sponsored by Kellogs as they launched into the superb 'Special K', a real up beat powerful pop rock track and potential chart topper. The crowd were then given an opportunity to get their breath back as the title track from the band's last album 'Without You I'm Nothing' followed, along with an acoustic version of 'Every You Every Me' (another fanclub exclusive - first time ever performed live acoustically !). The penultimate new track of the evening 'Narcoleptic' and the alternative rendition of 'Teenage Angst' with Stef on piano ensued.

🔸 The encore kicked in with 'Taste In Men', another one of my personal highlights of the evening., with the track sounding larger than ever. It reminded me of the first time I heard 'Pure Morning' live, prompting a real "hair in the back of your neck" sensation. It was hard to believe that the set was almost over and that the end of the show was drawing ever closer. Placebo didn't disappoint however, with their choice of the last two songs, the rather excellent 'Nancy Boy' and 'Pure Morning' rounding off a very special evening. Afterwards it was tie to have a few drinks, watch some classic Placebo videos, and if you were one of the lucky ones, now was your chance to meet the band. An unforgettable night with a very special atmosphere, leaving everyone counting the days until the release of album number three.
Top gig boys !
☑️ 𝚂𝚒𝚕𝚟𝚎𝚛 𝚁𝚘𝚌𝚔𝚎𝚝 - 𝙸𝚜𝚜𝚞𝚎 #𝟽 (𝙰𝚞𝚐𝚞𝚜𝚝 - 𝙽𝚘𝚟𝚎𝚖𝚋𝚎𝚛 𝟸000)

Photo credits:  Liam Nicholls / Edit by Laetitia

♦️ 𝐌𝐎𝐌𝐄𝐍𝐓𝐒 𝐓𝐎 𝐑𝐄𝐌𝐄𝐌𝐁𝐄𝐑 ♦️

🔸 𝘚𝘢𝘯 𝘙𝘦𝘮𝘰... 𝘛𝘩𝘦 𝘢𝘶𝘥𝘪𝘦𝘯𝘤𝘦 𝘴𝘵𝘪𝘭𝘭 𝘳𝘦𝘮𝘦𝘮𝘣𝘦𝘳 𝘸𝘩𝘦𝘯 𝘗𝘭𝘢𝘤𝘦𝘣𝘰 𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘦𝘥 𝘚𝘱𝘦𝘤𝘪𝘢𝘭 𝘒 𝘰𝘯 𝘔𝘢𝘳𝘤𝘩 2, 2001 𝘢𝘵 𝘵𝘩𝘦 𝘚𝘢𝘯 𝘙𝘦𝘮𝘰 𝘧𝘦𝘴𝘵𝘪𝘷𝘢𝘭, 𝘲𝘶𝘪𝘵𝘦 𝘪𝘯𝘧𝘢𝘮𝘰𝘶𝘴 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘤𝘳𝘰𝘸𝘥, 𝘢 𝘥𝘦𝘭𝘪𝘨𝘩𝘵 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘧𝘢𝘯𝘴 !

𝘛𝘰 𝘬𝘯𝘰𝘸 𝘸𝘩𝘢𝘵 𝘚𝘵𝘦𝘧𝘢𝘯 𝘩𝘢𝘥 𝘵𝘰 𝘴𝘢𝘺 𝘢𝘣𝘰𝘶𝘵 𝘵𝘩𝘢𝘵 𝘦𝘷𝘦𝘯𝘵, 𝘰𝘶𝘳 𝘥𝘦𝘢𝘳 𝘚𝘪𝘭𝘬𝘦 𝘴𝘩𝘢𝘳𝘦𝘥 𝘩𝘪𝘴 𝘸𝘰𝘳𝘥𝘴 𝘴𝘰𝘮𝘦 𝘵𝘪𝘮𝘦 𝘢𝘨𝘰. 𝘠𝘰𝘶 𝘤𝘢𝘯 𝘳𝘦𝘢𝘥 𝘵𝘩𝘦𝘮 𝘩𝘦𝘳𝘦: https://bit.ly/39RdImV

🎵 𝙋𝙡𝙖𝙘𝙚𝙗𝙤 𝙞𝙣 𝙎𝙖𝙣 𝙍𝙚𝙢𝙤
 https://bit.ly/3n6HLdl


🔸 𝘖𝘯 𝘈𝘶𝘨𝘶𝘴𝘵 27, 2000 𝘢𝘵 𝘙𝘦𝘢𝘥𝘪𝘯𝘨 𝘍𝘦𝘴𝘵𝘪𝘷𝘢𝘭, 𝘑𝘶𝘴𝘵𝘪𝘯 𝘞𝘢𝘳𝘧𝘪𝘦𝘭𝘥 𝘫𝘰𝘪𝘯𝘦𝘥 𝘗𝘭𝘢𝘤𝘦𝘣𝘰 𝘵𝘰 𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘦𝘥 𝘚𝘱𝘪𝘵𝘦 𝘈𝘯𝘥 𝘔𝘢𝘭𝘪𝘤𝘦 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘰𝘯𝘦 𝘢𝘯𝘥 𝘰𝘯𝘭𝘺 𝘵𝘪𝘮𝘦 ! 𝘞𝘦 𝘤𝘢𝘯'𝘵 𝘨𝘦𝘵 𝘦𝘯𝘰𝘶𝘨𝘩 𝘰𝘧 𝘪𝘵, 𝘤𝘢𝘯 𝘸𝘦 ?

🔊 Justin appeared with the band at reading festival which must have been in 2000 or 2001 and did that the performance live on stage with them and that I think it remains, to this day, the only performance of that song that the boys have done live.
☑️ 𝙰𝚕𝚎𝚡 𝚆𝚎𝚜𝚝𝚘𝚗 - 𝙿𝚕𝚊𝚌𝚎𝚋𝚘 - 𝙱𝚕𝚊𝚌𝚔 𝙼𝚊𝚛𝚔𝚎𝚝 𝙼𝚞𝚜𝚒𝚌 𝚂𝚝𝚘𝚛𝚒𝚎𝚜 - 𝙴𝚙𝚒𝚜𝚘𝚍𝚎 𝟹


🔊 Stef on stage was so incredible. I mean I cringe now looking at like my like super dodgy like pink faux hawk. I was like wearing a t-shirt and jeans and like didn't have anything to wear and they were all glammed up and was in the trailer and they're like: "you should put on something" and so I just took one of Stef's like leather jackets with a fur collar and then jumped out on stage.
☑️ 𝙹𝚞𝚜𝚝𝚒𝚗 𝚆𝚊𝚏𝚏𝚒𝚎𝚕𝚍 - 𝙿𝚕𝚊𝚌𝚎𝚋𝚘 - 𝙱𝚕𝚊𝚌𝚔 𝙼𝚊𝚛𝚔𝚎𝚝 𝙼𝚞𝚜𝚒𝚌 𝚂𝚝𝚘𝚛𝚒𝚎𝚜 - 𝙴𝚙𝚒𝚜𝚘𝚍𝚎 𝟹

🎵 𝗣𝗹𝗮𝗰𝗲𝗯𝗼 𝘄𝗶𝘁𝗵 𝗝𝘂𝘀𝘁𝗶𝗻 𝗪𝗮𝗿𝗳𝗶𝗲𝗹𝗱 𝗼𝗻 𝘀𝘁𝗮𝗴𝗲
https://bit.ly/3ydnetG

Photo credits unknown, taken from Silver Rocket Issue 7 / Edit by Laetitia 

🔸 𝘉𝘳𝘪𝘢𝘯'𝘴 𝘵𝘳𝘢𝘨𝘪𝘤 𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘢𝘯𝘤𝘦 𝘰𝘧 𝘔𝘺 𝘚𝘸𝘦𝘦𝘵 𝘗𝘳𝘪𝘯𝘤𝘦 𝘢𝘵 𝘵𝘩𝘦 𝘏𝘶𝘳𝘳𝘪𝘤𝘢𝘯𝘦 𝘍𝘦𝘴𝘵𝘪𝘷𝘢𝘭 𝘪𝘴 𝘧𝘰𝘳 𝘮𝘦 𝘢 𝘮𝘰𝘮𝘦𝘯𝘵 𝘰𝘧 𝘱𝘶𝘳𝘦 𝘩𝘦𝘢𝘳𝘵𝘣𝘳𝘦𝘢𝘬𝘪𝘯𝘨 𝘢𝘮𝘢𝘻𝘦𝘮𝘦𝘯𝘵. 𝘉𝘳𝘪𝘢𝘯 𝘳𝘦𝘮𝘪𝘯𝘥𝘴 𝘮𝘦 𝘴𝘰𝘮𝘦𝘸𝘩𝘢𝘵 𝘰𝘧 𝘑𝘢𝘤𝘲𝘶𝘦𝘴 𝘉𝘳𝘦𝘭 𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘪𝘯𝘨 𝘕𝘦 𝘔𝘦 𝘘𝘶𝘪𝘵𝘵𝘦 𝘗𝘢𝘴 (𝘢𝘯𝘥 𝘮𝘢𝘯𝘺 𝘰𝘵𝘩𝘦𝘳 𝘴𝘰𝘯𝘨𝘴) 𝘢𝘵 𝘵𝘩𝘦 𝘗𝘢𝘭𝘮𝘢𝘳𝘦̀𝘴 𝘥𝘦 𝘭𝘢 𝘊𝘩𝘢𝘯𝘴𝘰𝘯 𝘪𝘯 1966, 𝘸𝘩𝘦𝘳𝘦 𝘵𝘩𝘦 𝘦𝘮𝘰𝘵𝘪𝘰𝘯 𝘨𝘪𝘷𝘦𝘴 𝘴𝘶𝘣𝘴𝘵𝘢𝘯𝘤𝘦 𝘵𝘰 𝘵𝘩𝘦 𝘭𝘺𝘳𝘪𝘤𝘴.

🎵 𝗠𝘆 𝗦𝘄𝗲𝗲𝘁 𝗣𝗿𝗶𝗻𝗰𝗲 𝗮𝘁 𝗛𝘂𝗿𝗿𝗶𝗰𝗮𝗻𝗲 𝗙𝗲𝘀𝘁𝗶𝘃𝗮𝗹
https://bit.ly/3nrqJH7


🔸 𝘉𝘭𝘶𝘦 𝘈𝘮𝘦𝘳𝘪𝘤𝘢𝘯 𝘢𝘵 𝘵𝘩𝘦 𝘖𝘭𝘺𝘮𝘱𝘪𝘢 𝘪𝘯 𝘗𝘢𝘳𝘪𝘴 𝘪𝘯 𝘕𝘰𝘷𝘦𝘮𝘣𝘦𝘳 2000 𝘳𝘦𝘮𝘢𝘪𝘯𝘴 𝘢 𝘴𝘱𝘦𝘤𝘪𝘢𝘭 𝘮𝘰𝘮𝘦𝘯𝘵 𝘪𝘯 𝘵𝘩𝘢𝘵 𝘵𝘩𝘦 𝘣𝘢𝘯𝘥 𝘥𝘦𝘤𝘪𝘥𝘦𝘥 𝘵𝘰 𝘴𝘩𝘰𝘸 𝘵𝘩𝘦 𝘈𝘮𝘦𝘳𝘪𝘤𝘢𝘯 𝘧𝘭𝘢𝘨 𝘣𝘶𝘳𝘯𝘪𝘯𝘨 𝘣𝘦𝘩𝘪𝘯𝘥 𝘵𝘩𝘦𝘮. 𝘈𝘭𝘵𝘩𝘰𝘶𝘨𝘩 𝘧𝘰𝘳 𝘉𝘳𝘪𝘢𝘯 𝘪𝘵 𝘩𝘢𝘥 𝘯𝘰𝘵𝘩𝘪𝘯𝘨 𝘵𝘰 𝘥𝘰 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦 𝘜𝘯𝘪𝘵𝘦𝘥 𝘚𝘵𝘢𝘵𝘦𝘴, 𝘐 𝘵𝘩𝘰𝘶𝘨𝘩𝘵 𝘪𝘵 𝘸𝘢𝘴 𝘳𝘢𝘵𝘩𝘦𝘳 𝘥𝘢𝘳𝘪𝘯𝘨 𝘢𝘯𝘥 𝘪𝘯𝘵𝘦𝘳𝘦𝘴𝘵𝘪𝘯𝘨 𝘦𝘯𝘰𝘶𝘨𝘩 𝘵𝘰 𝘣𝘦 𝘮𝘦𝘯𝘵𝘪𝘰𝘯𝘦𝘥.

- 𝑶𝒏 𝑩𝒍𝒖𝒆 𝑨𝒎𝒆𝒓𝒊𝒄𝒂𝒏, 𝒚𝒐𝒖 𝒔𝒆𝒆𝒎 𝒕𝒐 𝒃𝒆 𝒈𝒐𝒊𝒏𝒈 𝒔𝒕𝒓𝒂𝒊𝒈𝒉𝒕 𝒅𝒐𝒘𝒏 𝒕𝒉𝒆 𝑼𝒏𝒊𝒕𝒆𝒅 𝑺𝒕𝒂𝒕𝒆𝒔, 𝒚𝒐𝒖𝒓 𝒉𝒐𝒎𝒆 𝒄𝒐𝒖𝒏𝒕𝒓𝒚.
🔊 It's more of a metaphor than anything else. I'm not talking about a particular country, but about some things I discovered in myself that I'm not proud of. Every person knows their bad sides and tries to hide them most of the time. I think it's important to bring out these frustrations and obsessions that end up ruining us. Because when you overcome that stuff, your life is better. That's kind of the message of this song.
☑️ 𝙱𝚛𝚒𝚊𝚗 𝙼𝚘𝚕𝚔𝚘 - 𝙶𝚞𝚒𝚝𝚊𝚛 𝙼𝚊𝚐 - 𝙼𝚊𝚛𝚌𝚑 𝟸00𝟷

🎵 𝗕𝗹𝘂𝗲 𝗔𝗺𝗲𝗿𝗶𝗰𝗮𝗻 𝗹𝗶𝘃𝗲 𝗶𝗻 𝗣𝗮𝗿𝗶𝘀
https://bit.ly/3xK4Lne


🔸 𝘈𝘴 𝘵𝘩𝘦 𝘢𝘤𝘰𝘶𝘴𝘵𝘪𝘤 𝘷𝘦𝘳𝘴𝘪𝘰𝘯 𝘰𝘧 𝘌𝘷𝘦𝘳𝘺 𝘔𝘦 𝘌𝘷𝘦𝘳𝘺 𝘠𝘰𝘶 𝘸𝘢𝘴 𝘧𝘪𝘳𝘴𝘵 𝘱𝘭𝘢𝘺𝘦𝘥 𝘥𝘶𝘳𝘪𝘯𝘨 𝘵𝘩𝘢𝘵 𝘵𝘰𝘶𝘳, 𝘪𝘵'𝘴 𝘸𝘰𝘳𝘵𝘩 𝘭𝘪𝘴𝘵𝘦𝘯𝘪𝘯𝘨 𝘵𝘰 𝘪𝘵 𝘢𝘨𝘢𝘪𝘯 ⭐

🎵 Every Me Every You live at MCM Café (22 February 2001)
https://bit.ly/3xPmnhL

Photo credits unknown / Edit by Laetitia 

🔸 𝘈𝘧𝘵𝘦𝘳 𝘵𝘩𝘦 𝘨𝘪𝘨 𝘢𝘵 𝘞𝘦𝘳𝘤𝘩𝘵𝘦𝘳 𝘧𝘦𝘴𝘵𝘪𝘷𝘢𝘭 𝘰𝘯 𝘑𝘶𝘭𝘺 1, 2001, 𝘵𝘩𝘦 𝘣𝘢𝘯𝘥 𝘳𝘦𝘤𝘪𝘦𝘷𝘦𝘥 𝘢 𝘨𝘰𝘭𝘥 𝘥𝘪𝘴𝘤 𝘧𝘰𝘳 𝘉𝘭𝘢𝘤𝘬 𝘔𝘢𝘳𝘬𝘦𝘵 𝘔𝘶𝘴𝘪𝘤. 𝘐𝘵 𝘸𝘢𝘴 𝘴𝘪𝘨𝘯𝘪𝘧𝘪𝘤𝘢𝘯𝘵 𝘦𝘯𝘰𝘶𝘨𝘩 𝘵𝘰 𝘣𝘦 𝘮𝘦𝘯𝘵𝘪𝘰𝘯𝘦𝘥 𝘪𝘯 𝘵𝘩𝘦 𝘦𝘹𝘤𝘭𝘶𝘴𝘪𝘷𝘦 𝘧𝘢𝘯 𝘮𝘢𝘨𝘢𝘻𝘪𝘯𝘦.


🔊 The band were awarded gold discs for Black Market Music sales in excess of 28 000 in Belgium (world domination is getting nearer all the time).
☑️ 𝚂𝚒𝚕𝚟𝚎𝚛 𝚁𝚘𝚌𝚔𝚎𝚝 - #𝙸𝚜𝚜𝚞𝚎 𝟷0 (𝙰𝚞𝚐𝚞𝚜𝚝 - 𝙽𝚘𝚟𝚎𝚖𝚋𝚎𝚛 𝟸00𝟷)


🔊 Beautiful day. Don't let it slip away. Bri and Steve make up so all is cool. A really good one again. Gold discs. We do have a weak spot for the Belgians.
☑️ 𝚂𝚝𝚎𝚏𝚊𝚗 𝙾𝚕𝚜𝚍𝚊𝚕 - 𝚂𝚒𝚕𝚟𝚎𝚛 𝚁𝚘𝚌𝚔𝚎𝚝 - #𝙸𝚜𝚜𝚞𝚎 𝟷𝟹 (𝙹𝚞𝚕𝚢 - 𝚂𝚎𝚙𝚝𝚎𝚖𝚋𝚎𝚛 𝟸00𝟸)

🎵 𝗕𝗹𝗮𝗰𝗸-𝗘𝘆𝗲𝗱 𝗮𝘁 𝗪𝗲𝗿𝗰𝗵𝘁𝗲𝗿 (𝟮𝟬𝟬𝟭) 

https://bit.ly/3QJBjGS


🔸 𝘐'𝘷𝘦 𝘴𝘩𝘢𝘳𝘦𝘥 𝘢 𝘳𝘦𝘷𝘪𝘦𝘸 𝘧𝘳𝘰𝘮 𝘢 𝘧𝘢𝘯 𝘰𝘧 𝘵𝘩𝘦 𝘧𝘪𝘳𝘴𝘵 𝘨𝘪𝘨 𝘵𝘩𝘦𝘺 𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘦𝘥 𝘧𝘰𝘳 𝘵𝘩𝘪𝘴 𝘵𝘰𝘶𝘳. 𝘕𝘰𝘸, 𝘐'𝘥 𝘭𝘪𝘬𝘦 𝘵𝘰 𝘴𝘩𝘢𝘳𝘦 (𝘰𝘯𝘦 𝘰𝘧 ) 𝘵𝘩𝘦 𝘭𝘢𝘴𝘵 𝘪𝘯𝘵𝘦𝘳𝘷𝘪𝘦𝘸 𝘵𝘩𝘦𝘺 𝘥𝘪𝘥 𝘧𝘰𝘳 𝘵𝘩𝘦 𝘧𝘢𝘯 𝘪𝘯 𝘚𝘪𝘭𝘷𝘦𝘳 𝘙𝘰𝘤𝘬𝘦𝘵 𝘔𝘢𝘨𝘢𝘻𝘪𝘯𝘦, 𝘵𝘢𝘭𝘬𝘪𝘯𝘨 𝘢𝘣𝘰𝘶𝘵 𝘵𝘩𝘦 𝘵𝘰𝘶𝘳 𝘵𝘩𝘦𝘺 𝘸𝘦𝘳𝘦 𝘢𝘣𝘰𝘶𝘵 𝘵𝘰 𝘦𝘯𝘥.

♣️ 𝐈𝐍𝐓𝐄𝐑𝐕𝐈𝐄𝐖 ♣️
𝑇ℎ𝑒 𝑡𝑜𝑢𝑟 𝑒𝑛𝑑𝑒𝑑 𝑜𝑛 𝑂𝑐𝑡𝑜𝑏𝑒𝑟 27, 2001 𝑖𝑛 𝐵𝑒𝑙𝑔𝑖𝑢𝑚. 𝐴 𝑙𝑜𝑛𝑔 𝑎𝑛𝑑 𝑖𝑛𝑡𝑒𝑛𝑠𝑒 𝑡𝑜𝑢𝑟 𝑓𝑜𝑟 𝑜𝑢𝑟 𝑏𝑒𝑙𝑜𝑣𝑒𝑑 𝑏𝑎𝑛𝑑 ! 𝑇ℎ𝑒 𝑠𝑎𝑚𝑒 𝑚𝑜𝑛𝑡ℎ, 𝑏𝑒𝑓𝑜𝑟𝑒 𝑡ℎ𝑒 𝑔𝑖𝑔 𝑖𝑛 𝐿𝑜𝑛𝑑𝑜𝑛, 𝑡ℎ𝑒𝑦 𝑔𝑎𝑣𝑒 𝑎𝑛 𝑖𝑛𝑡𝑒𝑟𝑣𝑖𝑒𝑤 𝑜𝑛 𝑂𝑐𝑡𝑜𝑏𝑒𝑟 18. 𝑌𝑜𝑢 𝑐𝑎𝑛 𝑓𝑒𝑒𝑙 𝑡ℎ𝑒 𝑏𝑎𝑛𝑑 𝑒𝑥ℎ𝑎𝑢𝑠𝑡𝑒𝑑 𝑏𝑢𝑡 𝑝𝑟𝑜𝑢𝑑 𝑜𝑓 𝑡ℎ𝑒𝑖𝑟 𝑝𝑒𝑟𝑓𝑜𝑟𝑚𝑎𝑛𝑐𝑒 𝑎𝑛𝑑 𝑡ℎ𝑒 𝑠𝑢𝑐𝑐𝑒𝑠𝑠 𝑜𝑓 𝑡ℎ𝑒 𝑎𝑙𝑏𝑢𝑚.

💬 𝑺𝒐, 𝒏𝒐𝒘 𝒕𝒉𝒂𝒕 𝒚𝒐𝒖'𝒗𝒆 𝒄𝒐𝒎𝒆 𝒕𝒐 𝒕𝒉𝒆 𝒆𝒏𝒅 𝒐𝒇 𝒕𝒉𝒆 𝒕𝒐𝒖𝒓. 𝑾𝒐𝒖𝒍𝒅 𝒚𝒐𝒖 𝒔𝒂𝒚 𝒕𝒉𝒂𝒕 𝒊𝒕'𝒔 𝒃𝒆𝒆𝒏 𝒂 𝒈𝒐𝒐𝒅 𝒚𝒆𝒂𝒓 𝒇𝒐𝒓 𝑷𝒍𝒂𝒄𝒆𝒃𝒐?
𝓢𝓽𝓮𝓿𝓮: I think it's been the best year that Placebo has had. It's the best record we've ever had and the best tour we've ever had so far.
𝓑𝓻𝓲𝓪𝓷: It's just been very long. Very long and very taxing (𝘮𝘶𝘳𝘮𝘶𝘳𝘴 𝘰𝘧 𝘢𝘨𝘳𝘦𝘦𝘮𝘦𝘯𝘵 𝘢𝘭𝘭 𝘳𝘰𝘶𝘯𝘥). Both physically and emotionally.


💬 𝙄𝙨 𝙞𝙩 𝙜𝙤𝙤𝙙 𝙩𝙤 𝙗𝙚 𝙗𝙖𝙘𝙠 𝙞𝙣 𝙇𝙤𝙣𝙙𝙤𝙣 𝙩𝙝𝙚𝙣.
𝓑𝓻𝓲𝓪𝓷: Well we've only been back in London for what, 2 hours. So it hasn't really hit yet. I think when we go home tonight is when it will sink in.
𝓢𝓽𝓮𝓯𝓪𝓷: Yeah we just try not to think of London too much. We just think of it as another gig. Otherwise we get really nervous.

Photo credits: Paul Bergen / Edit by Laetitia

💬 𝑴𝒐𝒔𝒕 𝒑𝒆𝒐𝒑𝒍𝒆 𝒔𝒆𝒆𝒎 𝒕𝒐 𝒄𝒐𝒏𝒔𝒊𝒅𝒆𝒓 𝑳𝒐𝒏𝒅𝒐𝒏 𝒕𝒐 𝒃𝒆 "𝒉𝒐𝒎𝒆 𝒈𝒓𝒐𝒖𝒏𝒅" 𝒇𝒐𝒓 𝒚𝒐𝒖, 𝒅𝒐 𝒚𝒐𝒖 𝒔𝒉𝒂𝒓𝒆 𝒊𝒏 𝒕𝒉𝒊𝒔 𝒗𝒊𝒆𝒘?
𝓢𝓽𝓮𝓿𝓮: Well London we have the most guests.
𝓑𝓻𝓲𝓪𝓷: Yeah (cue laughter) but you know because of that it just makes it added special and because it's Brixton. It's such a dream venue.


💬 𝑨𝒏𝒅 𝒅𝒐𝒆𝒔 𝒕𝒉𝒆 𝒔𝒊𝒛𝒆 𝒐𝒇 𝒕𝒉𝒆 𝒗𝒆𝒏𝒖𝒆 𝒎𝒂𝒌𝒆 𝒂𝒏𝒚 𝒅𝒊𝒇𝒇𝒆𝒓𝒆𝒏𝒄𝒆, 𝒂𝒔 𝒚𝒐𝒖'𝒗𝒆 𝒑𝒍𝒂𝒚𝒆𝒅 𝒂 𝒍𝒐𝒕 𝒃𝒊𝒈𝒈𝒆𝒓 ?
𝓑𝓻𝓲𝓪𝓷: Yeah we've played a lot bigger in Europe and Mexico.


💬 𝑾𝒉𝒊𝒄𝒉 𝒘𝒐𝒖𝒍𝒅 𝒚𝒐𝒖 𝒔𝒂𝒚 𝒚𝒐𝒖 𝒑𝒓𝒆𝒇𝒆𝒓𝒓𝒆𝒅 ? 𝑺𝒎𝒂𝒍𝒍𝒆𝒓 𝒎𝒐𝒓𝒆 𝒊𝒏𝒕𝒊𝒎𝒂𝒕𝒆 𝒄𝒓𝒐𝒘𝒅𝒔 𝒐𝒓 𝒍𝒂𝒓𝒈𝒆𝒓 𝒔𝒕𝒂𝒅𝒊𝒖𝒎 𝒔𝒊𝒛𝒆𝒅 𝒈𝒊𝒈𝒔?
𝓢𝓽𝓮𝓯𝓪𝓷: I think that Brixton is the ultimate size really. It's the best venue that we've played, for the sound, atmosphere. Just the nature of being in a theater really.
𝓑𝓻𝓲𝓪𝓷: There's few purpose built places in France which almost equal it. It's this romance that's attached to it. It's a bit more intense.


💬 𝑺𝒐 𝒚𝒐𝒖'𝒅 𝒂𝒈𝒓𝒆𝒆 𝒊𝒕'𝒔 𝒃𝒆𝒕𝒕𝒆𝒓 𝒕𝒐 𝒑𝒍𝒂𝒚 𝒂 𝒔𝒎𝒂𝒍𝒍𝒆𝒓 𝒉𝒆𝒂𝒅𝒍𝒊𝒏𝒊𝒏𝒈 𝒈𝒊𝒈 𝒕𝒉𝒂𝒏 𝒔𝒂𝒚 𝒂 𝒇𝒆𝒔𝒕𝒊𝒗𝒂𝒍 𝒚𝒐𝒖 𝒑𝒍𝒂𝒚 𝒕𝒐 𝒂 𝒍𝒂𝒓𝒈𝒆𝒓 𝒎𝒐𝒓𝒆 𝒎𝒊𝒙𝒆𝒅 𝒄𝒓𝒐𝒘𝒅?
𝓑𝓻𝓲𝓪𝓷: Yeah headlining gigs.
𝓢𝓽𝓮𝓯𝓪𝓷: Headlining gigs definitely.


💬 𝑰 𝒌𝒏𝒐𝒘 𝒊𝒕'𝒔 𝒃𝒆𝒆𝒏 𝒂 𝒍𝒐𝒏𝒈 𝒚𝒆𝒂𝒓, 𝒂𝒔 𝒕𝒉𝒆𝒓𝒆 𝒃𝒆𝒆𝒏 𝒂𝒏𝒚 𝒔𝒕𝒂𝒏𝒅 𝒐𝒖𝒕 𝒑𝒐𝒊𝒏𝒕𝒔 𝒇𝒐𝒓 𝒚𝒐𝒖. 𝑮𝒐𝒐𝒅 𝒐𝒓 𝒃𝒂𝒅?
𝓢𝓽𝓮𝓿𝓮: Breaking Germany this year. Playing places like Dusseldorf to 5000 people, things like that. It really lifts you up beyond your dreams.


💬 𝑨𝒏𝒅 𝒃𝒂𝒅 𝒑𝒐𝒊𝒏𝒕𝒔? 𝑶𝒏𝒆𝒔 𝒕𝒉𝒂𝒕 𝒚𝒐𝒖 𝒘𝒂𝒏𝒕 𝒕𝒐 𝒕𝒆𝒍𝒍 𝒖𝒔 𝒂𝒏𝒚𝒘𝒂𝒚?
𝓢𝓽𝓮𝓿𝓮: Touring for 16 months.
𝓑𝓻𝓲𝓪𝓷: The beginning of the press campaigns. That was pretty vicious.
𝓢𝓽𝓮𝓿𝓮: Yes that was rough.
𝓢𝓽𝓮𝓯𝓪𝓷: San Remo, yes.
𝓢𝓽𝓮𝓿𝓮: That day.


💬 𝑫𝒐𝒆𝒔 𝒊𝒕 𝒓𝒆𝒂𝒍𝒍𝒚 𝒈𝒆𝒕 𝒕𝒐𝒖 𝒚𝒐𝒖? 𝑻𝒉𝒂𝒕 𝒃𝒂𝒅 𝒑𝒓𝒆𝒔𝒔.
𝓑𝓻𝓲𝓪𝓷: No, not really any. Not anymore. (Stefan and Steve nodded in agreement)


💬 𝑶𝒃𝒗𝒊𝒐𝒖𝒔𝒍𝒚, 𝒊𝒕'𝒔 𝒃𝒆𝒆𝒏 𝒕𝒊𝒓𝒊𝒏𝒈 𝒇𝒐𝒓 𝒚𝒐𝒖. 𝑩𝒖𝒕 𝒘𝒉𝒂𝒕 𝒘𝒐𝒖𝒍𝒅 𝒚𝒐𝒖 𝒄𝒐𝒏𝒔𝒊𝒅𝒆𝒓 𝒕𝒉𝒆 𝒃𝒆𝒔𝒕 𝒂𝒏𝒅 𝒘𝒐𝒓𝒔𝒕 𝒕𝒉𝒊𝒏𝒈𝒔 𝒂𝒃𝒐𝒖𝒕 𝒃𝒆𝒊𝒏𝒈 𝒐𝒏 𝒕𝒐𝒖𝒓?
𝓑𝓻𝓲𝓪𝓷: Playing the best (evil smirk) interviews are the worst. Ah you know, it's just the fatigue and everything. It's tough and a really kinda prolonged basis.
𝓢𝓽𝓮𝓯𝓪𝓷: It's exhausting.
𝓑𝓻𝓲𝓪𝓷: Right, but without that, you start to get like a junkie, you know the withdrawal symptoms.


💬 𝑨𝒏𝒅 𝒉𝒐𝒘 𝒅𝒐 𝒚𝒐𝒖 𝒔𝒖𝒓𝒗𝒊𝒗𝒆 𝒕𝒉𝒆 𝒃𝒐𝒓𝒆𝒅𝒐𝒎 𝒐𝒇 𝒕𝒓𝒂𝒗𝒆𝒍, 𝒑𝒖𝒕𝒕𝒊𝒏𝒈 𝒖𝒑 𝒘𝒊𝒕𝒉 𝒆𝒂𝒄𝒋=𝒉 𝒐𝒕𝒉𝒆𝒓 𝒇𝒐𝒓 𝒕𝒉𝒐𝒔𝒆 𝒍𝒐𝒏𝒈 𝒎𝒐𝒏𝒕𝒉𝒔?
𝓢𝓽𝓮𝓿𝓮: Get pissed a lot (𝘭𝘢𝘶𝘨𝘩𝘵𝘦𝘳)


💬 𝘽𝙪𝙩 𝙬𝙝𝙖𝙩 𝙨𝙩𝙤𝙥𝙨 𝙮𝙤𝙪 𝙠𝙞𝙡𝙡𝙞𝙣𝙜 𝙚𝙖𝙘𝙝 𝙤𝙩𝙝𝙚𝙧?
𝓢𝓽𝓮𝓿𝓮: Table tennis.
𝓑𝓻𝓲𝓪𝓷: What stops us killing each other ? Having a common goal.
𝓢𝓽𝓮𝓯𝓪𝓷: Having a common goal and respect. And the music really. We're still writing and it's as fresh as ever. I've said it before, you know that's what keeps it together. Checking out other bands on the tour as well.

Photo credits unknown / Edit by Laetitia

💬 𝑫𝒐 𝒚𝒐𝒖 𝒉𝒂𝒗𝒆 𝒂𝒏𝒚 𝒇𝒂𝒗𝒐𝒖𝒓𝒊𝒕𝒆 𝑪𝑫'𝒔 𝒐𝒓 𝒎𝒐𝒗𝒊𝒆𝒔 𝒐𝒏 𝒕𝒉𝒆 𝒕𝒐𝒖𝒓 𝒃𝒖𝒔 𝒕𝒐 𝒉𝒆𝒍𝒑 𝒌𝒆𝒆𝒑 𝒚𝒐𝒖 𝒂𝒎𝒖𝒔𝒆𝒅?
𝓢𝓽𝓮𝓿𝓮: Always looking for good movies.
𝓢𝓽𝓮𝓯𝓪𝓷: Snatch.
𝓑𝓻𝓲𝓪𝓷: Engel and Joe from the Black-Eyed vid.


💬 𝒀𝒐𝒖 𝒉𝒂𝒗𝒆 𝒔𝒐𝒎𝒆 𝒑𝒓𝒆𝒕𝒕𝒚 𝒅𝒆𝒅𝒊𝒄𝒂𝒕𝒆𝒅 𝒇𝒂𝒏𝒔, 𝒕𝒉𝒆𝒓𝒆'𝒔 𝒑𝒆𝒐𝒑𝒍𝒆 𝒉𝒆𝒓𝒆 𝒕𝒐𝒏𝒊𝒈𝒉𝒕 𝒇𝒓𝒐𝒎 𝒂𝒍𝒍 𝒐𝒗𝒆𝒓 𝑬𝒖𝒓𝒐𝒑𝒆 𝒘𝒉𝒐'𝒗𝒆 𝒂𝒍𝒔𝒐 𝒂𝒕𝒕𝒆𝒏𝒅𝒆𝒅 𝒎𝒂𝒏𝒚 𝒐𝒇 𝒕𝒉𝒆 𝑬𝒖𝒓𝒐𝒑𝒆𝒂𝒏 𝒅𝒂𝒕𝒆𝒔. 𝑯𝒐𝒘 𝒅𝒐 𝒚𝒐𝒖 𝒇𝒆𝒆𝒍 𝒂𝒃𝒐𝒖𝒕 𝒕𝒉𝒐𝒔𝒆 𝒇𝒂𝒏𝒔 𝒕𝒉𝒂𝒕 𝒇𝒐𝒍𝒍𝒐𝒘 𝒚𝒐𝒖 𝒆𝒗𝒆𝒓𝒚𝒘𝒉𝒆𝒓𝒆?
𝓢𝓽𝓮𝓿𝓮: It's flattering, very flattering.


💬 𝑨𝒏𝒅 𝒅𝒐 𝒚𝒐𝒖 𝒇𝒊𝒏𝒅 𝒚𝒐𝒖𝒓𝒔𝒆𝒍𝒇 𝒓𝒆𝒄𝒐𝒈𝒏𝒊𝒔𝒊𝒏𝒈 𝒇𝒂𝒄𝒆𝒔 𝒊𝒏 𝒕𝒉𝒆 𝒄𝒓𝒐𝒘𝒅?
𝓢𝓽𝓮𝓯𝓪𝓷: Yeah, the whole of Germany and parts of France had the whole same first row.
𝓑𝓻𝓲𝓪𝓷: Where do they get the money from, I think that's the burning question. So yeah, it's flattering that they spend so much money on us. There's fans from Japan who can probably lose their jobs following us around on tour for like two months and that's pretty extreme. They blow their life saving and stuff.
𝓢𝓽𝓮𝓯𝓪𝓷: And people who wait for 15 hours in the rain just to see us.


💬 𝑺𝒐 𝒚𝒐𝒖'𝒗𝒆 𝒏𝒆𝒗𝒆𝒓 𝒅𝒐𝒏𝒆 𝒕𝒉𝒂𝒕 𝒚𝒐𝒖𝒓𝒔𝒆𝒍𝒇 𝒊𝒏 𝒕𝒉𝒆 𝒑𝒂𝒔𝒕 𝒕𝒉𝒆𝒏?
𝓐𝓵𝓵: No.


💬 𝑶𝒌, 𝒔𝒐 𝒘𝒉𝒂𝒕 𝒔𝒐𝒓𝒕 𝒐𝒇 𝒈𝒊𝒈𝒔 𝒅𝒊𝒅 𝒚𝒐𝒖 𝒈𝒐 𝒕𝒐 𝒚𝒐𝒖𝒓𝒔𝒆𝒍𝒇 𝒘𝒉𝒆𝒏 𝒚𝒐𝒖 𝒘𝒆𝒓𝒆 𝒚𝒐𝒖𝒏𝒈𝒆𝒓?
𝓑𝓻𝓲𝓪𝓷: I went to see Roger Waters: The Wall when I was about 13 or something, The Wall 2.
(𝘉𝘰𝘵𝘩 𝘚𝘵𝘦𝘷𝘦 𝘢𝘯𝘥 𝘚𝘵𝘦𝘧 𝘢𝘳𝘦 𝘢𝘵 𝘵𝘩𝘪𝘴 𝘱𝘰𝘪𝘯𝘵 𝘬𝘦𝘦𝘱𝘪𝘯𝘨 𝘢𝘯 𝘦𝘯𝘪𝘨𝘮𝘢𝘵𝘪𝘤 𝘴𝘪𝘭𝘦𝘯𝘤𝘦, 𝘰𝘣𝘷𝘪𝘰𝘶𝘴𝘭𝘺 𝘯𝘰𝘵 𝘸𝘢𝘯𝘵𝘪𝘯𝘨 𝘵𝘰 𝘢𝘥𝘮𝘪𝘵 𝘵𝘰 𝘢𝘯𝘺𝘵𝘩𝘪𝘯𝘨).
𝓑𝓻𝓲𝓪𝓷: We went to a Spice Girls party, but that was after the gig, we didn't go to the gig, just the party.


💬 𝑶𝒉 𝒘𝒂𝒔𝒏'𝒕 𝒕𝒉𝒂𝒕 𝒘𝒉𝒆𝒓𝒆 𝒔𝒐𝒎𝒆𝒐𝒏𝒆 𝒕𝒉𝒓𝒆𝒘 𝒚𝒐𝒖 𝒂𝒄𝒓𝒐𝒔𝒔 𝒕𝒉𝒆 𝒓𝒐𝒐𝒎?
𝓑𝓻𝓲𝓪𝓷: Yeah, I got beat up by somebody.
𝓢𝓽𝓮𝓯𝓪𝓷: Oh I went to see Sting (𝘸𝘩𝘪𝘤𝘩 𝘧𝘰𝘳 𝘴𝘰𝘮𝘦 𝘳𝘦𝘢𝘴𝘰𝘯 𝘪𝘯𝘥𝘶𝘤𝘦𝘴 𝘭𝘢𝘶𝘨𝘩𝘵𝘦𝘳 𝘢𝘭𝘭 𝘢𝘳𝘰𝘶𝘯𝘥).


💬 𝑶𝒃𝒗𝒊𝒐𝒖𝒔𝒍𝒚, 𝒚𝒐𝒖'𝒓𝒆 𝒏𝒐𝒕 𝒕𝒉𝒊𝒏𝒌𝒊𝒏𝒈 𝒂𝒃𝒐𝒖𝒕 𝒕𝒐𝒖𝒓𝒊𝒏𝒈 𝒂𝒕 𝒕𝒉𝒆 𝒎𝒐𝒎𝒆𝒏𝒕. 𝑩𝒖𝒕 𝒅𝒐 𝒚𝒐𝒖 𝒕𝒉𝒊𝒏𝒌 𝒘𝒊𝒍𝒍 𝒚𝒐𝒖 𝒃𝒆 𝒕𝒐𝒖𝒓𝒊𝒏𝒈 𝒕𝒉𝒆 𝑺𝒕𝒂𝒕𝒆𝒔 𝒂𝒈𝒂𝒊𝒏 𝒆𝒙𝒕𝒆𝒏𝒔𝒊𝒗𝒆𝒍𝒚 𝒏𝒆𝒙𝒕 𝒕𝒊𝒎𝒆 𝒂𝒓𝒐𝒖𝒏𝒅?
𝓑𝓻𝓲𝓪𝓷: Hopefully.


💬 𝑺𝒐 𝒚𝒐𝒖'𝒓𝒆 𝒔𝒕𝒊𝒍𝒍 𝒉𝒐𝒑𝒊𝒏𝒈 𝒕𝒐 𝒃𝒓𝒆𝒂𝒌 𝑨𝒎𝒆𝒓𝒊𝒄𝒂?
𝓑𝓻𝓲𝓪𝓷: We'll see. I mean it's not going anywhere.


💬 𝑫𝒊𝒅 𝒚𝒐𝒖 𝒕𝒉𝒊𝒏𝒌 𝒕𝒉𝒂𝒕 𝒚𝒐𝒖 𝒃𝒓𝒐𝒌𝒆 𝒂𝒏𝒚 𝒏𝒆𝒘 𝒈𝒓𝒐𝒖𝒏𝒅 𝒂𝒏𝒅 𝒎𝒂𝒅𝒆 𝒂𝒏𝒚 𝒏𝒆𝒘 𝒇𝒂𝒏𝒔 𝒘𝒉𝒊𝒍𝒔𝒕 𝒐𝒗𝒆𝒓 𝒕𝒉𝒆𝒓𝒆 𝒕𝒉𝒊𝒔 𝒚𝒆𝒂𝒓?
𝓢𝓽𝓮𝓯𝓪𝓷: We actually played to more people this time. We played the same venues as we played the last time, but last time was a co-headlining tour with another band, so when we came back, we were playing the same venues but selling them out ourselves.
☑️ 𝚂𝚒𝚕𝚟𝚎𝚛 𝚁𝚘𝚌𝚔𝚎𝚝 - #𝙸𝚜𝚜𝚞𝚎 𝟷𝟷 (𝙹𝚊𝚗𝚞𝚊𝚛𝚢 - 𝙼𝚊𝚛𝚌𝚑 𝟸00𝟸)


Photo credits pic 1:
📷 Carole Epinette (bottom right)
📷 Screenshot from MCM Café (bottom left)
📷 Sublime Cat (middle right)
📷 Rock Mag - February 2001 (background)
📷 the rest unknown
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