🧬 🎶 𝐏𝐋𝐀𝐂𝐄𝐁𝐎'𝐒 𝐌𝐔𝐒𝐈𝐂𝐀𝐋 𝐃𝐍𝐀 🎶 🧬

🧬 𝑷𝒍𝒂𝒄𝒆𝒃𝒐'𝒔 𝑫𝑵𝑨... this is a topic that seems obvious at first glance but is rather complex.

🧬 In 2018, 𝑼𝑫𝒊𝒔𝒄𝒐𝒗𝒆𝒓 has tried this exercise of finding the origins of Placebo. There are some very good points, as you can read in this article I'm sharing with you today.

Photo credit: Alex Weston / Edit and translation by Laetitia

◾ At first glance, the seventies have little in common with the nineties. There the debauched rock'n'roll lifestyle reigned, here the techno optimism of the early internet age. But in the nineties, rock music made a comeback. Grunge put on flannel shirts instead of spandex suits, Britpop dominated Britain. Placebo brought the two together and made the glam of yesteryear coexist with the hodgepodge that threatened to take over the pop world before the end of the second millennium.

◾Placebo frontman Brian Molko never tired of describing his band as outsiders. As phraseological as it sounds, it's true: Placebo's Nancy Boys rebelled against the legginess of the rock world, talked about bisexuality and depression. "We were reacting strongly to the machismo, the fan chants and the revisionism of Britpop," Molko stressed in an interview. "We wanted to make a political statement with the clothes we wore and the make-up we put on. They succeeded: The rock world became a little more queer with the band's success.

◾ Placebo is the name of a fake drug - a pill that doesn't work. But Placebo is also Latin for "𝐼 𝑤𝑖𝑙𝑙 𝑝𝑙𝑒𝑎𝑠𝑒" and that's exactly what Molko, Stefan Osdal and their drummers - Robert Schultzberg, Steve Hewitt and more recently Steve Forrest - did with a sound that served punk as well as pop, that could be wonderfully quiet and deafening. It's a sound that goes straight to the heart and appeals not just to the fringe. To find out who inspired it, you have to look at Placebo's musical DNA.


🟣 𝗖𝗮𝗽𝘁𝗮𝗶𝗻 𝗕𝗲𝗲𝗳𝗵𝗲𝗮𝗿𝘁 & 𝗛𝗶𝘀 𝗠𝗮𝗴𝗶𝗰 𝗕𝗮𝗻𝗱 – 𝗔𝘀𝗵𝘁𝗿𝗮𝘆 𝗛𝗲𝗮𝗿𝘁

◾ Given Placebo's history, it's not surprising that Placebo is an outsider in the rock world. Brian Molko and Stefan Olsdal attended an American school in Luxembourg as teenagers, far from any musical activity. Both hung out in different cliques and never spoke to each other, until they met years later on the London Underground. Molko saw that the skinny Olsdal had a guitar strapped to his back and quickly invited him to play solo.

◾ It was a providential meeting. Totally enthused by Molko's talent, the native Swede insisted on making common cause with the Briton. They borrowed the name of the project from one of the most bizarre outsiders in rock history. "𝐼𝑡 𝑐𝑎𝑚𝑒 𝑓𝑟𝑜𝑚 𝑎 𝐶𝑎𝑝𝑡𝑎𝑖𝑛 𝐵𝑒𝑒𝑓ℎ𝑒𝑎𝑟𝑡 𝑙𝑖𝑛𝑒," Olsdal recalls of the band's first name. "𝑆ℎ𝑒 𝑢𝑠𝑒𝑑 𝑚𝑒 𝑙𝑖𝑘𝑒 𝑎𝑛 𝑎𝑠ℎ𝑡𝑟𝑎𝑦 ℎ𝑒𝑎𝑟𝑡". With Placebo, the two men came up with an even catchier name. "𝑌𝑜𝑢 𝑐𝑎𝑛 𝑖𝑚𝑎𝑔𝑖𝑛𝑒 ℎ𝑜𝑤 40,000 𝑝𝑒𝑜𝑝𝑙𝑒 𝑠ℎ𝑜𝑢𝑡 𝑖𝑡 𝑜𝑢𝑡...", the bassist explains. Ashtray Heart, however, is also the title of a song on the album Battle for the Sun. The lyrics clearly allude to Captain Beefheart and his Magic Band.

🎵𝑪𝒂𝒑𝒕𝒂𝒊𝒏 𝑩𝒆𝒆𝒇𝒉𝒆𝒂𝒓𝒕 ⭐ https://bit.ly/3SgL2Vh

🎵𝑷𝒍𝒂𝒄𝒆𝒃𝒐 ⭐ https://bit.ly/3UAklwk

Photo credit: Pat Pope

🟣 𝗗𝗲𝗽𝗲𝗰𝗵𝗲 𝗠𝗼𝗱𝗲 – 𝗜 𝗙𝗲𝗲𝗹 𝗬𝗼𝘂

◾Outsider or not: with their first album Placebo, the trio - which included Schultzberg alongside Molko and Olsdal - was a real hit. But now the two leaders of the band are not entirely satisfied with their first work. They find much of what got them media attention at the time too pop, too punk, too adolescent. They were compared to the first post-punk generation, when the inspiration was quite different.

◾"𝑊𝑒 𝑡𝑟𝑖𝑒𝑑 𝑡𝑜 𝑡𝑎𝑘𝑒 𝑆𝑜𝑛𝑖𝑐 𝑌𝑜𝑢𝑡ℎ 𝑎𝑛𝑑 𝐷𝑒𝑝𝑒𝑐ℎ𝑒 𝑀𝑜𝑑𝑒, 𝑡ℎ𝑟𝑜𝑤 𝑡ℎ𝑒𝑚 𝑎𝑔𝑎𝑖𝑛𝑠𝑡 𝑡ℎ𝑒 𝑤𝑎𝑙𝑙 𝑎𝑛𝑑 𝑠𝑒𝑒 𝑤ℎ𝑎𝑡 𝑤𝑜𝑢𝑙𝑑 𝑠𝑡𝑖𝑐𝑘," Molko recalls in an interview. American no wave here, British new wave there: clearly Placebo had absolutely nothing to do with the galloping Britpop trend, nor did they want to. But they have remained true to Depeche Mode throughout their career. In 2003, they covered the then ten-year-old song I Feel You from Depeche Mode's seminal album Songs of Faith and Devotion.

🎵𝑫𝒆𝒑𝒆𝒄𝒉𝒆 𝑴𝒐𝒅𝒆 ⭐ https://bit.ly/3RfOVIB

🎵𝑷𝒍𝒂𝒄𝒆𝒃𝒐 ⭐ https://bit.ly/3UFCbye

♪ ¨♪ ¨♪


🟣 𝗧𝗵𝗲 𝗦𝗺𝗶𝘁𝗵𝘀 – 𝗕𝗶𝗴𝗺𝗼𝘂𝘁𝗵 𝗦𝘁𝗿𝗶𝗸𝗲𝘀 𝗔𝗴𝗮𝗶𝗻

◾Unlike their Britpop contemporaries, who found their inspiration mainly in the sixties and seventies, Placebo either orientated themselves directly to the pulse of the present, or to the exciting early days of the British indie sound. So it's no surprise that the B-side of their 1997 single Nancy Boy contains a cover of indie heroes The Smiths, Bigmouth Strikes Again. Molko's nasally, decidedly androgynous voice seemed a perfect update to Morrissey's iodised vocal style.


◾Like Britpop after them, the Smiths represented a certain image of British culture with which Placebo could not and would not be associated. But in the romantic gestures of Morrissey's band and guitar genius Johnny Marr, Molko and his pals found something else: style. Few bands embodied musical and lyrical elegance as confidently as the Smiths.

🎵𝑻𝒉𝒆 𝑺𝒎𝒊𝒕𝒉𝒔 ⭐ https://bit.ly/3R9QZSD

🎵𝑷𝒍𝒂𝒄𝒆𝒃𝒐 ⭐ https://bit.ly/3fiQIzx

Photo credit: Nadav Kander

🟣 𝗦𝘂𝗲𝗱𝗲 – 𝗧𝗵𝗲 𝗕𝗲𝗮𝘂𝘁𝗶𝗳𝘂𝗹 𝗢𝗻𝗲𝘀

◾Speaking of "Bigmouth": sometimes Molko would have preferred - like Morrissey - to keep his mouth shut. About what ? Well, about his bisexuality, which also became a declaration of war in Nancy Boy. "I've always been open about my sexuality, because I was quite a go-getter in the early days of Placebo," he admits quietly. "My coming-out felt important to take a stand. Looking back a quarter of a century, it's fair to say that Molko did exactly the right thing: Placebo started a small revolution.

◾But they were not alone. Suede established themselves in the late eighties and early nineties with a sound that is considered a precursor to the Britpop movement. But Suede also liked to flirt with the glam-rock aesthetic and play with his sexuality. "I'm a bisexual man who has never had a homosexual experience," frontman Brett Anderson once proclaimed. It is this phrase that would have inspired Nancy Boy.

🎵𝑺𝒖𝒆𝒅𝒆 - 𝑻𝒉𝒆 𝑩𝒆𝒂𝒖𝒕𝒊𝒇𝒖𝒍 𝑶𝒏𝒆𝒔 ⭐ https://bit.ly/3UDbZEk

♪ ¨♪ ¨♪


🟣 𝗗𝗮𝘃𝗶𝗱 𝗕𝗼𝘄𝗶𝗲 – 𝗪𝗵𝗲𝗿𝗲 𝗔𝗿𝗲 𝗪𝗲 𝗡𝗼𝘄 ?

◾Suede and Placebo were far from the only ones to openly embrace their fluid interpretation of male sexuality. Their master mind was David Bowie. Much has been said and written about Bowie's sexuality, not all of it positive: he is said to have had sex with minors, and there are whispers that his concessions to bisexuality were just a publicity stunt. In any case: by bringing a new image of masculinity to the stage and by transforming himself from time to time, he became a role model for entire generations.

◾In 1996, Bowie invited Placebo on a joint tour and even appeared in an alternative version of the title track from their album Without You I'm Nothing. "𝑊𝑒 𝑜𝑤𝑒 𝑖𝑡 𝑎𝑙𝑙 𝑡𝑜 𝑀𝑜𝑟𝑟𝑖𝑠𝑠𝑒𝑦," Molko revealed to the press. Moz played his colleague a demo of the band before Placebo was even released. He was thrilled. "𝐼 𝑚𝑢𝑠𝑡 ℎ𝑎𝑣𝑒 𝑏𝑒𝑒𝑛 24 𝑜𝑟 25 𝑦𝑒𝑎𝑟𝑠 𝑜𝑙𝑑 - 𝑖𝑡 𝑑𝑖𝑑 𝑚𝑦 𝑒𝑔𝑜 𝑎 𝑙𝑜𝑡 𝑜𝑓 𝑔𝑜𝑜𝑑," says Molko. The hero became a friend, his influence remained constant. "𝐼𝑓 𝐵𝑜𝑤𝑖𝑒 𝑟𝑒𝑐𝑜𝑟𝑑𝑒𝑑 𝑎𝑛 𝑎𝑙𝑏𝑢𝑚 𝑐𝑜𝑚𝑝𝑙𝑒𝑡𝑒𝑙𝑦 𝑎𝑛𝑜𝑛𝑦𝑚𝑜𝑢𝑠𝑙𝑦 [...] 𝑎𝑛𝑑 𝑐𝑎𝑚𝑒 𝑏𝑎𝑐𝑘 𝑤𝑖𝑡ℎ 𝑎 𝑠𝑜𝑛𝑔 𝑙𝑖𝑘𝑒 𝑊ℎ𝑒𝑟𝑒 𝐴𝑟𝑒 𝑊𝑒 𝑁𝑜𝑤 ? 𝑤𝑜𝑢𝑙𝑑 𝑐𝑜𝑚𝑒 𝑏𝑎𝑐𝑘, 𝑡ℎ𝑒𝑛 𝑡ℎ𝑒𝑟𝑒 𝑤𝑜𝑢𝑙𝑑 𝑏𝑒 ℎ𝑜𝑝𝑒 𝑓𝑜𝑟 𝑢𝑠. [...] 𝑇𝑜𝑢𝑐ℎ𝑒́. 𝑊𝑒𝑙𝑙 𝑑𝑜𝑛𝑒, 𝐷𝑎𝑣𝑖𝑑," he said of his colleague in 2013, when Placebo had to reinvent itself.

🎵𝑫𝒂𝒗𝒊𝒅 𝑩𝒐𝒘𝒊𝒆 - 𝑾𝒉𝒆𝒓𝒆 𝑨𝒓𝒆 𝑾𝒆 𝑵𝒐𝒘 ? ⭐ https://bit.ly/3fjnh03

🎵𝑷𝒍𝒂𝒄𝒆𝒃𝒐 𝒂𝒏𝒅 𝒅𝒂𝒗𝒊𝒅 𝑩𝒐𝒘𝒊𝒆 - 𝑾𝒊𝒕𝒉𝒐𝒖𝒕 𝒀𝒐𝒖 𝑰'𝒎 𝑵𝒐𝒕𝒉𝒊𝒏𝒈 ⭐ https://bit.ly/3BGhfhG

Photo credit: Scarlet Page

🟣 𝗧-𝗥𝗲𝘅 – 𝟮𝟬𝘁𝗵 𝗖𝗲𝗻𝘁𝘂𝗿𝘆 𝗕𝗼𝘆

◾Not surprisingly, the band, and Molko in particular, were badly shaken by Bowie's death only three years later. "𝑊ℎ𝑒𝑟𝑒𝑣𝑒𝑟 𝑦𝑜𝑢 𝑎𝑟𝑒 𝑛𝑜𝑤, 𝐼 𝑚𝑖𝑠𝑠 𝑦𝑜𝑢," Molko wrote on the band's Facebook page. "𝐼 𝑑𝑜𝑛'𝑡 𝑗𝑢𝑠𝑡 𝑚𝑖𝑠𝑠 𝑦𝑜𝑢, 𝑚𝑦 ℎ𝑒𝑎𝑟𝑡 𝑖𝑠 𝑏𝑟𝑜𝑘𝑒𝑛. 𝑌𝑜𝑢 𝑤𝑒𝑟𝑒 𝑚𝑦 𝑖𝑑𝑜𝑙, 𝑡ℎ𝑒𝑛 𝑦𝑜𝑢 𝑏𝑒𝑐𝑎𝑚𝑒 𝑚𝑦 𝑚𝑒𝑛𝑡𝑜𝑟 𝑎𝑛𝑑 𝑓𝑟𝑖𝑒𝑛𝑑." The band has repeatedly shown how much Bowie influenced them. This is particularly true of their participation in the film Velvet Goldmine, loosely based on Bowie's life.

◾The band made several guest star appearances in this cult film, and can also be heard on the soundtrack. For Velvet Goldmine, they recorded a cover of T-Rex's 20th Century Boy, Marc Bolan's glam rock classic. Although the garish aesthetic of glam rock is undoubtedly one of Placebo's main influences, the band has never been content with trying to revive this short-lived genre.

🎵𝑻-𝑹𝒆𝒙 ⭐ https://bit.ly/3xTsu5h

🎵𝑷𝒍𝒂𝒄𝒆𝒃𝒐 ⭐ https://bit.ly/3Sy8n4K

♪ ¨♪ ¨♪


🟣 𝗕𝗼𝗯 𝗗𝘆𝗹𝗮𝗻 – 𝗠𝗮𝗴𝗴𝗶𝗲’𝘀 𝗙𝗮𝗿𝗺

◾The Black Market Music album was the first time Placebo had expressed their full potential. Although Molko is upset about the poor production sound of this groundbreaking record, he cannot deny that his band has rarely sounded more coherent. In terms of content, too, Placebo were able for the first time to realise what their mastermind had in mind, weaving dense, lyrical lyrics that had no pubescent charge.

◾In the song Slave to the Wage, for example, Molko describes, over Olsdal's feverish bass riff, the bleak daily reality of a 9 to 5. There is no doubt that as rock stars, a settled working life meant pure hell for the trio - at the time Steve Hewitt was still behind the gun range. As well as the distinctive guitar sound of Pavements Texas Never Whispers, which Placebo sampled for the track, the text also alludes to Bob Dylan's Maggie's Farm: '𝘚𝘪𝘤𝘬 𝘢𝘯𝘥 𝘵𝘪𝘳𝘦𝘥 𝘰𝘧 𝘔𝘢𝘨𝘨𝘪𝘦'𝘴 𝘧𝘢𝘳𝘮 / 𝘚𝘩𝘦'𝘴 𝘢 𝘣𝘪𝘵𝘤𝘩, 𝘸𝘪𝘵𝘩 𝘣𝘳𝘰𝘬𝘦𝘯 𝘢𝘳𝘮𝘴 𝘵𝘰 𝘸𝘢𝘷𝘦 / 𝘠𝘰𝘶𝘳 𝘸𝘰𝘳𝘳𝘪𝘦𝘴, 𝘢𝘯𝘥 𝘤𝘢𝘳𝘦𝘴, 𝘨𝘰𝘰𝘥𝘣𝘺𝘦'. The great Dylan had finally shown what a life for and through music could be like. Goodbye to making a living !

🎵𝑩𝒐𝒃 𝑫𝒚𝒍𝒂𝒏 - 𝒎𝒂𝒈𝒈𝒊𝒆'𝒔 𝑭𝒂𝒓𝒎 ⭐https://bit.ly/2mhKWT7

🎵𝑷𝒍𝒂𝒄𝒆𝒃𝒐 - 𝑺𝒍𝒂𝒗𝒆 𝑻𝒐 𝑻𝒉𝒆 𝑾𝒂𝒈𝒆 ⭐ https://bit.ly/3Sx2BAk

Photo credit: Joseph Llanes

🟣 𝗣𝗝 𝗛𝗮𝗿𝘃𝗲𝘆 – 𝗛𝗮𝗿𝗱𝗹𝘆 𝗪𝗮𝗶𝘁

◾It is clear that Placebo has always represented and still represents a certain attitude to life. Outsiders on the one hand, creative and full of energy on the other. No wonder Placebo also loves PJ Harvey. When the band presented a cover of Hardly Wait - first released in 1993 on Harvey's legendary 4-track demo LP - on the B-side of their single The Never-Ending Why in 2009, it was a long-overdue tribute to the fantastic Polly Jean.

◾Molko discovered Harvey early on: when their first album Dry was released in 1992, he was immediately excited. "𝐼𝑡 𝑐𝑎𝑚𝑒 𝑜𝑢𝑡 𝑤ℎ𝑒𝑛 𝐼 𝑤𝑎𝑠 𝑗𝑢𝑠𝑡 𝑜𝑢𝑡 𝑜𝑓 𝑐𝑜𝑙𝑙𝑒𝑔𝑒," he recalls in an interview with New Musical Express. "𝐼𝑡 𝑠𝑜𝑢𝑛𝑑𝑒𝑑 𝑟𝑎𝑤 𝑎𝑛𝑑 𝑜𝑢𝑡 𝑜𝑓 𝑡ℎ𝑒 𝑔𝑢𝑡. 𝑇ℎ𝑒 𝑟𝑒𝑐𝑜𝑟𝑑 𝑖𝑡𝑠𝑒𝑙𝑓 𝑠𝑜𝑢𝑛𝑑𝑠 𝑠𝑜 𝑢𝑛𝑝𝑟𝑜𝑑𝑢𝑐𝑒𝑑 𝑎𝑛𝑑 𝑟𝑒𝑎𝑙. 𝐼 𝑓𝑒𝑙𝑙 𝑖𝑛 𝑙𝑜𝑣𝑒 𝑤𝑖𝑡ℎ 𝑃𝑜𝑙𝑙𝑦 𝐻𝑎𝑟𝑣𝑒𝑦 𝑖𝑛 𝑡ℎ𝑒 ℎ𝑒𝑎𝑑, 𝑎𝑛𝑑 𝐼 𝑤𝑒𝑛𝑡 𝑐𝑟𝑎𝑧𝑦 𝑓𝑜𝑟 ℎ𝑒𝑟 𝑚𝑢𝑠𝑖𝑐." Vulnerable but strong music - that's what Placebo had in mind when they recorded their first album. But they couldn't match Harvey. But who can ?

🎵𝑷𝑱 𝑯𝒂𝒓𝒗𝒆𝒚 ⭐ https://bit.ly/3dAgIGh

🎵𝑷𝒍𝒂𝒄𝒆𝒃𝒐 ⭐ https://bit.ly/3UBeNSl

♪ ¨♪ ¨♪


🟣 𝗞𝗮𝘁𝗲 𝗕𝘂𝘀𝗵 – 𝗥𝘂𝗻𝗻𝗶𝗻𝗴 𝗨𝗽 𝗧𝗵𝗮𝘁 𝗛𝗶𝗹𝗹 (𝗔 𝗗𝗲𝗮𝗹 𝗪𝗶𝘁𝗵 𝗚𝗼𝗱)

◾Well, maybe Kate Bush. The latter's hit Running Up That Hill (A Deal With God) is also an integral part of the Placebo repertoire. Their cover was first released as a bonus track on the US version of the Meds album and quickly became a fan favourite. "We cover songs that we love," said Olsdal. "We do it for fun in B-side sessions. We've covered a lot of bands, especially from the eighties. Depeche Mode and even Robert Palmer. Their version of Running Up That Hill, however, was to be very special.

◾"We're huge fans of Kate Bush and when it comes to this song, we think the lyrics have real depth, which is not noticeable in the original because she sings so fast," Olsdal explained of his band's approach. "𝑊𝑒 𝑠𝑙𝑜𝑤𝑒𝑑 𝑖𝑡 𝑑𝑜𝑤𝑛 𝑎𝑛𝑑 𝑖𝑡 𝑓𝑒𝑙𝑡 𝑟𝑒𝑎𝑙𝑙𝑦 𝑔𝑜𝑜𝑑. 𝑊𝑒 𝑤𝑒𝑟𝑒 𝑣𝑒𝑟𝑦 𝑝𝑟𝑜𝑢𝑑 𝑜𝑓 𝑖𝑡. 𝐵𝑢𝑡 𝑤ℎ𝑎𝑡 𝑑𝑖𝑑 𝐵𝑢𝑠ℎ ℎ𝑖𝑚𝑠𝑒𝑙𝑓 𝑡ℎ𝑖𝑛𝑘? "𝑊𝑒 𝑚𝑒𝑡 ℎ𝑒𝑟 𝑎𝑛𝑑 𝑤𝑒𝑟𝑒 𝑡𝑜𝑡𝑎𝑙𝑙𝑦 𝑟𝑒𝑙𝑖𝑒𝑣𝑒𝑑 𝑤ℎ𝑒𝑛 𝑠ℎ𝑒 𝑡𝑜𝑙𝑑 𝑢𝑠 𝑠ℎ𝑒 𝑙𝑖𝑘𝑒𝑑 𝑖𝑡". Well, it all worked out !

🎵𝑲𝒂𝒕𝒆 𝑩𝒖𝒔𝒉 ⭐ https://bit.ly/3RaoNz0

🎵𝑷𝒍𝒂𝒄𝒆𝒃𝒐 ⭐ https://bit.ly/3SdpcBY

Photo credit: Mary Scanlon

🟣 𝗕𝗹𝗮𝗰𝗸𝗺𝗮𝗶𝗹 – 𝗠𝗼𝗼𝗻𝗽𝗶𝗴𝘀

◾Placebo has always been open to its influences, has dedicated solemn covers to its heroes and heroines and has always shown them respect, even behind the scenes. The same cannot be said for the bands who, for their part, owe a lot to Placebo. "You lose hair", Blackmail singer Aydo Abay is said to have joked to Brian Molko when he met the Briton backstage at the Melt! festival one day. Is this true? We don't know.

◾But what is certain is that the Koblenz band, which debuted a year after Placebo, has always reacted with annoyance to the incessant comparisons with Placebo. "𝐴ℎ, 𝑛𝑜𝑡 𝑡ℎ𝑎𝑡 𝑎𝑔𝑎𝑖𝑛," moaned Carlos Ebelhäuser, the band's bassist, when the conversation turned to Abay's singing in an interview. "𝑇ℎ𝑒𝑦 ℎ𝑎𝑣𝑒 𝑎 𝑠𝑖𝑚𝑖𝑙𝑎𝑟 𝑣𝑜𝑖𝑐𝑒, 𝑏𝑢𝑡 𝐴𝑦𝑑𝑜 𝑠𝑖𝑛𝑔𝑠 𝑚𝑢𝑐ℎ 𝑏𝑒𝑡𝑡𝑒𝑟 𝑎𝑛𝑑 𝑑𝑜𝑒𝑠𝑛'𝑡 ℎ𝑎𝑣𝑒 𝑡ℎ𝑎𝑡 𝑑𝑖𝑠𝑔𝑢𝑠𝑡𝑖𝑛𝑔 𝑡𝑜𝑛𝑒," it was said. "𝐴𝑛𝑑 𝑚𝑢𝑠𝑖𝑐𝑎𝑙𝑙𝑦 𝑤𝑒 𝑎𝑟𝑒 𝑎𝑙𝑠𝑜 𝑣𝑒𝑟𝑦 𝑑𝑖𝑓𝑓𝑒𝑟𝑒𝑛𝑡. 𝑇ℎ𝑒𝑦 𝑎𝑟𝑒 𝑡𝑜𝑜 𝑝𝑜𝑝, 𝑤𝑒 ℎ𝑎𝑣𝑒 𝑏𝑒𝑡𝑡𝑒𝑟 𝑔𝑢𝑖𝑡𝑎𝑟𝑠. 𝑊𝑖𝑡ℎ 𝑠𝑜𝑛𝑔𝑠 𝑙𝑖𝑘𝑒 𝑀𝑜𝑜𝑛𝑝𝑖𝑔𝑠, 𝑦𝑜𝑢 𝑐𝑎𝑛 𝑐𝑙𝑒𝑎𝑟𝑙𝑦 ℎ𝑒𝑎𝑟 𝑤ℎ𝑎𝑡 𝐸𝑏𝑒𝑙ℎ𝑎̈𝑢𝑠𝑒𝑟 𝑚𝑒𝑎𝑛𝑠. 𝐵𝑢𝑡 𝑤𝑖𝑡ℎ 𝑙𝑖𝑛𝑒𝑠 𝑙𝑖𝑘𝑒 "𝘌𝘷𝘦𝘳𝘺𝘰𝘯𝘦 𝘨𝘦𝘵 𝘪𝘯 / 𝘌𝘷𝘦𝘯 𝘢𝘭𝘭 𝘺𝘰𝘶 𝘮𝘪𝘴𝘧𝘪𝘵𝘴", his band has always made it clear that they are dedicated to the marginalized, just like their British colleagues. That's something to live with - isn't it ?

🎵𝑩𝒍𝒂𝒄𝒌𝒎𝒂𝒊𝒍 - 𝑴𝒐𝒐𝒏𝒑𝒊𝒈𝒔 ⭐ https://bit.ly/3BKSCjN

✔️ 𝚄𝙳𝚒𝚜𝚌𝚘𝚟𝚎𝚛 - 𝙼𝚊𝚛𝚌𝚑 𝟸0, 𝟸0𝟷𝟾

•♬• ♬• ♬• ♬• ♬• ♬•


🧬 𝙄𝙩'𝙨 𝙫𝙚𝙧𝙮 𝙞𝙣𝙩𝙚𝙧𝙚𝙨𝙩𝙞𝙣𝙜 𝙞𝙨𝙣'𝙩 𝙞𝙩 ?

🧬 On the other hand, I find that the comparison with glam rock is often overemphasized despite Brian, Stefan and Steve Hewitt's constant reminders (at the time) that this musical genre was never a major influence on their music. I strongly believe that if they had never made an appearance in Velvet Goldmine, the glam image would not have stuck to Placebo so much. I may be wrong, but Placebo would never have covered 20th Cebtury Boy if not for Todd Haynes' film. Of course, David Bowie was one of the main artists to use these glam tendencies and to play them to excess, but this is not what influenced Placebo, as Brian reminded us during an interview in Paris in 1998:

𝑍𝑖𝑔𝑔𝑦 𝑆𝑡𝑎𝑟𝑑𝑢𝑠𝑡 𝑐𝑎𝑚𝑒 𝑜𝑢𝑡 𝑤ℎ𝑒𝑛 𝐼 𝑤𝑎𝑠 𝑜𝑛𝑒 𝑦𝑒𝑎𝑟 𝑜𝑙𝑑. 𝑊𝑒 𝑎𝑟𝑒 𝑡𝑜𝑜 𝑦𝑜𝑢𝑛𝑔 𝑡𝑜 𝑟𝑒𝑚𝑒𝑚𝑏𝑒𝑟 𝐺𝑙𝑎𝑚. 𝑇ℎ𝑒 𝑚𝑢𝑠𝑖𝑐 𝑜𝑓 𝑜𝑢𝑟 𝑐ℎ𝑖𝑙𝑑ℎ𝑜𝑜𝑑 𝑤𝑎𝑠 𝑑𝑖𝑠𝑐𝑜. 𝐺𝑙𝑎𝑚 ℎ𝑎𝑑 𝑛𝑜 𝑒𝑓𝑓𝑒𝑐𝑡 𝑜𝑛 𝑢𝑠.
✔️ 𝙱𝚛𝚒𝚊𝚗 𝙼𝚘𝚕𝚔𝚘 - 𝙻𝚊 𝚗𝚞𝚒𝚝 𝚍𝚞 𝙶𝚕𝚊𝚖 𝚊𝚝 𝙲𝚊𝚗𝚊𝚕 𝙹𝚒𝚖𝚖𝚢 (𝟷𝟿𝟿𝟾)

Photo credit: Kevin Cummins

🧬 𝑫𝒊𝒔𝒄𝒐 ! That's exactly what's missing in this listing by UDiscover. No need to remind you of the excellent cover of Daddy Cool, a song by Boney M which surprised more than one fan ! At least, I was :D . The band members grew up in the 80's, when disco was in full swing.

𝑩𝒐𝒏𝒆𝒚 𝑴 https://bit.ly/3BHu4Zc

𝑷𝒍𝒂𝒄𝒆𝒃𝒐 https://bit.ly/3StDK0e

𝑩𝒚 𝒓𝒆𝒄𝒐𝒓𝒅𝒊𝒏𝒈 '𝑫𝒂𝒅𝒅𝒚 𝑪𝒐𝒐𝒍' 𝒇𝒓𝒐𝒎 𝒕𝒉𝒆 𝑩𝑶𝑵𝑬𝒀 𝑴 𝒓𝒆𝒑𝒆𝒓𝒕𝒐𝒊𝒓𝒆, 𝒅𝒊𝒅 𝒚𝒐𝒖 𝒘𝒂𝒏𝒕 𝒕𝒐 𝒑𝒓𝒐𝒗𝒆 𝒊𝒏 𝒔𝒐𝒎𝒆 𝒘𝒂𝒚 𝒕𝒉𝒂𝒕 𝒚𝒐𝒖 𝒂𝒓𝒆 𝒏𝒐𝒕 𝒆𝒕𝒆𝒓𝒏𝒂𝒍𝒍𝒚 𝒔𝒖𝒇𝒇𝒆𝒓𝒊𝒏𝒈 𝒉𝒆𝒂𝒓𝒕𝒃𝒓𝒐𝒌𝒆𝒏 𝒈𝒖𝒚𝒔, 𝒃𝒖𝒕 𝒑𝒆𝒐𝒑𝒍𝒆 𝒘𝒉𝒐 𝒂𝒍𝒔𝒐 𝒍𝒊𝒌𝒆 𝒕𝒐 𝒉𝒂𝒗𝒆 𝒇𝒖𝒏?

𝑀𝑎𝑦𝑏𝑒 𝑡ℎ𝑒𝑟𝑒 𝑤𝑜𝑢𝑙𝑑 𝑏𝑒 𝑛𝑜𝑡ℎ𝑖𝑛𝑔 𝑡𝑜 𝑝𝑟𝑜𝑣𝑒, 𝑏𝑢𝑡 𝑠𝑜𝑚𝑒 𝑝𝑒𝑜𝑝𝑙𝑒 ℎ𝑎𝑣𝑒 𝑡ℎ𝑒 𝑤𝑟𝑜𝑛𝑔 𝑖𝑑𝑒𝑎 𝑎𝑏𝑜𝑢𝑡 𝑃𝐿𝐴𝐶𝐸𝐵𝑂. 𝑇ℎ𝑒𝑦 𝑡ℎ𝑖𝑛𝑘 𝑤𝑒 𝑎𝑙𝑤𝑎𝑦𝑠 𝑤𝑒𝑎𝑟 𝑏𝑙𝑎𝑐𝑘 𝑎𝑛𝑑 𝑡𝑎𝑙𝑘 𝑎𝑏𝑜𝑢𝑡 𝑆𝑎𝑡𝑎𝑛.

𝐶𝑒𝑟𝑡𝑎𝑖𝑛𝑙𝑦 𝑎 𝑙𝑜𝑡 𝑜𝑓 𝑝𝑒𝑜𝑝𝑙𝑒 𝑤𝑒𝑟𝑒 𝑠𝑢𝑟𝑝𝑟𝑖𝑠𝑒𝑑 𝑏𝑦 𝑡ℎ𝑖𝑠 𝑠𝑜𝑛𝑔, 𝑏𝑢𝑡 𝑡ℎ𝑖𝑠 𝑖𝑠 𝑡ℎ𝑒 𝑚𝑢𝑠𝑖𝑐 𝑤𝑒 𝑔𝑟𝑒𝑤 𝑢𝑝 𝑤𝑖𝑡ℎ. 𝐼𝑓 𝑚𝑦 𝑝𝑎𝑟𝑒𝑛𝑡𝑠 𝑤𝑒𝑟𝑒 ℎ𝑎𝑣𝑖𝑛𝑔 𝑎 𝑝𝑎𝑟𝑡𝑦 𝑜𝑛 𝑆𝑎𝑡𝑢𝑟𝑑𝑎𝑦 𝑛𝑖𝑔ℎ𝑡, 𝑡ℎ𝑒𝑦 𝑤𝑜𝑢𝑙𝑑 𝑑𝑒𝑓𝑖𝑛𝑖𝑡𝑒𝑙𝑦 𝑏𝑒 𝑝𝑙𝑎𝑦𝑖𝑛𝑔 𝐵𝑂𝑁𝐸𝑌 𝑀., 𝑎𝑛𝑑 𝐼 𝑤𝑜𝑢𝑙𝑑 ℎ𝑎𝑣𝑒 𝑏𝑒𝑒𝑛 𝑑𝑎𝑛𝑐𝑖𝑛𝑔 𝑠𝑜𝑚𝑒𝑤ℎ𝑒𝑟𝑒 𝑖𝑛 𝑡ℎ𝑒 𝑐𝑜𝑟𝑛𝑒𝑟 ... 𝑡ℎ𝑒 𝑜𝑡ℎ𝑒𝑟𝑠 𝑝𝑟𝑜𝑏𝑎𝑏𝑙𝑦 𝑤𝑜𝑢𝑙𝑑 𝑡𝑜𝑜.

𝐼𝑡'𝑠 𝑗𝑢𝑠𝑡 𝑎 𝑠𝑜𝑛𝑔 𝑡ℎ𝑎𝑡 ℎ𝑎𝑠 𝑏𝑒𝑒𝑛 𝑤𝑖𝑡ℎ 𝑢𝑠 𝑓𝑜𝑟𝑒𝑣𝑒𝑟 𝑎𝑛𝑑 𝑡ℎ𝑎𝑡 𝑤𝑒 𝑙𝑖𝑘𝑒 𝑡𝑜 𝑑𝑎𝑛𝑐𝑒 𝑡𝑜. 𝐼𝑡 𝑑𝑜𝑒𝑠𝑛'𝑡 𝑚𝑒𝑎𝑛 𝑤𝑒 𝑙𝑖𝑘𝑒 𝑎𝑙𝑙 𝑡ℎ𝑒 𝑠𝑜𝑛𝑔𝑠 𝑏𝑦 𝐵𝑂𝑁𝐸𝑌 𝑀., 𝑏𝑒𝑐𝑎𝑢𝑠𝑒 𝑠𝑜𝑚𝑒 ... 𝑎𝑟𝑒𝑛'𝑡 𝑡ℎ𝑎𝑡 𝑔𝑜𝑜𝑑.

𝐴𝑙𝑠𝑜, 𝑡ℎ𝑖𝑠 𝑠𝑜𝑛𝑔 𝑤𝑎𝑠 𝑎 𝑏𝑖𝑟𝑡ℎ𝑑𝑎𝑦 𝑝𝑟𝑒𝑠𝑒𝑛𝑡 𝑓𝑜𝑟 𝑆𝑇𝐸𝑉𝐸'𝑠 𝑑𝑎𝑢𝑔ℎ𝑡𝑒𝑟 𝑏𝑒𝑐𝑎𝑢𝑠𝑒 ℎ𝑒 𝑤𝑎𝑠 𝑎𝑙𝑤𝑎𝑦𝑠 𝑠𝑢𝑐ℎ 𝑎 "𝐷𝑎𝑑𝑑𝑦 𝐶𝑜𝑜𝑙". 𝑊ℎ𝑒𝑛 𝑤𝑒 𝑟𝑒𝑐𝑜𝑟𝑑𝑒𝑑 𝑖𝑡, 𝑖𝑡 𝑡𝑢𝑟𝑛𝑒𝑑 𝑜𝑢𝑡 𝑡𝑜 𝑏𝑒 𝑝𝑟𝑒𝑡𝑡𝑦 𝑔𝑜𝑜𝑑. 𝑀𝑜𝑟𝑒𝑜𝑣𝑒𝑟, 𝑖𝑡 𝑖𝑠 𝑡ℎ𝑒 𝑓𝑖𝑟𝑠𝑡 𝑠𝑜𝑛𝑔 𝑤ℎ𝑒𝑟𝑒 𝑆𝑇𝐸𝑉𝐸 𝑠𝑖𝑛𝑔𝑠 𝑖𝑛 𝑎 𝑑𝑢𝑒𝑡 𝑤𝑖𝑡ℎ 𝐵𝑅𝐼𝐴𝑁."
✔️ 𝚂𝚝𝚎𝚏𝚊𝚗 𝙾𝚕𝚜𝚍𝚊𝚕 - 𝙻𝚒𝚜𝚝𝚎𝚗 𝚝𝚘 𝚢𝚘𝚞𝚛 𝚑𝚎𝚊𝚛𝚝 𝚊𝚝 𝚊𝚕𝚕 𝚌𝚘𝚜𝚝𝚜 - 𝙿𝚘𝚕𝚊𝚗𝚍 - 𝟸00𝟹


♪ ¨♪ ¨♪

🧬 Also missing is 𝑺𝒐𝒏𝒊𝒄 𝒀𝒐𝒖𝒕𝒉, so loved and quoted by Brian in interviews since the beginning of Placebo's career. This great band that made Brian want to become what he is today.

𝑺𝒐𝒏𝒊𝒄 𝒀𝒐𝒖𝒕𝒉 - 𝑫𝒊𝒓𝒕𝒉𝒚 𝑩𝒐𝒐𝒕𝒔 https://bit.ly/3dGKJ7g

𝑇ℎ𝑒 𝑓𝑖𝑟𝑠𝑡 𝑡𝑖𝑚𝑒 𝐼 ℎ𝑒𝑎𝑟𝑑 𝑆𝑜𝑛𝑖𝑐 𝑌𝑜𝑢𝑡ℎ 𝑤𝑎𝑠 𝑎 𝑣𝑒𝑟𝑦, 𝑣𝑒𝑟𝑦 𝑖𝑚𝑝𝑜𝑟𝑡𝑎𝑛𝑡 𝑡ℎ𝑖𝑛𝑔 𝑓𝑜𝑟 𝑚𝑒. 𝐼𝑡 𝑤𝑎𝑠 𝑚𝑦 16𝑡ℎ 𝑏𝑖𝑟𝑡ℎ𝑑𝑎𝑦 𝑎𝑛𝑑 𝐼 𝑤𝑎𝑠 𝑣𝑒𝑟𝑦 𝑠𝑡𝑜𝑛𝑒𝑑 𝑎𝑛𝑑 𝐼'𝑑 𝑛𝑒𝑣𝑒𝑟 𝑟𝑒𝑎𝑙𝑙𝑦 ℎ𝑒𝑎𝑟𝑑 𝑎𝑛𝑦𝑡ℎ𝑖𝑛𝑔 𝑙𝑖𝑘𝑒 𝑖𝑡 𝑏𝑒𝑓𝑜𝑟𝑒 𝑖𝑛 𝑚𝑦 𝑙𝑖𝑓𝑒. 𝑇ℎ𝑎𝑡 𝑤𝑎𝑠 𝑡ℎ𝑒 𝑦𝑒𝑎𝑟 𝑡ℎ𝑎𝑡 𝐼 𝑠𝑡𝑎𝑟𝑡𝑒𝑑 𝑝𝑙𝑎𝑦𝑖𝑛𝑔 𝑔𝑢𝑖𝑡𝑎𝑟 𝑠𝑜 𝑡ℎ𝑎𝑡 ℎ𝑎𝑑 𝑎 𝑣𝑒𝑟𝑦, 𝑣𝑒𝑟𝑦 𝑏𝑖𝑔 𝑒𝑓𝑓𝑒𝑐𝑡 𝑜𝑛 𝑚𝑒. 𝐴𝑓𝑡𝑒𝑟 𝐼 𝑚𝑜𝑣𝑒𝑑 𝑡𝑜 𝐿𝑜𝑛𝑑𝑜𝑛, 𝐼 ℎ𝑒𝑎𝑟𝑑 𝑃𝐽 𝐻𝑎𝑟𝑣𝑒𝑦 𝑓𝑜𝑟 𝑡ℎ𝑒 𝑓𝑖𝑟𝑠𝑡 𝑡𝑖𝑚𝑒 𝑎𝑛𝑑 𝑡ℎ𝑒 𝑒𝑚𝑜𝑡𝑖𝑜𝑛𝑎𝑙 𝑖𝑛𝑡𝑒𝑛𝑠𝑖𝑡𝑦 𝑎𝑛𝑑 𝑑𝑒𝑝𝑡ℎ 𝑜𝑓 𝑡ℎ𝑒 𝑎𝑙𝑏𝑢𝑚 𝐷𝑟𝑦 𝑎𝑙𝑠𝑜 ℎ𝑎𝑑 𝑎 𝑣𝑒𝑟𝑦, 𝑣𝑒𝑟𝑦 𝑏𝑖𝑔 𝑒𝑓𝑓𝑒𝑐𝑡 𝑜𝑛 𝑚𝑒. 𝐼 𝑔𝑢𝑒𝑠𝑠 𝑤ℎ𝑒𝑛 𝐼 𝑤𝑒𝑛𝑡 𝑖𝑛𝑡𝑜 𝑡ℎ𝑒 𝑖𝑑𝑒𝑎 𝑜𝑓 𝑎 𝑏𝑎𝑛𝑑 𝐼 𝑘𝑖𝑛𝑑 𝑜𝑓 𝑤𝑎𝑛𝑡𝑒𝑑 𝑡𝑜 𝑚𝑎𝑟𝑟𝑦 𝑡ℎ𝑒 𝑘𝑖𝑛𝑑 𝑜𝑓 𝑑𝑖𝑠𝑠𝑜𝑛𝑎𝑛𝑡, 𝑎𝑡𝑜𝑛𝑎𝑙 𝑏𝑒𝑎𝑢𝑡𝑦 𝑜𝑓 𝑆𝑜𝑛𝑖𝑐 𝑌𝑜𝑢𝑡ℎ'𝑠 𝑒𝑥𝑝𝑒𝑟𝑖𝑚𝑒𝑛𝑡𝑎𝑙𝑖𝑠𝑚 𝑤𝑖𝑡ℎ 𝑎 𝑘𝑖𝑛𝑑 𝑜𝑓 𝑝𝑎𝑖𝑛𝑒𝑑 𝑐𝑜𝑛𝑓𝑒𝑠𝑠𝑖𝑜𝑛𝑎𝑙 𝑎𝑛𝑑 ℎ𝑖𝑔ℎ𝑙𝑦 𝑒𝑚𝑜𝑡𝑖𝑜𝑛𝑎𝑙 𝑞𝑢𝑎𝑙𝑖𝑡𝑦 𝑡ℎ𝑎𝑡 𝑃𝐽 𝐻𝑎𝑟𝑣𝑒𝑦'𝑠 𝑚𝑢𝑠𝑖𝑐 ℎ𝑎𝑠."
✔️ 𝙱𝚛𝚒𝚊𝚗 𝙼𝚘𝚕𝚔𝚘, 𝙼𝚊𝚜𝚜𝚒𝚟𝚎 𝙼𝚊𝚐𝚊𝚣𝚒𝚗𝚎 - 𝙸𝚗𝚜𝚙𝚒𝚛𝚒𝚗𝚐 𝙸𝚕𝚕 𝚆𝚒𝚕𝚕" - 𝙰𝚙𝚛𝚒𝚕 𝟿𝟿

Post by Laetitia

⭐✨𝐒𝐓𝐄𝐅𝐀𝐍 𝐎𝐋𝐒𝐃𝐀𝐋 𝐕𝐈𝐒𝐈𝐓𝐈𝐍𝐆 ‘𝐌𝐎𝐎𝐍𝐀𝐆𝐄 𝐃𝐀𝐘𝐃𝐑𝐄𝐀𝐌: 𝐓𝐇𝐄 𝐄𝐗𝐇𝐈𝐁𝐈𝐘𝐈𝐎𝐍’✨⭐

From 12th to 21st September 2022, '𝐌𝐨𝐨𝐧𝐚𝐠𝐞 𝐃𝐚𝐲𝐝𝐫𝐞𝐚𝐦: 𝐓𝐡𝐞 𝐄𝐱𝐡𝐢𝐛𝐢𝐭𝐢𝐨𝐧 - 𝐓𝐡𝐞 𝐋𝐢𝐟𝐞 𝐚𝐧𝐝 𝐓𝐢𝐦𝐞𝐬 𝐨𝐟 𝐙𝐢𝐠𝐠𝐲 𝐒𝐭𝐚𝐫𝐝𝐮𝐬𝐭: 𝐏𝐡𝐨𝐭𝐨𝐠𝐫𝐚𝐩𝐡𝐬 𝐛𝐲 𝐌𝐢𝐜𝐤 𝐑𝐨𝐜𝐤' has been presented at the 𝑨𝒕𝒍𝒂𝒔 𝑮𝒂𝒍𝒍𝒆𝒓𝒚 in London.
💫Having a huge admiration and genuine personal bond to the mighty 𝑫𝑨𝑽𝑰𝑫 𝑩𝑶𝑾𝑰𝑬, Placebo’s long-time mentor and friend, Stefan obviously couldn’t miss this exceptional artistic event.
💫The exhibition was launched to celebrate the release of the 𝑨𝒏𝒏𝒊𝒗𝒆𝒓𝒔𝒂𝒓𝒚 𝑬𝒅𝒊𝒕𝒊𝒐𝒏 of Bowie and Rock’s iconic book, 𝑴𝒐𝒐𝒏𝒂𝒈𝒆 𝑫𝒂𝒚𝒅𝒓𝒆𝒂𝒎. It’s worth noticing that it was run on the days of the worldwide release (started 16th September) of the highly acclaimed Brett Morgen’s same-titled 𝒇𝒊𝒍𝒎.
❓By the way, soulmates, have you already been to the cinema to watch the movie or are you going to?

Photo credit: Stefan Olsdal - @paulsteadphotography, @genesis_publications; David Bowie - @therealmickrock / edit by Olga

⭐𝐌𝐎𝐎𝐍𝐀𝐆𝐄 𝐃𝐀𝐘𝐃𝐑𝐄𝐀𝐌 𝐁𝐎𝐎𝐊⭐
📢‘𝑻𝒉𝒆 𝒄𝒍𝒐𝒔𝒆𝒔𝒕 𝒘𝒆’𝒍𝒍 𝒆𝒗𝒆𝒓 𝒈𝒆𝒕 𝒕𝒐 𝒂 𝒔𝒕𝒓𝒂𝒊𝒈𝒉𝒕 𝒖𝒑 𝑩𝒐𝒘𝒊𝒆 𝒂𝒖𝒕𝒐𝒃𝒊𝒐𝒈𝒓𝒂𝒑𝒉𝒚 — 𝒃𝒖𝒕 𝒘𝒉𝒐’𝒅 𝒆𝒗𝒆𝒓 𝒘𝒂𝒏𝒕 𝒂𝒏𝒚𝒕𝒉𝒊𝒏𝒈 𝒔𝒕𝒓𝒂𝒊𝒈𝒉𝒕-𝒖𝒑 𝒇𝒓𝒐𝒎 𝑩𝒐𝒘𝒊𝒆?’ – 𝑅𝑜𝑙𝑙𝑖𝑛𝑔 𝑆𝑡𝑜𝑛𝑒
In 2002, David Bowie and Mick Rock created 𝑴𝒐𝒐𝒏𝒂𝒈𝒆 𝑫𝒂𝒚𝒅𝒓𝒆𝒂𝒎, the defining document of the life and times of Ziggy Stardust. Twenty years later, it remains the closest readers will get to understanding Bowie through his own words.

💫First published as a signed limited edition, 𝑴𝒐𝒐𝒏𝒂𝒈𝒆 𝑫𝒂𝒚𝒅𝒓𝒆𝒂𝒎 sold out in a matter of months and became lore among David Bowie fans. Now, on the 50𝒕𝒉 𝒂𝒏𝒏𝒊𝒗𝒆𝒓𝒔𝒂𝒓𝒚 of Bowie's acclaimed album, 𝐓𝐡𝐞 𝐑𝐢𝐬𝐞 𝐚𝐧𝐝 𝐅𝐚𝐥𝐥 𝐨𝐟 𝐙𝐢𝐠𝐠𝐲 𝐒𝐭𝐚𝐫𝐝𝐮𝐬𝐭 𝐚𝐧𝐝 𝐭𝐡𝐞 𝐒𝐩𝐢𝐝𝐞𝐫𝐬 𝐟𝐫𝐨𝐦 𝐌𝐚𝐫𝐬, the book is available once more as an Anniversary Edition for bookstores worldwide. (@genesis_publications)

📢“𝑻𝒉𝒊𝒔 𝒊𝒔 𝒂 𝒃𝒐𝒐𝒌 𝒐𝒇 𝒆𝒙𝒕𝒓𝒂𝒐𝒓𝒅𝒊𝒏𝒂𝒓𝒚 𝒑𝒉𝒐𝒕𝒐𝒈𝒓𝒂𝒑𝒉𝒔. 𝒁𝒊𝒈𝒈𝒚 𝑺𝒕𝒂𝒓𝒅𝒖𝒔𝒕 𝒃𝒍𝒂𝒛𝒆𝒅 𝒃𝒓𝒊𝒆𝒇𝒍𝒚 𝒃𝒖𝒕 𝒊𝒏𝒕𝒆𝒏𝒔𝒆𝒍𝒚, 𝒂𝒏𝒅 𝑰 𝒂𝒎 𝒅𝒆𝒍𝒊𝒈𝒉𝒕𝒆𝒅 𝒕𝒐 𝒔𝒆𝒆 𝒉𝒊𝒔 𝒍𝒊𝒇𝒆 𝒂𝒏𝒅 𝒕𝒊𝒎𝒆𝒔 𝒂𝒔 𝒂 𝒓𝒐𝒄𝒌’𝒏’𝒓𝒐𝒍𝒍 𝒔𝒕𝒂𝒓 𝒊𝒎𝒎𝒐𝒓𝒕𝒂𝒍𝒊𝒛𝒆𝒅 𝒊𝒏 𝒕𝒉𝒊𝒔 𝒃𝒐𝒐𝒌” – 𝐷𝑎𝑣𝑖𝑑 𝐵𝑜𝑤𝑖𝑒


⭐𝐌𝐎𝐎𝐍𝐀𝐆𝐄 𝐃𝐀𝐘𝐃𝐑𝐄𝐀𝐌: 𝐓𝐇𝐄 𝐄𝐗𝐇𝐈𝐁𝐈𝐘𝐈𝐎𝐍⭐
The exhibition at London’s 𝑨𝒕𝒍𝒂𝒔 𝑮𝒂𝒍𝒍𝒆𝒓𝒚 featured over 𝟑𝟎 𝐩𝐫𝐢𝐧𝐭𝐬 spanning Ziggy’s 18-month reign: the early English concerts where Ziggy and the Spiders made their name; Rock’s classic images of Bowie at home at Haddon Hall; Bowie’s collaboration with Lindsay Kemp in the ground-breaking shows at The Rainbow; the breakthrough tour of the USA; the massive sell-out UK tour culminating in Ziggy’s retirement; recording Pin Ups in Paris; and Ziggy’s final swansong, the flamboyant 1980 Floor Show. (𝐴𝑡𝑙𝑎𝑠 𝐺𝑎𝑙𝑙𝑒𝑟𝑦)
➡️ https://bit.ly/3BqHNTS


💫Launced in collaboration with the Estates of David Bowie and Mick Rock, the exhibition included an exclusive series of original photographs of 𝑫𝒂𝒗𝒊𝒅 𝑩𝒐𝒘𝒊𝒆 by 𝑴𝒊𝒄𝒌 𝑹𝒐𝒄𝒌 along with rarely seen limited-edition Estate-stamped Graphic and Acrylic artworks. Additionally, the first sighting of the 𝑷𝒖𝒃𝒍𝒊𝒔𝒉𝒆𝒓'𝒔 𝑬𝒅𝒊𝒕𝒊𝒐𝒏 𝒐𝒇 𝑴𝒐𝒐𝒏𝒂𝒈𝒆 𝑫𝒂𝒚𝒅𝒓𝒆𝒂𝒎 was available.

Stefan Olsdal at the Bowie exhibition. Photo credit: Stefan Olsdal IG 

⭐𝐓𝐇𝐄 𝐌𝐎𝐎𝐍𝐀𝐆𝐄 𝐃𝐀𝐘𝐃𝐑𝐄𝐀𝐌 𝐂𝐎𝐋𝐋𝐄𝐂𝐓𝐈𝐎𝐍⭐
🔸𝟏. 𝐔𝐩 𝐂𝐥𝐨𝐬𝐞
📢'The idea of a larger-than-life style rock figure struck me around the end of 1970. At that moment in time, rock seemed to have wandered into some kind of denim hell.' - David Bowie
A series of close-up photographs taken by Mick Rock at Trident Studios, 1972. These images were projected at concerts, building up to Bowie's arrival on stage.

🔸𝟐. 𝐒𝐩𝐚𝐜𝐞 𝐎𝐝𝐝𝐢𝐭𝐲
📢'There was a series of colour shots taken indoors one afternoon. David had just got up. The back cover of the 1972 'Space Oddity' reissue was taken in his son's pink bedroom. Some of them include David holding the original Hunky Dory cover artwork.' - Mick Rock
Portraits taken at Bowie's home, Haddon Hall. Bowie recalled, 'I think the first real photo session with Mick was at Haddon Hall... We had the entire ground floor. I remember a long period of spray painting all the ceilings silver and getting incredibly high on the fumes.'

🔸𝟑. 𝐋𝐢𝐟𝐞 𝐨𝐧 𝐌𝐚𝐫𝐬?
📢'Although MTV and its kind did not yet exist, and there were few outlets for showcasing rock videos, Rock and I had long decided that to film certain songs was an excellent way of broadcasting and making indelible and concrete representations of the attitude implied by them.' - David Bowie
Stills from the 'Life on Mars?' promo, filmed in Ladbroke Grove, London, 1973. According to Rock, 'Freddie Burretti provided a great new outfit, Pierre Laroche some brilliant make-up, and the charismatic Mr. B was in fine mimetic form. Very simple, yet somehow so sophisticated.'

🔸𝟒. 𝐙𝐢𝐠𝐠𝐲 𝐑𝐞𝐟𝐥𝐞𝐜𝐭𝐞𝐝
📢'After David saw this session, his manager Tony Defries said to me, "David thinks you see him the way he sees himself... you see him through his own eyes".' - Mick Rock
Portraits taken at Haddon Hall, first reproduced in magazine features written and photographed by Mick Rock in the spring of 1972.

🔸𝟓. 𝐙𝐢𝐠𝐠𝐲 𝐑𝐢𝐩 𝐀𝐫𝐭
📢'I take photographs or stills from my videos, make prints, and fuck around with them - cut them, burn them, engraves them, rip them - there are so many ways that I've approached this.' - Mick Rock
Ziggy Stardust-inspired photographic collage created by Mick Rock, reproduced for the first time on high-gloss acrylic.

🔸𝟔. 𝐋𝐨𝐯𝐞, 𝐁𝐨𝐰𝐢𝐞
📢'Inevitably and comically, there came a time when Mick Ronson's arms grew tired from holding his guitar at shoulder height and it slid slowly back down to his groin. I didn't stop munching.' - David Bowie
Performance shot of Mick Ronson and David Bowie captured onstage at Oxford Town Hall, on 17th June 1972. Rock recalled, 'I processed the film overnight and met David at his management office the next day. He wrote all over the print and persuaded his manager to buy a full page in Melody Maker immediately. This ad created an intense stir.'

🔸𝟕. 𝐋𝐢𝐟𝐞 𝐨𝐧 𝐌𝐚𝐫𝐬? 𝐑𝐢𝐩 𝐀𝐫𝐭
📢'The 'Life on Mars?' promo was the final in a quartet of 16mm promo films I produced and directed. David was happy to let me make all the shooting and editing decisions. What was important to him was that they got made. As in all aspects of his career, at this point, David exhibited uncannily prescient instincts.' - Mick Rock
Mick Rock's photographic collage employs images taken during the making of the 'Life on Mars?' promo film and is reproduced for the first time on high-gloss acrylic.
(𝐺𝑒𝑛𝑒𝑠𝑖𝑠 𝑃𝑢𝑏𝑙𝑖𝑐𝑎𝑡𝑖𝑜𝑛𝑠)

Stefan Olsdal at the Bowie exhibition. Photo credit: Stefan Olsdal IG

❓Have anyone of you seen the exhibition? We would be excited to hear you impression!🤩
If you weren’t able to visit Atlas Gallery personally, you can check out The Moonage Daydream Collection here:
➡️ https://bit.ly/3dwvFJe

The book Moonage Daydream Anniversary edition is now available for pre-order:
➡️ https://bit.ly/3BUhFCv

Post by Olga
Sources: @davidbowie, @genesis_publications, @atlasgallery

⭐🌟 𝐈𝐍𝐓𝐄𝐑𝐕𝐈𝐄𝐖 𝐖𝐈𝐓𝐇 𝐒𝐓𝐄𝐅𝐀𝐍 - 𝟏𝟗𝟗𝟗 🌟⭐

" 𝙄 𝙩𝙝𝙞𝙣𝙠 𝙞𝙩 𝙞𝙨 𝙛𝙪𝙣𝙣𝙮 𝙬𝙝𝙚𝙣 𝙖 𝙗𝙖𝙣𝙙’𝙨 𝙥𝙧𝙚𝙨𝙨 𝙨𝙩𝙖𝙧𝙩𝙨 𝙜𝙚𝙩𝙩𝙞𝙣𝙜 𝙥𝙧𝙚𝙨𝙨. 𝙄𝙩’𝙨 𝙟𝙪𝙨𝙩 𝙨𝙞𝙡𝙡𝙮. 𝙋𝙚𝙤𝙥𝙡𝙚 𝙛𝙞𝙨𝙝𝙞𝙣𝙜 𝙖𝙣𝙙 𝙩𝙧𝙮𝙞𝙣𝙜 𝙩𝙤 𝙛𝙞𝙣𝙙 𝙨𝙝𝙞𝙩 𝙖𝙣𝙙 𝙜𝙚𝙩 𝙢𝙤𝙧𝙚 𝙨𝙝𝙞𝙩 𝙤𝙣 𝙮𝙤𝙪. - 𝚂𝚝𝚎𝚏𝚊𝚗 𝙾𝚕𝚜𝚍𝚊𝚕


🔶 𝐓𝐨𝐝𝐚𝐲, 𝐝𝐞𝐚𝐫 𝐟𝐫𝐢𝐞𝐧𝐝𝐬, 𝐭𝐡𝐞 𝐟𝐨𝐜𝐮𝐬 𝐢𝐬 𝐨𝐧 𝐒𝐭𝐞𝐟𝐚𝐧 !

🔶 The day after David Bowie's interview with Placebo, the 𝗰𝗵𝗮𝘁 𝗵𝗼𝘀𝘁𝗲𝗱 𝗯𝘆 𝗗𝗮𝘃𝗶𝗱 𝗕𝗼𝘄𝗶𝗲, on March 29th 1999, Stefan was interviewed by 𝗛𝗶𝗽 𝗢𝗻𝗹𝗶𝗻𝗲. It is obvious that the interviewer felt very uncomfortable because coming after David Bowie put a lot of pressure on him. It's understandable after all ? 😄

🔶 It is clear that the subject 'Bowie' was discussed, as well as touring, America, media, some songs, all tinged with the humour that Stefan knows so well. 💖 💝

Photo credit unknown

🔹 𝐴𝑓𝑡𝑒𝑟 𝑠𝑝𝑒𝑛𝑑𝑖𝑛𝑔 𝑟𝑜𝑢𝑔ℎ𝑙𝑦 𝑎𝑛 ℎ𝑜𝑢𝑟 𝑤𝑎𝑡𝑐ℎ𝑖𝑛𝑔 𝑃𝑙𝑎𝑐𝑒𝑏𝑜 𝑐ℎ𝑎𝑡 𝑤𝑖𝑡ℎ 𝐷𝑎𝑣𝑖𝑑 𝐵𝑜𝑤𝑖𝑒, 𝐼 𝑟𝑒𝑎𝑙𝑖𝑧𝑒𝑑 𝑡ℎ𝑎𝑡 𝐼 𝑤𝑜𝑢𝑙𝑑 𝑏𝑒 𝑑𝑜𝑖𝑛𝑔 𝑡ℎ𝑒 𝑠𝑎𝑚𝑒 𝑡ℎ𝑒 𝑓𝑜𝑙𝑙𝑜𝑤𝑖𝑛𝑔 𝑎𝑓𝑡𝑒𝑟𝑛𝑜𝑜𝑛. 𝐴 𝑓𝑜𝑙𝑙𝑜𝑤 𝑢𝑝 𝑡𝑜 𝐵𝑜𝑤𝑖𝑒 ? 𝑇𝑎𝑙𝑘 𝑎𝑏𝑜𝑢𝑡 𝑝𝑟𝑒𝑠𝑠𝑢𝑟𝑒 !

𝑊ℎ𝑒𝑛 𝑡ℎ𝑒 𝑐𝑎𝑙𝑙 𝑐𝑎𝑚𝑒 𝑖𝑛, 𝐼 𝑤𝑎𝑠 𝑠𝑡𝑖𝑙𝑙 𝑢𝑛𝑠𝑢𝑟𝑒 𝑤𝑖𝑡ℎ 𝑤ℎ𝑜𝑚 𝐼 𝑤𝑜𝑢𝑙𝑑 𝑏𝑒 𝑐ℎ𝑎𝑡𝑡𝑖𝑛𝑔. 𝑆𝑜𝑜𝑛 𝐼 𝑤𝑎𝑠 𝑡𝑜 𝑓𝑖𝑛𝑑 𝑜𝑢𝑡 𝑡ℎ𝑎𝑡 𝑖𝑡 𝑤𝑜𝑢𝑙𝑑 𝑏𝑒 𝑡ℎ𝑒 𝑣𝑒𝑟𝑦 𝑖𝑛𝑡𝑒𝑟𝑒𝑠𝑡𝑖𝑛𝑔 𝑎𝑛𝑑 ℎ𝑜𝑛𝑒𝑠𝑡 𝑆𝑡𝑒𝑓𝑎𝑛 𝑂𝑙𝑠𝑑𝑎𝑙.

𝐹𝑟𝑜𝑚 𝑡ℎ𝑒 𝑠𝑡𝑎𝑟𝑡 𝑖𝑡 𝑤𝑎𝑠 𝑖𝑚𝑝𝑜𝑠𝑠𝑖𝑏𝑙𝑒 𝑛𝑜𝑡 𝑡𝑜 𝑡𝑎𝑙𝑘 𝑎𝑏𝑜𝑢𝑡 𝑡ℎ𝑒 𝑙𝑖𝑣𝑒 𝑤𝑒𝑏 𝑐ℎ𝑎𝑡 𝑤𝑖𝑡ℎ 𝐷𝑎𝑣𝑖𝑑 𝐵𝑜𝑤𝑖𝑒, 𝑏𝑢𝑡 𝑆𝑡𝑒𝑓𝑎𝑛 𝑤𝑎𝑠 𝑚𝑜𝑟𝑒 𝑡ℎ𝑎𝑛 ℎ𝑎𝑝𝑝𝑦 𝑡𝑜 𝑡𝑎𝑙𝑘 𝑎𝑏𝑜𝑢𝑡 𝑎𝑙𝑙 𝑡ℎ𝑖𝑛𝑔𝑠 𝐵𝑜𝑤𝑖𝑒 𝑎𝑛𝑑 𝑚𝑎𝑛𝑦 𝑡ℎ𝑖𝑛𝑔𝑠 𝑃𝑙𝑎𝑐𝑒𝑏𝑜.

🔹 𝑰 𝒅𝒐𝒏’𝒕 𝒌𝒏𝒐𝒘 𝒉𝒐𝒘 𝑰 𝒄𝒂𝒏 𝒇𝒐𝒍𝒍𝒐𝒘 𝒖𝒑 𝒕𝒉𝒂𝒕 𝒊𝒏𝒕𝒆𝒓𝒗𝒊𝒆𝒘 𝒚𝒐𝒖 𝒉𝒂𝒅 𝒍𝒂𝒔𝒕 𝒏𝒊𝒈𝒉𝒕 𝒘𝒊𝒕𝒉 𝑫𝒂𝒗𝒊𝒅 𝑩𝒐𝒘𝒊𝒆. 𝑰’𝒎 𝒇𝒆𝒆𝒍𝒊𝒏𝒈 𝒂 𝒃𝒊𝒕 𝒊𝒏𝒂𝒅𝒆𝒒𝒖𝒂𝒕𝒆.
💬 (𝘭𝘢𝘶𝘨𝘩𝘴) Did you check out the web thing ?

🔹 𝒀𝒆𝒂𝒉.
💬 It was good, wasn’t it ?

🔹 𝒀𝒆𝒂𝒉. 𝑨𝒏𝒅 𝒕𝒉𝒆 𝒘𝒉𝒐𝒍𝒆 𝒕𝒊𝒎𝒆 𝑰 𝒘𝒂𝒔 𝒘𝒂𝒕𝒄𝒉𝒊𝒏𝒈 𝒊𝒕, 𝑰 𝒘𝒂𝒔 𝒕𝒉𝒊𝒏𝒌𝒊𝒏𝒈 𝒕𝒐 𝒎𝒚𝒔𝒆𝒍𝒇 𝒕𝒉𝒂𝒕 𝒎𝒂𝒚𝒃𝒆 𝑰 𝒔𝒉𝒐𝒖𝒍𝒅𝒏’𝒕 𝒃𝒆 𝒘𝒂𝒕𝒄𝒉𝒊𝒏𝒈 𝒊𝒕 𝒃𝒆𝒄𝒂𝒖𝒔𝒆 𝑰 𝒉𝒂𝒗𝒆 𝒕𝒐 𝒊𝒏𝒕𝒆𝒓𝒗𝒊𝒆𝒘 𝒕𝒉𝒆𝒔𝒆 𝒈𝒖𝒚𝒔 𝒕𝒐𝒎𝒐𝒓𝒓𝒐𝒘.
💬 Well, we played a show last night, in Roseland last night, and Bowie came up and joined us on stage. We did a couple tunes together and it was brilliant. It was a really good show anyway and then he came up and started jamming out with us. It was superb. Really good fun.

🔹 𝑮𝒓𝒆𝒂𝒕. 𝑺𝒐 𝒏𝒐𝒘 𝑰’𝒎 𝒔𝒐𝒓𝒕 𝒐𝒇 𝒘𝒐𝒏𝒅𝒆𝒓𝒊𝒏𝒈 𝒘𝒉𝒂𝒕 𝑰 𝒄𝒂𝒏 𝒑𝒐𝒔𝒔𝒊𝒃𝒍𝒚 𝒅𝒐 𝒐𝒓 𝒂𝒔𝒌 𝒕𝒉𝒂𝒕 𝒘𝒂𝒔𝒏’𝒕 𝒕𝒂𝒌𝒆𝒏 𝒄𝒂𝒓𝒆 𝒐𝒇 𝒍𝒂𝒔𝒕 𝒏𝒊𝒈𝒉𝒕 𝒘𝒊𝒕𝒉 𝑫𝒂𝒗𝒊𝒅.
💬 He’s a pretty good interview actually, isn’t he ?

🔹 𝒀𝒆𝒂𝒉. 𝑰𝒕 𝒍𝒂𝒔𝒕𝒆𝒅 𝒂𝒍𝒎𝒐𝒔𝒕 𝒂𝒏 𝒉𝒐𝒖𝒓, 𝒓𝒊𝒈𝒉𝒕 ?
💬 Right. It was chill though, good fun.

🔹 𝑯𝒆 𝒘𝒂𝒔 𝒓𝒆𝒎𝒊𝒏𝒊𝒔𝒄𝒊𝒏𝒈 𝒂𝒃𝒐𝒖𝒕 𝒕𝒉𝒆 𝒐𝒍𝒅 𝒅𝒂𝒚𝒔.
💬 Exactly. Every time we see him he is sort of coming out with like one-liners and stuff and stuff to do with people that are dead and gone. It’s amazing. It’s really hard to comprehend sometimes the amount of stuff he has done. He is throwing dates at you like from the late ’60’s and like I can’t even remember last week ! (𝘸𝘦 𝘣𝘰𝘵𝘩 𝘭𝘢𝘶𝘨𝘩)

Photo credit: Placeboworld

🔹 𝑾𝒉𝒂𝒕 𝒔𝒐𝒏𝒈𝒔 𝒅𝒊𝒅 𝑫𝒂𝒗𝒊𝒅 𝒑𝒆𝒓𝒇𝒐𝒓𝒎 𝒘𝒊𝒕𝒉 𝒚𝒐𝒖 𝒍𝒂𝒔𝒕 𝒏𝒊𝒈𝒉𝒕 ?
💬 “Without You I’m Nothing” and “20th Century Boy”.

🔹 𝑨𝒓𝒆 𝒕𝒉𝒆𝒓𝒆 𝒂𝒏𝒚 𝒑𝒍𝒂𝒏𝒔 𝒕𝒐 𝒘𝒐𝒓𝒌 𝒘𝒊𝒕𝒉 𝒉𝒊𝒎 𝒐𝒏 𝒂𝒏 𝒂𝒍𝒃𝒖𝒎 𝒐𝒓 𝒔𝒐𝒎𝒆𝒕𝒉𝒊𝒏𝒈 𝒆𝒍𝒔𝒆 𝒊𝒏 𝒕𝒉𝒆 𝒇𝒖𝒕𝒖𝒓𝒆 ?
💬 Maybe. There are things in the old magic bag. We’ll have to wait

🔹 𝑯𝒐𝒘 𝒅𝒊𝒅 𝒚𝒐𝒖 𝒈𝒖𝒚𝒔 𝒂𝒍𝒍 𝒉𝒐𝒐𝒌 𝒖𝒑 ?
💬 It was 1996, I wasn’t in the band at the time, but Morrissey was touring with David Bowie, and then Morrissey went on a walkabout and just disappeared. Then Bowie discovered a Placebo demo even before the first album, Virgin just signed them, and he said, ‘Come on tour with us.’ And they went on tour and it has been a friendship since then really.

🔹 𝑰 𝒘𝒂𝒔 𝒒𝒖𝒊𝒕𝒆 𝒋𝒆𝒂𝒍𝒐𝒖𝒔 𝒐𝒇 𝒚𝒐𝒖 𝒈𝒖𝒚𝒔 𝒉𝒂𝒏𝒈𝒊𝒏𝒈 𝒐𝒖𝒕 𝒘𝒊𝒕𝒉 𝒉𝒊𝒎 𝒍𝒊𝒌𝒆 𝒕𝒉𝒂𝒕, 𝒆𝒔𝒑𝒆𝒄𝒊𝒂𝒍𝒍𝒚 𝒘𝒉𝒆𝒏 𝒉𝒆 𝒘𝒂𝒔 𝒓𝒆𝒎𝒊𝒏𝒊𝒔𝒄𝒊𝒏𝒈 𝒂𝒃𝒐𝒖𝒕 𝒕𝒉𝒆 𝒑𝒂𝒔𝒕. 𝑳𝒊𝒌𝒆 𝒘𝒊𝒕𝒉 𝒕𝒉𝒆 𝑩𝒓𝒊𝒂𝒏 𝑬𝒏𝒐 𝒔𝒕𝒐𝒓𝒚.
💬 Exactly. I mean, he was coming out with that Brian Eno stuff about Berlin. He was talking about circumference and ‘I got the change out of my pocket and I can go this far and see what happens.’ It’s like fucking mental. (𝘭𝘢𝘶𝘨𝘩𝘴)
He is very cool. He’s very approachable. He’ll give you a load of time. He’s very good.

🔹 𝑰 𝒕𝒉𝒊𝒏𝒌 𝒚𝒐𝒖 𝒏𝒆𝒆𝒅 𝒅𝒂𝒚𝒔 𝒂𝒏𝒅 𝒅𝒂𝒚𝒔 𝒕𝒐 𝒅𝒐 𝒂 𝒔𝒕𝒐𝒓𝒚 𝒘𝒊𝒕𝒉 𝒉𝒊𝒎. 𝑨𝒏𝒚𝒉𝒐𝒘 𝒊𝒕 𝒎𝒊𝒈𝒉𝒕 𝒃𝒆 𝒑𝒓𝒐𝒑𝒆𝒓 𝒊𝒇 𝑰 𝒂𝒄𝒕𝒖𝒂𝒍𝒍𝒚 𝒂𝒔𝒌 𝒔𝒐𝒎𝒆 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 𝒒𝒖𝒆𝒔𝒕𝒊𝒐𝒏𝒔.
💬 Perhaps. (𝘭𝘢𝘶𝘨𝘩𝘴)

🔹 𝑫𝒐 𝒚𝒐𝒖 𝒇𝒆𝒆𝒍 𝒕𝒉𝒂𝒕 𝒚𝒐𝒖’𝒗𝒆 𝒇𝒐𝒖𝒏𝒅 𝒎𝒐𝒓𝒆 𝒕𝒉𝒂𝒏 𝒋𝒖𝒔𝒕 𝒃𝒂𝒏𝒅 𝒎𝒂𝒕𝒆𝒔, 𝒕𝒉𝒂𝒕 𝒚𝒐𝒖’𝒗𝒆 𝒇𝒐𝒖𝒏𝒅 𝒔𝒐𝒖𝒍 𝒎𝒂𝒕𝒆𝒔 ?
💬 Definitely. I’ve been in bands for fifteen years and I’ve never been in a band that felt like this before. The chemistry has never been there before like there is now. Maybe because of our different ages, every different sexuality, and we’re all from different countries. It’s sort of this big mix and it’s all come to this one big melting pot and it just seems to work.

Photo credit: Frank W Ockenfels III

🔹 𝑴𝒂𝒏𝒚 𝒐𝒇 𝒕𝒉𝒆 𝒔𝒐𝒏𝒈𝒔 𝒅𝒆𝒂𝒍 𝒘𝒊𝒕𝒉 𝒔𝒆𝒙𝒖𝒂𝒍𝒊𝒕𝒚 𝒂𝒏𝒅 𝒕𝒉𝒆𝒚 𝒔𝒆𝒆𝒎 𝒕𝒐 𝒉𝒂𝒗𝒆 𝒅𝒊𝒇𝒇𝒆𝒓𝒆𝒏𝒕 𝒈𝒆𝒏𝒅𝒆𝒓 𝒑𝒐𝒊𝒏𝒕𝒔 𝒐𝒇 𝒗𝒊𝒆𝒘. 𝑰𝒔 𝒊𝒕 𝒋𝒖𝒔𝒕 𝒎𝒆 𝒐𝒓 𝒂𝒓𝒆 𝒕𝒉𝒆𝒔𝒆 𝒔𝒐𝒏𝒈𝒔 𝒘𝒓𝒊𝒕𝒕𝒆𝒏 𝒍𝒊𝒌𝒆 𝒕𝒉𝒂𝒕 ?
💬 Definitely. That is the way Brian writes his lyrics sometimes. Like the song “You Don’t Care About Us”. That is taken from the point of view of somebody talking to Brian. As opposed to him talking to somebody else, actually somebody is asking him, ‘This relationship is going wrong. You don’t care about us, man.’ (𝘭𝘢𝘶𝘨𝘩𝘴 ) But other people translate it like the kids are going to the adults, ‘You don’t care about us!’ It’s weird. They are all coming from all different angles.
“My Sweet Prince” was a female friend of Brian’s who just they were just kind of busting up and that was the last thing she wrote on his mirror in his bathroom before they split up. It is all real, but it can be from any direction really.

🔹 𝑰 𝒓𝒆𝒂𝒅 𝒂 𝒓𝒆𝒂𝒍𝒍𝒚 𝒇𝒖𝒏𝒏𝒚 𝒂𝒓𝒕𝒊𝒄𝒍𝒆 𝒘𝒉𝒆𝒓𝒆 𝒂 𝒘𝒓𝒊𝒕𝒆𝒓 𝒘𝒂𝒔 𝒊𝒏 𝒕𝒉𝒆 𝒂𝒖𝒅𝒊𝒆𝒏𝒄𝒆 𝒂𝒏𝒅 𝒐𝒗𝒆𝒓𝒉𝒆𝒂𝒓𝒅 𝒔𝒐𝒎𝒆 𝒓𝒆𝒅𝒏𝒆𝒄𝒌𝒔 𝒘𝒉𝒐 𝒔𝒂𝒘 𝒚𝒐𝒖 𝒈𝒖𝒚𝒔 𝒕𝒂𝒌𝒆 𝒕𝒉𝒆 𝒔𝒕𝒂𝒈𝒆 𝒂𝒏𝒅 𝒕𝒉𝒆𝒚 𝒘𝒆𝒓𝒆 𝒔𝒂𝒚𝒊𝒏𝒈, ‘𝑻𝒉𝒂𝒕’𝒔 𝒂 𝒑𝒓𝒆𝒕𝒕𝒚 𝒉𝒐𝒕 𝒄𝒉𝒊𝒄𝒌,’ 𝒂𝒏𝒅 𝒕𝒉𝒆𝒏 𝒕𝒉𝒆𝒚 𝒉𝒆𝒂𝒓𝒅 𝑩𝒓𝒊𝒂𝒏 𝒔𝒊𝒏𝒈. 𝑰𝒔 𝒕𝒉𝒂𝒕 𝒂𝒏 𝒐𝒅𝒅 𝒐𝒄𝒄𝒖𝒓𝒓𝒆𝒏𝒄𝒆 𝒐𝒓 𝒊𝒔 𝒕𝒉𝒂𝒕 𝒔𝒐𝒎𝒆𝒕𝒉𝒊𝒏𝒈 𝒚𝒐𝒖 𝒏𝒐𝒕𝒊𝒄𝒆 𝒐𝒇𝒕𝒆𝒏 ?
💬 It still happens all the time. The band is big in Britain and Europe and stuff and, I mean, we still get guys coming up to me on the street asking, ‘That bloke in your band, is that a girl?’ I mean, that is their first statement, ‘That bloke in your band a girl ?’ Straight away. It’s like, ‘What the fuck do you mean by that ?’ And it’s like, ‘His name is Brian, work it out.’ I mean, that has been going on for years and years. The funniest thing is like now, we are on our fourth tour of America, and it is breaking through slowly and this has been our easiest tour around America yet. It is just weird when you get to places like Tulsa and you get the biggest four-hundred pound redneck walking up to Brian and you are thinking that he is going to punch him in the face and instead he goes (𝘪𝘯 𝘢 𝘥𝘦𝘦𝘱 𝘴𝘰𝘶𝘵𝘩 𝘢𝘤𝘤𝘦𝘯𝘵), ‘You rock man !’ I mean, that is not meant to happen. We are like, ‘What the fuck is going on ?’ Do you know what I mean ? We are getting them all from the insecure gothic types to the meathead rednecks. It’s an achievement in itself. (𝘭𝘢𝘶𝘨𝘩𝘴 𝘩𝘺𝘴𝘵𝘦𝘳𝘪𝘤𝘢𝘭𝘭𝘺)

🔹 𝑻𝒉𝒆 𝑨𝒎𝒆𝒓𝒊𝒄𝒂𝒏 𝒎𝒂𝒓𝒌𝒆𝒕 𝒊𝒔 𝒗𝒆𝒓𝒚 𝒃𝒊𝒈, 𝒗𝒂𝒔𝒕. 𝑨𝒓𝒆 𝒚𝒐𝒖 𝒈𝒐𝒊𝒏𝒈 𝒂𝒃𝒐𝒖𝒕 𝒊𝒕 𝒂𝒔 𝒕𝒓𝒚𝒊𝒏𝒈 𝒕𝒐 𝒑𝒊𝒄𝒌 𝒖𝒑 𝒐𝒏𝒆 𝒇𝒂𝒏 𝒂𝒕 𝒂 𝒕𝒊𝒎𝒆 ?
💬 It’s like what we were doing in Britain and Europe, just constantly touring trying to build it and build it and build it. I think we wanted to take the same sort of scenario to America and say we are going to come back in August and September and then we are going to come back in December and just keep coming back and keep touring. U2 style, I suppose.
I mean, a lot of British bands, I mean, we are not a British band, but a lot of British bands will come over and just play New York and L.A. and think they’ve done it. I mean, whatever.

🔹 𝑺𝒑𝒆𝒂𝒌𝒊𝒏𝒈 𝒐𝒇 𝑩𝒓𝒊𝒕𝒊𝒔𝒉 𝒃𝒂𝒏𝒅𝒔 𝒂𝒏𝒅 𝒕𝒐𝒖𝒓𝒊𝒏𝒈. 𝑫𝒐 𝒚𝒐𝒖 𝒕𝒉𝒊𝒏𝒌 𝒕𝒉𝒂𝒕 𝒃𝒂𝒏𝒅𝒔 𝒍𝒊𝒌𝒆 𝑶𝒂𝒔𝒊𝒔 𝒂𝒏𝒅 𝑻𝒉𝒆 𝑽𝒆𝒓𝒗𝒆 𝒉𝒂𝒗𝒆 𝒑𝒖𝒕 𝒂 𝒃𝒂𝒅 𝒕𝒂𝒔𝒕𝒆 𝒊𝒏 𝑨𝒎𝒆𝒓𝒊𝒄𝒂𝒏𝒔’ 𝒎𝒐𝒖𝒕𝒉𝒔 𝒇𝒐𝒓 𝒐𝒕𝒉𝒆𝒓 𝒃𝒂𝒏𝒅𝒔 𝒄𝒐𝒎𝒊𝒏𝒈 𝒇𝒓𝒐𝒎 𝒐𝒗𝒆𝒓𝒔𝒆𝒂𝒔 𝒃𝒚 𝒄𝒐𝒎𝒊𝒏𝒈 𝒐𝒗𝒆𝒓 𝒉𝒆𝒂𝒓 𝒗𝒆𝒓𝒚 𝒂𝒓𝒓𝒐𝒈𝒂𝒏𝒕 𝒂𝒏𝒅 𝒂𝒄𝒕𝒊𝒏𝒈 𝒕𝒉𝒆 𝒘𝒂𝒚 𝒕𝒉𝒆𝒚 𝒅𝒐 𝒕𝒉𝒆𝒏 𝒕𝒉𝒆𝒚 𝒅𝒐𝒏’𝒕 𝒆𝒏𝒅 𝒖𝒑 𝒃𝒆𝒊𝒏𝒈 𝒂𝒔 𝒑𝒐𝒑𝒖𝒍𝒂𝒓 𝒂𝒔 𝒕𝒉𝒆𝒚 𝒘𝒆𝒓𝒆, 𝒔𝒂𝒚, 𝒐𝒗𝒆𝒓𝒔𝒆𝒂𝒔 ?
💬 Definitely. I think they’ve done it to themselves. I mean, The Verve came over to America booking twenty thousand seat arenas. It’s like, ‘No. You haven’t toured America for a long time and nobody really knows you outside of Britain and France.’ And then they come over and get pissed off because they can’t sell out a twenty thousand seat venue. It’s like, ‘Use your loaf.’ It’s simple, isn’t it ? Then they get pissed because they don’t sell it out and they think that all Americans are wankers. It’s like, ‘You’ve got it well mixed up there. You better go back, think about it, and then come back again.’ That is the biggest thing with bands like Oasis and The Verve; they just think the world owes them a fucking living. I don’t think they are particularly great bands anyway.

Photo credit unknown

🔹 𝑾𝒊𝒕𝒉 𝑶𝒂𝒔𝒊𝒔, 𝒕𝒉𝒆𝒚 𝒉𝒂𝒅 𝒂𝒍𝒓𝒆𝒂𝒅𝒚 𝒔𝒕𝒓𝒖𝒄𝒌 𝒈𝒐𝒍𝒅 𝒘𝒊𝒕𝒉 “𝑾𝒐𝒏𝒅𝒆𝒓𝒘𝒂𝒍𝒍”. 𝑺𝒐, 𝒕𝒉𝒆𝒚 𝒉𝒂𝒅 𝒇𝒂𝒏𝒔 𝒂𝒍𝒓𝒆𝒂𝒅𝒚 𝒊𝒏 𝑨𝒎𝒆𝒓𝒊𝒄𝒂, 𝒃𝒖𝒕 𝒘𝒉𝒆𝒏 𝒕𝒉𝒆𝒚 𝒈𝒐𝒕 𝒉𝒆𝒓𝒆 𝒊𝒕 𝒘𝒂𝒔 𝒍𝒊𝒌𝒆 𝒑𝒆𝒐𝒑𝒍𝒆 𝒘𝒆𝒓𝒆 𝒔𝒂𝒚𝒊𝒏𝒈, ‘𝑾𝒆’𝒗𝒆 𝒄𝒓𝒆𝒂𝒕𝒆𝒅 𝒂 𝒎𝒐𝒏𝒔𝒕𝒆𝒓.’
💬 Exactly. (𝘭𝘢𝘶𝘨𝘩𝘴) It takes two to tango, I suppose.

🔹 𝑯𝒐𝒘 𝒅𝒐 𝒚𝒐𝒖 𝒈𝒖𝒚𝒔 𝒑𝒂𝒔𝒔 𝒕𝒊𝒎𝒆 𝒐𝒏 𝒕𝒉𝒆 𝒓𝒐𝒂𝒅 ?
💬 We’ve been working on this. It’s been like a scientific experiment basically, but we manage to rock all night and disco dance all day. We listen to disco and techno all day so we are dancing our way around America on our bus. It is the easiest way to get around the states.

🔹 𝑨𝒏𝒚𝒕𝒉𝒊𝒏𝒈 𝒊𝒏 𝒑𝒂𝒓𝒕𝒊𝒄𝒖𝒍𝒂𝒓 𝒕𝒉𝒂𝒕 𝒚𝒐𝒖 𝒂𝒓𝒆 𝒍𝒊𝒔𝒕𝒆𝒏𝒊𝒏𝒈 𝒕𝒐 ?
💬 Cassius, stuff like that. A lot of old school techno, stuff from 1990 and ’88. Just endless amounts of old school disco like Donna Summer. We haven’t been listening to a lot of guitar music because we haven’t found any guitar music that has been that inspirational lately.

🔹 𝑰 𝒘𝒂𝒔 𝒈𝒐𝒊𝒏𝒈 𝒕𝒐 𝒂𝒔𝒌 𝒚𝒐𝒖 𝒂𝒃𝒐𝒖𝒕 𝒕𝒉𝒂𝒕. 𝑾𝒉𝒂𝒕 𝒅𝒐 𝒚𝒐𝒖 𝒕𝒉𝒊𝒏𝒌 𝒂𝒃𝒐𝒖𝒕 𝒕𝒉𝒆 𝒍𝒂𝒄𝒌 𝒐𝒇 𝒒𝒖𝒂𝒍𝒊𝒕𝒚 𝒎𝒖𝒔𝒊𝒄 𝒂𝒏𝒅 𝒆𝒔𝒑𝒆𝒄𝒊𝒂𝒍𝒍𝒚 𝒕𝒉𝒆 𝒍𝒂𝒄𝒌 𝒐𝒇 𝒔𝒕𝒂𝒓 𝒒𝒖𝒂𝒍𝒊𝒕𝒚 𝒊𝒏 𝒎𝒖𝒔𝒊𝒄 𝒕𝒐𝒅𝒂𝒚 ? 𝑫𝒐 𝒚𝒐𝒖 𝒂𝒕𝒕𝒓𝒊𝒃𝒖𝒕𝒆 𝒕𝒉𝒂𝒕 𝒕𝒐 𝒕𝒉𝒆 𝒍𝒂𝒄𝒌 𝒐𝒇 𝒕𝒂𝒍𝒆𝒏𝒕, 𝒐𝒓 𝒂𝒓𝒆 𝒓𝒆𝒄𝒐𝒓𝒅 𝒍𝒂𝒃𝒆𝒍𝒔 𝒋𝒖𝒔𝒕 𝒄𝒐𝒎𝒑𝒍𝒆𝒕𝒆𝒍𝒚 𝒐𝒗𝒆𝒓𝒔𝒂𝒕𝒖𝒓𝒂𝒕𝒊𝒏𝒈 𝒕𝒉𝒆 𝒎𝒂𝒓𝒌𝒆𝒕 𝒘𝒊𝒕𝒉 𝒃𝒂𝒏𝒅𝒔 ?
💬 I think it is down to the lack of talent and the lack of imagination. I’ve never been in a situation, and I never intend to be in a situation, where a record company is telling you what to do and telling you the way that you should market yourself. It’s like, ‘No, no, no.’ The record labels are the people with the plans and the contacts. I’m an artist. You create your own thing and bring it to them and say, “Let’s do this with it.” And then start talking.

🔹 𝑫𝒐 𝒚𝒐𝒖 𝒕𝒉𝒊𝒏𝒌 𝒕𝒉𝒂𝒕 𝒊𝒔 𝒘𝒉𝒚 𝒆𝒗𝒆𝒏 𝒕𝒉𝒆 𝒖𝒑𝒑𝒆𝒓 𝒄𝒍𝒂𝒔𝒔 𝒌𝒊𝒅𝒔 𝒂𝒏𝒅 𝒑𝒆𝒐𝒑𝒍𝒆 𝒘𝒉𝒐 𝒂 𝒇𝒆𝒘 𝒚𝒆𝒂𝒓𝒔 𝒂𝒈𝒐 𝒘𝒐𝒖𝒍𝒅 𝒏𝒆𝒗𝒆𝒓 𝒃𝒆 𝒄𝒂𝒖𝒈𝒉𝒕 𝒅𝒆𝒂𝒅 𝒍𝒊𝒔𝒕𝒆𝒏𝒊𝒏𝒈 𝒕𝒐 𝑴𝒂𝒓𝒊𝒍𝒚𝒏 𝑴𝒂𝒏𝒔𝒐𝒏 𝒂𝒓𝒆 𝒏𝒐𝒘 𝒍𝒊𝒔𝒕𝒆𝒏𝒊𝒏𝒈 𝒕𝒐 𝒉𝒊𝒎 𝒃𝒆𝒄𝒂𝒖𝒔𝒆 𝒐𝒇 𝒉𝒊𝒔 𝒑𝒆𝒓𝒔𝒐𝒏𝒂 ?
💬 Yeah. I mean Marilyn Manson looks great, but the album is crap.

Photo credit: Anthony O'Dwyer

🔹 𝑰’𝒎 𝒏𝒐𝒕 𝒃𝒊𝒈 𝒐𝒏 𝒕𝒉𝒆 𝒏𝒆𝒘 𝒐𝒏𝒆 𝒆𝒊𝒕𝒉𝒆𝒓.
💬 It’s dreadful. It’s like what the fuck is that ?

🔹 𝑯𝒆 𝒔𝒉𝒐𝒖𝒍𝒅𝒏’𝒕 𝒉𝒂𝒗𝒆 𝒍𝒆𝒇𝒕 𝑻𝒓𝒆𝒏𝒕 𝑹𝒆𝒛𝒏𝒐𝒓.
💬 Exactly, but he could have looked fantastic and actually had a fantastic album. Then it is a different story.

🔹 𝒀𝒆𝒂𝒉. 𝑰𝒕 𝒘𝒂𝒔 𝒋𝒖𝒔𝒕 𝒕𝒐𝒐 𝒎𝒖𝒄𝒉 𝒅𝒓𝒂𝒎𝒂.
💬 It is very same-e. You can listen all the way through the album and you say it could have been the same song basically. It’s a classic example of image taking control, which is wrong because you should always have your music first and then you play with your image.
And to finish answering the question, I do think that record labels are mass-producing and not giving artists enough time to grow.

🔹 𝑺𝒑𝒆𝒂𝒌𝒊𝒏𝒈 𝒐𝒇 𝒊𝒎𝒂𝒈𝒆, 𝒅𝒐𝒆𝒔 𝒊𝒕 𝒃𝒐𝒕𝒉𝒆𝒓 𝒚𝒐𝒖 𝒕𝒉𝒂𝒕 𝒂 𝒍𝒐𝒕 𝒐𝒇 𝒘𝒓𝒊𝒕𝒆𝒓𝒔 𝒔𝒑𝒆𝒏𝒅 𝒂 𝒍𝒐𝒕 𝒐𝒇 𝒕𝒊𝒎𝒆 𝒐𝒏 𝒚𝒐𝒖𝒓 𝒊𝒎𝒂𝒈𝒆 𝒂𝒏𝒅 𝒅𝒐𝒏’𝒕 𝒑𝒂𝒚 𝒂𝒔 𝒎𝒖𝒄𝒉 𝒂𝒕𝒕𝒆𝒏𝒕𝒊𝒐𝒏 𝒕𝒐 𝒚𝒐𝒖𝒓 𝒎𝒖𝒔𝒊𝒄 ?
💬 We are trying to keep a tight reign on that. It doesn’t really bother me, what journalists write. I mean, you get out of England as an artist and interviews become a lot easier because journalists obviously have got some kind of education and they seem to know what, he/she knows what they are talking about. In Britain, they have this idea that the journalist is above the artist. They’ve got this weird way of working it. They’ve got egos bigger than fucking hell. It’s weird. Once they champion you and bring you to that level, they want to tear you down. And it’s just kind of like, ‘Fuck off’.

🔹 𝑰 𝒅𝒊𝒅 𝒓𝒆𝒂𝒅 𝒂 𝒍𝒐𝒕 𝒐𝒇 𝒂𝒓𝒕𝒊𝒄𝒍𝒆𝒔 𝒘𝒉𝒆𝒓𝒆 𝒕𝒉𝒆𝒚 𝒘𝒆𝒓𝒆 𝒅𝒊𝒈𝒈𝒊𝒏𝒈 𝒇𝒐𝒓 𝒅𝒊𝒓𝒕.
💬 I think it is funny when a band’s press starts getting press. It’s just silly. People fishing and trying to find shit and get more shit on you.

🔹 𝑫𝒐 𝒚𝒐𝒖 𝒇𝒊𝒏𝒅 𝒕𝒉𝒆 𝑨𝒎𝒆𝒓𝒊𝒄𝒂𝒏 𝒑𝒓𝒆𝒔𝒔 𝒊𝒔 𝒎𝒐𝒓𝒆 𝒓𝒆𝒔𝒑𝒆𝒄𝒕𝒇𝒖𝒍 ?
💬 Yeah. And they seem to know more about music and know their musical history a lot more. (pauses) I’m getting the signal to wind it up now. We’ve got to do this CNN thing now.

🔹 𝑺𝒐 𝑰 𝒃𝒆𝒕𝒕𝒆𝒓 𝒍𝒆𝒕 𝒚𝒐𝒖 𝒈𝒐.
💬 Yeah. I’m getting people staring at me. (𝘭𝘢𝘶𝘨𝘩𝘴)

🔹 𝑾𝒆𝒍𝒍, 𝒘𝒆 𝒘𝒐𝒖𝒍𝒅𝒏’𝒕 𝒘𝒂𝒏𝒕 𝒕𝒐 𝒉𝒐𝒍𝒅 𝑪𝑵𝑵 𝒖𝒑 𝒏𝒐𝒘 𝒘𝒐𝒖𝒍𝒅 𝒘𝒆 ?
💬 No worries. (𝘭𝘢𝘶𝘨𝘩𝘴)

𝙷𝚒𝚙 𝙾𝚗𝚕𝚒𝚗𝚎 - 𝙼𝚊𝚢 𝟷𝟽, 𝟷𝟿𝟿𝟿

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🔶 If you want to know more about the 𝗰𝗵𝗮𝘁 𝗵𝗼𝘀𝘁𝗲𝗱 𝗯𝘆 𝗗𝗮𝘃𝗶𝗱 𝗕𝗼𝘄𝗶𝗲, you can read it here:
📜 https://bit.ly/3qtnksL 📜

Post by Laetitia

⭐️𝐀𝐍𝐍𝐈𝐕𝐄𝐑𝐒𝐀𝐑𝐘 of 𝐖𝐈𝐓𝐇𝐎𝐔𝐓 𝐘𝐎𝐔 𝐈'𝐌 𝐍𝐎𝐓𝐇𝐈𝐍𝐆 featuring 𝑫𝑨𝑽𝑰𝑫 𝑩𝑶𝑾𝑰𝑬⭐️

⭐🌠Today marks the 𝟐𝟑𝐫𝐝 𝐀𝐍𝐍𝐈𝐕𝐄𝐑𝐒𝐀𝐑𝐘 of one of the greatest Placebo collaborations, 𝐖𝐈𝐓𝐇𝐎𝐔𝐓 𝐘𝐎𝐔 𝐈'𝐌 𝐍𝐎𝐓𝐇𝐈𝐍𝐆 featuring 𝑫𝑨𝑽𝑰𝑫 𝑩𝑶𝑾𝑰𝑬🌠⭐

The single was released on August 16th, 1999, and reached number 79 on the French Singles Chart and number 52 on the Australian ARIA singles chart.
There are several CD and vinyl versions of it.

▪The regular 𝐂𝐃 consists of 𝐖𝐢𝐭𝐡𝐨𝐮𝐭 𝐘𝐨𝐮 𝐈'𝐦 𝐍𝐨𝐭𝐡𝐢𝐧𝐠 𝐬𝐢𝐧𝐠𝐥𝐞 𝐦𝐢𝐱 and remix by 𝑼𝑵𝑲𝑳𝑬.
▪The 𝐞𝐧𝐡𝐚𝐧𝐜𝐞𝐝 𝐂𝐃 included two more remixes by 𝑨𝒎𝒆𝒓𝒊𝒄𝒓𝒖𝒊𝒔𝒆𝒓 and 𝑩𝒓𝒐𝒕𝒉𝒆𝒓𝒔 𝒊𝒏 𝑹𝒉𝒚𝒕𝒉𝒎.
▪𝐄𝐧𝐡𝐚𝐧𝐜𝐞𝐝 𝐂𝐃 𝐥𝐢𝐦𝐢𝐭𝐞𝐝 𝐞𝐝𝐢𝐭𝐢𝐨𝐧, released in a gatefold card sleeve with an inner picture sleeve, includes an image gallery of live performance of Placebo with David Bowie, recorded at Irving Plaza, New York in March 1999.
▪𝟏𝟗𝟗𝟗 𝐯𝐢𝐧𝐲𝐥 𝟏𝟐” 𝐩𝐫𝐨𝐦𝐨, besides the single mix, includes 𝑼𝑵𝑲𝑳𝑬 and 𝑨𝒎𝒆𝒓𝒊𝒄𝒓𝒖𝒊𝒔𝒆𝒓 remixes. ▪𝐋𝐢𝐦𝐢𝐭𝐞𝐝 𝐞𝐝𝐢𝐭𝐢𝐨𝐧 𝟏𝟐" 𝐏𝐢𝐜𝐭𝐮𝐫𝐞 𝐃𝐢𝐬𝐜, with the same tracklist, was exclusively released for 𝑹𝒆𝒄𝒐𝒓𝒅 𝑺𝒕𝒐𝒓𝒆 𝑫𝒂𝒚 2017.


𝐖𝐢𝐭𝐡𝐨𝐮𝐭 𝐘𝐨𝐮 𝐈'𝐦 𝐍𝐨𝐭𝐡𝐢𝐧𝐠 (𝐒𝐢𝐧𝐠𝐥𝐞 𝐌𝐢𝐱)
➡️ http://bit.ly/2PYcidb

𝐖𝐢𝐭𝐡𝐨𝐮𝐭 𝐘𝐨𝐮 𝐈'𝐦 𝐍𝐨𝐭𝐡𝐢𝐧𝐠 (𝐔𝐍𝐊𝐋𝐄 𝐑𝐞𝐦𝐢𝐱)
➡️ https://bit.ly/363XlOq

𝐖𝐢𝐭𝐡𝐨𝐮𝐭 𝐘𝐨𝐮 𝐈'𝐦 𝐍𝐨𝐭𝐡𝐢𝐧𝐠 (𝐓𝐡𝐞 𝐅𝐥𝐞𝐱𝐢𝐫𝐨𝐥 𝐌𝐢𝐱) 𝐛𝐲 𝐀𝐦𝐞𝐫𝐢𝐜𝐫𝐮𝐢𝐬𝐞𝐫
➡️ https://bit.ly/3jwfV9E

𝐖𝐢𝐭𝐡𝐨𝐮𝐭 𝐘𝐨𝐮 𝐈'𝐦 𝐍𝐨𝐭𝐡𝐢𝐧𝐠 (𝐁𝐫𝐨𝐭𝐡𝐞𝐫𝐬 𝐈𝐧 𝐑𝐡𝐲𝐭𝐡𝐦 𝐂𝐥𝐮𝐛 𝐌𝐢𝐱)
➡️ https://bit.ly/3y5yKoe

Screenshot from the video

⭐️The title track of Placebo’s second album, an absolutely unique song in both lyrical and musical aspects, 𝐖𝐈𝐓𝐇𝐎𝐔𝐓 𝐘𝐎𝐔 𝐈'𝐌 𝐍𝐎𝐓𝐇𝐈𝐍𝐆 became a turning point in Placebo’s career in some way. An opportunity to record with such a legend as 𝑫𝒂𝒗𝒊𝒅 𝑩𝒐𝒘𝒊𝒆 would be a dream come true for any musicians in their twenties, I suppose!
⭐️Although by that time Placebo had already been touring with 𝑩𝒐𝒘𝒊𝒆, Brian and Stefan admitted they were sincerely surprised and honoured by David’s idea to work on the song together.
Brian was on vacation when 𝑫𝒂𝒗𝒊𝒅 just called him up.
📢𝐁𝐫𝐢𝐚𝐧: "He [David Bowie] heard our demos and invited us to take Morrissey's place on tour after Morrissey had a hissy fit and went home to his mother. So we just called each other up. We were scheduled to do some performances at award ceremonies and we said, "Should we do this?' He told me, "Brian, I've written my own harmony part. I hope you don't mind.' I said, "David, write what you want!' So there I was in the studio with David Bowie and [producer] Tony Visconti. I said, "Pinch me, I'm dreaming."'
(𝑀𝑜𝑟𝑛𝑖𝑛𝑔 𝐶𝑎𝑙𝑙, 𝑀𝑎𝑦 19𝑡ℎ 2001)


📢𝐒𝐭𝐞𝐟𝐚𝐧: "It was very strange, one day he [David Bowie] called and said "Hey guys, I love what you do and especially 'Without You I'm Nothing', I would be pleased to record it with you or cover it. What do you think?" We said: "Ok, we will meet and see what we can do (laughs)!" And then you know, there was a sort of unease... It's Bowie and he conducts and wants to control everything... And then, finally he came to the studio and there he went to sing... how to say that? We were there behind the window: "Fuck that's Bowie!" It was magical! I can't say it was a dream come true because I never think about it, but after the fact, I must admit it was one of the most thrilling and unforgettable time of my life."
(𝑅𝑜𝑐𝑘 𝑆𝑜𝑢𝑛𝑑 𝑛°72, 𝑆𝑒𝑝𝑡𝑒𝑚𝑏𝑒𝑟 1999)

𝑾𝒉𝒚 𝒓𝒆-𝒓𝒆𝒄𝒐𝒓𝒅𝒊𝒏𝒈 𝒊𝒕 𝒘𝒊𝒕𝒉 𝑫𝒂𝒗𝒊𝒅 𝑩𝒐𝒘𝒊𝒆?
📢𝐁𝐫𝐢𝐚𝐧: We didn't re-record it. He came, put his voice, and we remixed. In fact, we were going to do a song with David for the Brits Award. The tradition is to do classic English songs covers. As we have done "20th Century Boy" for the Velvet Goldmine film, I suggested to David to do it for the Brits. He said ok. Then he called me to say, "We should do Without You, it's my favorite" I answered back: "I don't think the Brits will like that..." We asked them and they said, "We prefer "20th Century Boy". So with David, we decided to make it a single: he had already wrote his harmony, he really wanted to be on that song. It's a great honour."
(𝐺𝑢𝑖𝑡𝑎𝑟 𝑃𝑎𝑟𝑡, 𝑁𝑜𝑣𝑒𝑚𝑏𝑒𝑟 2000)


⭐️David Bowie's vocals were recorded at 𝐋𝐨𝐨𝐤𝐢𝐧𝐠 𝐆𝐥𝐚𝐬𝐬 𝐒𝐭𝐮𝐝𝐢𝐨𝐬 𝐢𝐧 𝐍𝐞𝐰 𝐘𝐨𝐫𝐤 𝐂𝐢𝐭𝐲 𝐨𝐧 𝐌𝐚𝐫𝐜𝐡 𝟐𝟖𝐭𝐡 𝟏𝟗𝟗𝟗 and added to the album version of the song that was produced at Real World Studios in Bath, UK the previous year.

📢𝐒𝐭𝐞𝐟𝐚𝐧: “David actually came to us before the first album came out,” bassist Stefan Olsdal told NME. “When it came to ‘Without You I’m Nothing’, he called and said he wanted to collaborate after we’d recorded and released it. I don’t know what he saw in us; maybe something of himself as a younger Bowie. Maybe there was an outsider element to a lot of what we were doing. Maybe it was the romanticism. Maybe it was the stubbornness of not wanting to fit in.”
(𝑁𝑀𝐸, 𝑂𝑐𝑡𝑜𝑏𝑒𝑟 2018)

Screenshot from the video

🌠It’s safe to say that crossing passes with David Bowie changed Brian and Stefan’s lives forever. Being in the light of his genius, his wisdom, kindness, and generosity hugely influenced them both as persons and musicians.
🌠Of course, they did appreciate David’s mentorship and friendship back in the day… but not enough as they later realized. Bowie’s passing in 2016 definitely shifted the perspective.

📢𝐁𝐫𝐢𝐚𝐧: When I was in his orbit, I was young and arrogant. I was convinced that I deserved to be there with him. It wasn't until he left us that I really understood the effect he had on my life as a human being and as an artist. At the time, I didn't realize anything. Today, all this learning makes sense. It's very moving and overwhelming. But somewhere, I have the feeling that I still carry him with me a little, like a mentor, a godfather or a lucky star. Without getting too esoteric, I still feel like I have a relationship with him (𝘉𝘳𝘪𝘢𝘯 𝘴𝘵𝘰𝘱𝘴 𝘵𝘢𝘭𝘬𝘪𝘯𝘨 𝘧𝘰𝘳 𝘢 𝘮𝘰𝘮𝘦𝘯𝘵). Excuse me, it's still very hard for me to talk about David. I am absolutely, unequivocally grateful to him.
𝑰𝒕'𝒔 𝒒𝒖𝒊𝒕𝒆 𝒖𝒏𝒅𝒆𝒓𝒔𝒕𝒂𝒏𝒅𝒂𝒃𝒍𝒆...
Sometimes I'm suddenly struck by strong emotions, and talking about David often triggers that for me. I remember having a long discussion with 𝐒𝐭𝐞𝐟 about whether or not we should continue to play 𝐖𝐢𝐭𝐡𝐨𝐮𝐭 𝐘𝐨𝐮 𝐈'𝐦 𝐍𝐨𝐭𝐡𝐢𝐧𝐠 on stage. Every time we play it live, we project images of David on the big screens. It's so strong emotionally for me that it breaks my heart a little bit. But I'm sure David would have said to me: "You are exactly where you need to be right now." He always asked me if I was comfortable with my music. If I said yes, then he would tell me that I should be not! (𝑙𝑎𝑢𝑔ℎ𝑠) For him, you had to be uncomfortable, all the time. Stef often reminds me of this phrase when I get too emotional during a live performance.
(𝑀𝑦 𝑅𝑜𝑐𝑘 #74, 𝑀𝑎𝑟𝑐ℎ 2022)

📢𝐁𝐫𝐢𝐚𝐧: “This may sound like a grandiose statement, but it’s true. David taught me how to be a better person, but it took his passing for me to really reflect on it. When it was happening, I was far too arrogant and far too drunk to notice the real impact of what was going on.
(𝑁𝑀𝐸, 𝑀𝑎𝑟𝑐ℎ 15𝑡ℎ, 2022)


⭐️The lyrics for 𝐖𝐢𝐭𝐡𝐨𝐮𝐭 𝐘𝐨𝐮 𝐈'𝐦 𝐍𝐨𝐭𝐡𝐢𝐧𝐠 started with a 𝒑𝒓𝒊𝒗𝒂𝒕𝒆 𝒔𝒕𝒐𝒓𝒚 but even for Brian himself, grew up to get a way more 𝒖𝒏𝒊𝒗𝒆𝒓𝒔𝒂𝒍 𝒎𝒆𝒂𝒏𝒊𝒏𝒈.
📢𝐁𝐫𝐢𝐚𝐧: “You know, that’s about someone I used to go out with really, and that was like me exorcising the guilt or that failing relationship which I was mainly responsible for.“
(𝑁𝑀𝐸, 𝐷𝑒𝑐𝑒𝑚𝑏𝑒𝑟 1998)

📢𝐁𝐫𝐢𝐚𝐧: "Certain people have had a large impact on me emotionally. I think it’s usually more than one person I’m writing about though. Like the song ‘Without You I’m nothing’, it’s not necessarily about one person. I usually bring together the mistakes I’ve made with a couple of different people and use that as a catalyst for song writing."
(𝐷𝑟𝑜𝑤𝑛𝑒𝑑 𝑖𝑛 𝑆𝑜𝑢𝑛𝑑, 𝑀𝑎𝑟𝑐ℎ 2003)

Screenshot from the video

📢𝐁𝐫𝐢𝐚𝐧: "I think, it's us, the band, talking to ourselves; it’s me talking to certain people in my past; it's also us talking to our fans."
(𝑃𝑙𝑎𝑐𝑒𝑏𝑜 𝑐ℎ𝑎𝑡 ℎ𝑜𝑠𝑡𝑒𝑑 𝑏𝑦 𝐷𝑎𝑣𝑖𝑑 𝐵𝑜𝑤𝑖𝑒, 𝑀𝑎𝑟𝑐ℎ 29, 1999)

📢𝐁𝐫𝐢𝐚𝐧: “That song is very misunderstood. It is not a love song, the narrator is suffering from pathological low self-esteem. It’s about co-dependence, feeling like you don’t have an identity without somebody else.”
(𝑇ℎ𝑒 𝐼𝑛𝑑𝑒𝑝𝑒𝑛𝑑𝑒𝑛𝑡, 𝑂𝑐𝑡𝑜𝑏𝑒𝑟 17𝑡ℎ 2017)

📢𝐁𝐫𝐢𝐚𝐧 has always been quite proud of “Without You I'm Nothing“ - something which rarely happened regarding Placebo’s earlier songs: “Not just for the fact that David Bowie liked it so much that he had to sing on it, song-writing wise, I think that it’s quite interesting because it doesn’t have any repeating parts, and I also like the lyrics“
(𝐶𝑙𝑎𝑠𝑠𝑖𝑐 𝑅𝑜𝑐𝑘, 𝐽𝑎𝑛𝑢𝑎𝑟𝑦 2005)

Being proud of Placebo, is how I personally feel about heartbreaking, haunting, obscure, and sophisticated 𝐖𝐢𝐭𝐡𝐨𝐮𝐭 𝐘𝐨𝐮 𝐈'𝐦 𝐍𝐨𝐭𝐡𝐢𝐧𝐠. After years and years of listening to the song, it leaves me speechless every single time…❤️


⭐On March 29th, 1999, 𝑫𝒂𝒗𝒊𝒅 𝑩𝒐𝒘𝒊𝒆 joined Placebo on stage at Irving Plaza in New York City to perform this song together. The way he looks at Brian – what a tenderness and admiration in his smile!...
Isn’t that understandable why it was too difficult for Brian to hold back tears while performing 𝐖𝐢𝐭𝐡𝐨𝐮𝐭 𝐘𝐨𝐮 𝐈'𝐦 𝐍𝐨𝐭𝐡𝐢𝐧𝐠 during the 20𝒕𝒉 𝒂𝒏𝒏𝒊𝒗𝒆𝒓𝒔𝒂𝒓𝒚 𝒕𝒐𝒖𝒓, soon after David’s passing?!💔

Post by Olga

🔸⭐𝐃𝐚𝐯𝐢𝐝 𝐁𝐨𝐰𝐢𝐞 "𝐅𝐈𝐕𝐄 𝐘𝐄𝐀𝐑𝐒", 𝐜𝐨𝐯𝐞𝐫 𝐛𝐲 𝐁𝐑𝐈𝐀𝐍 𝐌𝐎𝐋𝐊𝐎⭐🔸

⭐...𝘕𝘦𝘸𝘴 𝘩𝘢𝘥 𝘫𝘶𝘴𝘵 𝘤𝘰𝘮𝘦 𝘰𝘷𝘦𝘳, 𝘸𝘦 𝘩𝘢𝘥 𝘧𝘪𝘷𝘦 𝘺𝘦𝘢𝘳𝘴 𝘭𝘦𝘧𝘵 𝘵𝘰 𝘤𝘳𝘺 𝘪𝘯
𝘕𝘦𝘸𝘴 𝘨𝘶𝘺 𝘸𝘦𝘱𝘵 𝘢𝘯𝘥 𝘵𝘰𝘭𝘥 𝘶𝘴, 𝘦𝘢𝘳𝘵𝘩 𝘸𝘢𝘴 𝘳𝘦𝘢𝘭𝘭𝘺 𝘥𝘺𝘪𝘯𝘨...⭐
(𝙳𝚊𝚟𝚒𝚍 𝙱𝚘𝚠𝚒𝚎 "𝙵𝚒𝚟𝚎 𝚈𝚎𝚊𝚛𝚜")

I dedicate my post today to a song that Brian probably delighted his friend, mentor and dare I say surrogate father David Bowie with.

He did a live cover of David's song about the impending apocalypse... what a fitting theme for Brian, right?

I would start with a very nice review published by FarOut magazine in March 2020:

🔹𝐏𝐥𝐚𝐜𝐞𝐛𝐨'𝐬 𝐁𝐫𝐢𝐚𝐧 𝐌𝐨𝐥𝐤𝐨 𝐝𝐞𝐥𝐢𝐯𝐞𝐫𝐬 𝐚 𝐭𝐨𝐮𝐜𝐡𝐢𝐧𝐠 𝐜𝐨𝐯𝐞𝐫 𝐨𝐟 𝐃𝐚𝐯𝐢𝐝 𝐁𝐨𝐰𝐢𝐞'𝐬 '𝐅𝐈𝐕𝐄 𝐘𝐄𝐀𝐑𝐒' 𝐉𝐚𝐜𝐤 𝐖𝐡𝐚𝐭𝐥𝐞𝐲🔹

When David Bowie passed away in 2016 he left a rather large hole in the music scene. The singer had been a beacon of creativity for nearly six decades before he departed and he had an unfathomable influence on one person, in particular, Placebo’s Brian Molko.
The singer had found a kindred spirit in the Starman and his passing in 2016 provoked an emotional reaction, “He was my friend and my mentor. He gave me a lot of advice. I’m meditating more on how he was quite a sage and quite a raconteur as well.”

It’s not hard to imagine, Bowie had that effect on most people. The Thin White Duke had always been lauded as one of the most influential artists in pop history but the difference here was that Bowie was just as enamoured with Placebo and Molko.
Bowie always had his finger on the pulse of new music and as well as picking out DEVO as a band of the future, he also gravitated towards Molko’s subversive alt-rock band, Placebo during the nineties. Bowie was in an industrial phase when he first came across the band and soon enough he had them open for his Outsider Tour in 1995.

They would quickly begin working with each other in the studio too. The band welcoming Bowie on the 1998 single release of the title track of their second record Without You I’m Nothing. With some backstage footage that Placebo shared after his death, highlighting Molko’s adoration of the star, gleefully looking up at him with wonder.
The pair enjoyed an enriching relationship onwards from there. Sharing the stage in 1999 at the BRIT Awards, as they performed a tribute to Marc Bolan with a cover of T-Rex’s ’20th Century Boy’. But the footage below comes a few years after in 2004 as Placebo were welcomed to French TV to perform Bowie’s iconic song, ‘Five Years’.

It’s not easy covering Bowie. Ask the countless artists who have tried and failed. But perhaps emboldened by his connection to the star or perhaps relying on the honesty of that connection in the first place, Molko delivers an impassioned and touching cover of the track.
Shot years before Bowie’s death, rather than a cover that is haunting or brittle, we see Molko engage with the track on a level of warmth and recognition. What’s more, he does so with a heavy dose of talent and an even larger serving of appreciation for the source material.

So sit back and enjoy this touching cover of David Bowie’s ‘Five Years’ from Placebo’s Brian Molko.
🔹✨🔹✨🔹✨🔹

Photo credit unknown

Nice review, what do you think?Let's talk about the song itself and its creator:

"𝐅𝐈𝐕𝐄 𝐘𝐄𝐀𝐑𝐒" is a song written by 𝐃𝐀𝐕𝐈𝐃 𝐁𝐎𝐖𝐈𝐄 and was originally released on his concept album "𝐓𝐡𝐞 𝐑𝐢𝐬𝐞 𝐚𝐧𝐝 𝐅𝐚𝐥𝐥 𝐨𝐟 𝐙𝐢𝐠𝐠𝐲 𝐒𝐭𝐚𝐫𝐝𝐮𝐬𝐭 𝐚𝐧𝐝 𝐭𝐡𝐞 𝐒𝐩𝐢𝐝𝐞𝐫𝐬 𝐟𝐫𝐨𝐦 𝐌𝐚𝐫𝐬" in 1972.


As the opening track, the song introduces the overarching theme of the album: an impending apocalyptic disaster will destroy Earth in five years and the being who will save it is a bisexual alien rock star named Ziggy Stardust.
🔹💬 '𝘓𝘢𝘵𝘦𝘳 𝘪𝘯 𝘵𝘩𝘦 1970𝘴, 𝘉𝘰𝘸𝘪𝘦 𝘤𝘭𝘢𝘪𝘮𝘦𝘥 𝘵𝘰 𝘩𝘢𝘷𝘦 𝘤𝘩𝘰𝘴𝘦𝘯 𝘵𝘩𝘦 𝘭𝘦𝘯𝘨𝘵𝘩 𝘰𝘧 𝘵𝘪𝘮𝘦, 𝘧𝘪𝘷𝘦 𝘺𝘦𝘢𝘳𝘴, 𝘢𝘴 𝘢 𝘳𝘦𝘴𝘶𝘭𝘵 𝘰𝘧 𝘢 𝘥𝘳𝘦𝘢𝘮 𝘪𝘯 𝘸𝘩𝘪𝘤𝘩 𝘩𝘪𝘴 𝘥𝘦𝘤𝘦𝘢𝘴𝘦𝘥 𝘧𝘢𝘵𝘩𝘦𝘳 𝘵𝘰𝘭𝘥 𝘩𝘪𝘮 𝘩𝘦 𝘮𝘶𝘴𝘵 𝘯𝘦𝘷𝘦𝘳 𝘧𝘭𝘺 𝘢𝘨𝘢𝘪𝘯 𝘢𝘯𝘥 𝘸𝘰𝘶𝘭𝘥 𝘥𝘪𝘦 𝘪𝘯 𝘧𝘪𝘷𝘦 𝘺𝘦𝘢𝘳𝘴, 𝘪𝘯 𝘳𝘦𝘴𝘱𝘰𝘯𝘴𝘦 𝘵𝘰 𝘢 𝘲𝘶𝘦𝘴𝘵𝘪𝘰𝘯 𝘢𝘣𝘰𝘶𝘵 𝘩𝘪𝘴 𝘧𝘦𝘢𝘳 𝘰𝘧 𝘧𝘭𝘺𝘪𝘯𝘨.'
(𝙽𝚒𝚌𝚑𝚘𝚕𝚊𝚜 𝙿𝚎𝚐𝚐, 𝚃𝚑𝚎 𝙲𝚘𝚖𝚙𝚕𝚎𝚝𝚎 𝙳𝚊𝚟𝚒𝚍 𝙱𝚘𝚠𝚒𝚎, 𝟸0𝟷𝟼)

Screenshots from the video / edit by Silke

To better understand Bowie's idea, I share with you an excerpt of 𝐚𝐧 𝐢𝐧𝐭𝐞𝐫𝐯𝐢𝐞𝐰 𝐭𝐡𝐚𝐭 𝐃𝐚𝐯𝐢𝐝 𝐡𝐚𝐝 𝐰𝐢𝐭𝐡 𝐭𝐡𝐞 𝐰𝐫𝐢𝐭𝐞𝐫 𝐖𝐢𝐥𝐥𝐢𝐚𝐦 𝐁𝐮𝐫𝐫𝐨𝐮𝐠𝐡𝐬 𝐬𝐨𝐦𝐞𝐭𝐢𝐦𝐞 𝐢𝐧 𝟏𝟗𝟕𝟒:

𝘽𝙪𝙧𝙧𝙤𝙪𝙜𝙝𝙨: Could you explain this Ziggy Stardust image of yours? From what I can see it has to do with the world being on the eve of destruction within five years.

𝘽𝙤𝙬𝙞𝙚: The time is five years to go before the end of the earth. It has been announced that the world will end because of lack of natural resources. [The album was released three years ago.] Ziggy is in a position where all the kids have access to things that they thought they wanted. The older people have lost all touch with reality and the kids are left on their own to plunder anything. Ziggy was in a rock & roll band and the kids no longer want rock & roll. There’s no electricity to play it. Ziggy’s adviser tells him to collect news and sing it, ’cause there is no news. So Ziggy does this and there is terrible news. “All the Young Dudes” is a song about this news. It is no hymn to the youth as people thought. It is completely the opposite.

𝘽𝙪𝙧𝙧𝙤𝙪𝙜𝙝𝙨: Where did this Ziggy idea come from, and this five-year idea? Of course, exhaustion of natural resources will not develop the end of the world. It will result in the collapse of civilization. And it will cut down the population by about three-quarters.

𝘽𝙤𝙬𝙞𝙚: Exactly. This does not cause the end of the world for Ziggy. The end comes when the infinites arrive..../***/
(𝚆𝚒𝚕𝚕𝚒𝚊𝚖 𝙱𝚞𝚛𝚛𝚘𝚞𝚐𝚑𝚜 𝙸𝚗𝚝𝚎𝚛𝚟𝚒𝚎𝚠𝚜 𝙳𝚊𝚟𝚒𝚍 𝙱𝚘𝚠𝚒𝚎, 𝚁𝚘𝚕𝚕𝚒𝚗𝚐 𝚂𝚝𝚘𝚗𝚎, 𝙵𝚎𝚋 𝟷𝟿𝟽𝟺)


So the idea for this opening song of the album is clear. It sets in motion the whole story that was unfolding in David's head, which he then took to the theatre stage.

His Ziggy is still immortal, don't you think?

🔹🎶 𝐃𝐚𝐯𝐢𝐝 𝐁𝐨𝐰𝐢𝐞 '𝐙𝐢𝐠𝐠𝐲 𝐒𝐭𝐚𝐫𝐝𝐮𝐬𝐭' 𝐅𝐈𝐕𝐄 𝐘𝐄𝐀𝐑𝐒
https://bit.ly/3PenY7d

Photo credit:  Adam Bielawski

𝙈𝙪𝙡𝙩𝙞𝙥𝙡𝙚 𝙘𝙧𝙞𝙩𝙞𝙘𝙨 𝙝𝙖𝙫𝙚 𝙘𝙖𝙡𝙡𝙚𝙙 "𝙁𝙄𝙑𝙀 𝙔𝙀𝘼𝙍𝙎" 𝙤𝙣𝙚 𝙤𝙛 𝙩𝙝𝙚 𝙜𝙧𝙚𝙖𝙩𝙚𝙨𝙩 𝙤𝙥𝙚𝙣𝙞𝙣𝙜 𝙩𝙧𝙖𝙘𝙠𝙨 𝙤𝙛 𝙖𝙡𝙡 𝙩𝙞𝙢𝙚.

𝐼 𝑟𝑒𝑎𝑙𝑙𝑦 𝑙𝑖𝑘𝑒 𝑡ℎ𝑒 𝑚𝑒𝑚𝑜𝑟𝑦 𝑜𝑓 𝑝𝑟𝑜𝑑𝑢𝑐𝑒𝑟 𝐾𝑒𝑛 𝑆𝑐𝑜𝑡𝑡, 𝑤ℎ𝑜 𝑤𝑜𝑟𝑘𝑒𝑑 𝑤𝑖𝑡ℎ 𝐷𝑎𝑣𝑖𝑑 𝑜𝑛 𝑓𝑜𝑢𝑟 𝑜𝑓 ℎ𝑖𝑠 𝑎𝑙𝑏𝑢𝑚𝑠:

🔹💬 ⭐Having worked with both the Beatles (he was an Abbey Road engineer throughout the ‘60s) and David Bowie, producer Ken Scott is in the ideal position to compare the working methods of the two, and in a new interview with Strombo on Apple Music Hits, he’s been discussing the key thing that they had in common.

“I compare him to the Beatles in one respect and that's how brave they were in their ability to not care what people thought,” says Scott. “If they suddenly wanted to change direction, they would do it no matter what. And there are a lot of artists that won't do that.”

Ken Scott, who was David Bowie’s co-producer for four albums, recalled that the musician was in tears as he completed his performance of the opening track on groundbreaking album The Rise and Fall of Ziggy Stardust and the Spiders From Mars.
Scott explained that, while it can’t be heard as well in the final mix, he’s used an alternative version to demonstrate to fans just how much Bowie gave while he was working. “Five Years,” and an isolated vocal version, can be heard below.
He continued: “The first track on Ziggy, Five Years, by the end of the take he was bawling his eyes out, there were tears rolling down his face. Now, unfortunately when one is mixing, doing a final mix, you're trying to be dramatic should we say, and put everything across as best you can. And when you do that sometimes these little bits and pieces get a little lost. And you do hear that there's emotion in his voice at the end there. But now quite often in my talks, I will play the ending of 'Five Years'. It starts off with just the regular track, I've laid that down so it's just David and acoustic guitar, and I've had members of the audience that have heard this, they've started to bawl their eyes out. It is so moving. And that's what he gave every single time.”

“Of the four albums I co-produced with David, about 90% of the vocals were first take beginning to end,” he reveals. “I would run the take, get the level for his vocal, go back, hit record on the take, and what he did that one time through is what we still hear today. And that's no Auto-Tune, that's no cut and pasting things, no moving anything around. It was one performance that came from his heart every time.”
“With all of the top name artists I’ve worked with, and vocalists, I've never come across anyone quite like that,” the producer told Music Radar in a recent interview, adding of Bowie’s performances: “a friend of mine said they're perfect in their imperfection. And that's what it is. They're not totally in tune. They're not totally in time, but they come from your soul. He's putting across himself in every one of those.”


Here you can listen to both original versions of this song, which Ken Scott has made available as a lovely reminder of his time with David.

🔹🎶 David Bowie’s Full Version of ‘Five Years’
https://bit.ly/3BVLCTg

🔹🎶 David Bowie’s Isolated Vocals on ‘Five Years’
https://bit.ly/3bHwOwz

Screenshot from the video

⭐𝐋𝐘𝐑𝐈𝐂𝐒⭐
Pushing through the market square
So many mothers sighing (sighing)
News had just come over
We had five years left to cry in (cry in)
News guy wept and told us
Earth was really dying (dying)
Cried so much his face was wet
Then I knew he was not lying (lying)
I heard telephones, opera house, favorite melodies
I saw boys, toys, electric irons and TV's
My brain hurt like a warehouse, it had no room to spare
I had to cram so many things to store everything in there
And all the fat, skinny people
And all the tall, short people
And all the nobody people
And all the somebody people
I never thought I'd need so many people
A girl my age went off her head
Hit some tiny children
If the Black hadn't have pulled her off
I think she would have killed them
A soldier with a broken arm
Fixed his stare to the wheels of a Cadillac
A cop knelt and kissed the feet of a priest
And a queer threw up at the sight of that
I think I saw you in an ice-cream parlor
Drinking milk shakes cold and long
Smiling and waving and looking so fine
Don't think you knew you were in this song
And it was cold and it rained, so I felt like an actor
And I thought of Ma and I wanted to get back there
Your face, your race, the way that you talk
I kiss you, you're beautiful, I want you to walk
We've got five years, stuck on my eyes
Five years, what a surprise
We've got five years, my brain hurts a lot
Five years, that's all we've got
We've got five years, what a surprise
Five years, stuck on my eyes
We've got five years, my brain hurts a lot
Five years, that's all we've got
We've got five years, stuck on my eyes
Five years, what a surprise
We've got five years, my brain hurts a lot
Five years, that's all we've got
We've got five years, what a surprise
We've got five years, stuck on my eyes
We've got five years, my brain hurts a lot
Five years, that's all we've got
Five years
Five years
Five years
Five years
🔹✨🔹✨🔹✨🔹

Photo credit unknown

Brian performed the shared cover version at 𝐅𝐫𝐞𝐧𝐜𝐡 𝐓𝐕 𝐬𝐞𝐫𝐢𝐞𝐬 𝐓𝐫𝐚𝐟𝐢𝐜 𝐌𝐮𝐬𝐢𝐪𝐮𝐞 𝐨𝐧 𝐅𝐞𝐛𝐫𝐮𝐚𝐫𝐲 𝟐𝟔𝐭𝐡 𝟐𝟎𝟎𝟒,it was the only time that he played this song live on stage.

The show was presented and produced by Guillaume Durand, it was aired from 2002 to 2005.

I love this David song and I love Brian's live performance. Just look at the presenter enjoying that song about the end of the world... 😊

Brian's energy and the vibrancy of his voice, as if his tone belies this dystopian vision of the future... Like he's singing '...yeah, folks, in five years our end will come, it's clear and inevitable, so let's finally live to the fullest, let's fulfill our dreams so we don't leave this world feeling useless...

...and who knows, maybe then the harsh reality will change... if we start living in more joy...'
I know, it's a utopia as big as the universe...😊

Dear friends, I'll say goodbye with David's quote, which is a guide to life for all of us:

🔹"𝑰 𝒘𝒂𝒏𝒕 𝒕𝒐 𝒈𝒐 𝒕𝒐 𝒃𝒆𝒅 𝒆𝒗𝒆𝒓𝒚 𝒏𝒊𝒈𝒉𝒕 𝒔𝒂𝒚𝒊𝒏𝒈, “𝑰𝒇 𝑰 𝒏𝒆𝒗𝒆𝒓 𝒘𝒂𝒌𝒆 𝒂𝒈𝒂𝒊𝒏, 𝑰 𝒄𝒆𝒓𝒕𝒂𝒊𝒏𝒍𝒚 𝒘𝒊𝒍𝒍 𝒉𝒂𝒗𝒆 𝒍𝒊𝒗𝒆𝒅 𝒘𝒉𝒊𝒍𝒆 𝑰 𝒘𝒂𝒔 𝒂𝒍𝒊𝒗𝒆.”🔹
(𝙳𝚊𝚟𝚒𝚍 𝙱𝚘𝚠𝚒𝚎, 𝙿𝚕𝚊𝚢𝚋𝚘𝚢 𝚖𝚊𝚐. 𝚂𝚎𝚙 𝟷𝟿𝟽𝟼)

Post by Marti

🔻 𝐀𝐍𝐍𝐈𝐕𝐄𝐑𝐒𝐀𝐑𝐘 🔻 🔺 𝑾𝑰𝑻𝑯𝑶𝑼𝑻 𝒀𝑶𝑼 𝑰'𝑴 𝑵𝑶𝑻𝑯𝑰𝑵𝑮 𝑻𝑶𝑼𝑹 🔺

🔶 On 𝑨𝒖𝒈𝒖𝒔𝒕 8, 1998, 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 𝒔𝒕𝒂𝒓𝒕𝒆𝒅 𝒕𝒉𝒆𝒊𝒓 𝑾𝒊𝒕𝒉𝒐𝒖𝒕 𝒀𝒐𝒖 𝑰'𝒎 𝑵𝒐𝒕𝒉𝒊𝒏𝒈 𝑻𝒐𝒖𝒓 at the Benicassim Festival in Spain 𝒂𝒏𝒅 𝒆𝒏𝒅𝒆𝒅 𝒊𝒏 𝑫𝒖𝒃𝒍𝒊𝒏 𝒐𝒏 𝒕𝒉𝒆 𝑶𝒄𝒕𝒐𝒃𝒆𝒓 10, 1999. Amongst the 135 concerts they performed, they played for 𝒕𝒉𝒆 𝒇𝒊𝒓𝒔𝒕 𝒕𝒊𝒎𝒆 𝒊𝒏 𝑺𝒐𝒖𝒕𝒉 𝑨𝒇𝒓𝒊𝒄𝒂 offering the fans the opportunity to attend for four shows. Our 𝒅𝒆𝒂𝒓 𝑹𝒊𝒕𝒂 made a post about it. You can read it hear 🇿🇦 https://bit.ly/3JALhHr ✨

Photo credits: George N. (Pics 1,3,5),  Brian rasic (Pic 4), Unknown (Pics 2,6) / Edit by Laetitia

🔶 Placebo also performed 𝑴𝒂𝒓𝒔 𝑳𝒂𝒏𝒅𝒊𝒏𝒈 𝑷𝒂𝒓𝒕𝒚 for the one and only time during this tour in Belgium at La Botanique, where they performed the longest show on this tour. This amused both the band and the audience 😄

⭐𝗠𝗮𝗿𝘀 𝗟𝗮𝗻𝗱𝗶𝗻𝗴 𝗣𝗮𝗿𝘁𝘆 𝗹𝗶𝘃𝗲 𝗮𝘁 𝗟'𝗢𝗿𝗮𝗻𝗴𝗲𝗿𝗶𝗲 𝗱𝘂 𝗕𝗼𝘁𝗮𝗻𝗶𝗾𝘂𝗲 - 𝗕𝗲𝗹𝗴𝗶𝘂𝗺 (𝗡𝗼𝘃𝗲𝗺𝗯𝗲𝗿 𝟭𝟭, 𝟭𝟵𝟵𝟴)
📢 https://bit.ly/3Jjtl3B 🎶


🔶 We can't talk about this tour without mentioning 𝑫𝒂𝒗𝒊𝒅 𝑩𝒐𝒘𝒊𝒆, can we ?

Placebo had the great honour of sharing the stage with their close friend and mentor David Bowie at the Brits Awards and at David Bowie's birthday concert in New York.

A pleasure shared by David himself as we can see at the beginning of the video 🌠 ✨

⭐𝗪𝗶𝘁𝗵𝗼𝘂𝘁 𝗬𝗼𝘂 𝗜'𝗺 𝗡𝗼𝘁𝗵𝗶𝗻𝗴 𝘄𝗶𝘁𝗵 𝗗𝗮𝘃𝗶𝗱 𝗕𝗼𝘄𝗶𝗲 𝗮𝘁 𝗜𝗿𝘃𝗶𝗻𝗴 𝗣𝗹𝗮𝘇𝗮 (𝗠𝗮𝗿𝗰𝗵 𝟯𝟬, 𝟭𝟵𝟵𝟵)
🎥 https://bit.ly/2NSsddj 🎶

Placebo and David Bowie at Brit Awards 1999. Photo credit unknown

⭐𝟮𝟬𝘁𝗵 𝗖𝗲𝗻𝘁𝘂𝗿𝘆 𝗕𝗼𝘆 𝗮𝘁 𝘁𝗵𝗲 𝗕𝗿𝗶𝘁 𝗪𝗮𝗿𝗱𝘀 (𝗙𝗲𝗯𝗿𝘂𝗮𝗿𝘆 𝟭𝟲, 𝟭𝟵𝟵𝟵)
🎥 https://bit.ly/3ORKlzc 🎶


🔶 In the following interview, Placebo presented their highlights and disappointments their encountered during this long tour.

💬 𝟏𝟗𝟗𝟗 𝐬𝐚𝐰 𝐏𝐥𝐚𝐜𝐞𝐛𝐨 𝐝𝐨𝐢𝐧𝐠 𝐚𝐧𝐨𝐭𝐡𝐞𝐫 𝐯𝐚𝐬𝐭 𝐚𝐦𝐨𝐮𝐧𝐭 𝐨𝐟 𝐠𝐢𝐠𝐬 𝐭𝐡𝐫𝐨𝐮𝐠𝐡𝐨𝐮𝐭 𝐭𝐡𝐞 𝐰𝐨𝐫𝐥𝐝. 𝐖𝐡𝐢𝐜𝐡 𝐰𝐚𝐬 𝐭𝐡𝐞 𝐛𝐞𝐬𝐭 ?Brian: I don't remember much of the year !
𝓢𝓽𝓮𝓯𝓪𝓷: Fancy a pint ? (much laughter)
𝓢𝓽𝓮𝓿𝓮: Belgium was pretty good. A lot of them were really good. Australia was good - Sydney, that was a top gig.
𝓢𝓽𝓮𝓯𝓪𝓷: Austria was good.
𝓑𝓻𝓲𝓪𝓷: We also played some great shows in South Africa.


💬 𝐖𝐡𝐚𝐭 𝐚𝐛𝐨𝐮𝐭 𝐋𝐮𝐱𝐞𝐦𝐛𝐨𝐮𝐫𝐠, 𝐡𝐨𝐰 𝐰𝐚𝐬 𝐢𝐭 𝐠𝐨𝐢𝐧𝐠 𝐛𝐚𝐜𝐤 𝐚𝐧𝐝 𝐝𝐢𝐝 𝐲𝐨𝐮 𝐞𝐧𝐣𝐨𝐲 𝐭𝐡𝐞 𝐬𝐡𝐨𝐰 ?
𝓑𝓻𝓲𝓪𝓷: That was tremendous, it was the longest gig ever, 22 tracks.
𝓢𝓽𝓮𝓯𝓪𝓷: The crowd was singing along so loudly I couldn't hear Steve. I had to look at his hands to keep time.
𝓑𝓻𝓲𝓪𝓷: All of our teachers were there too. It's really good being an adult., because you can go back and tell your teachers to f*** off and they laugh.
𝓢𝓽𝓮𝓯𝓪𝓷: Yes, it's a complete role reversal. There was one teacher who took care of the class in the morning, and if you were too late she would send you to the Principal's office. This teacher turned up late, so I got the security guy to throw her out !
𝓑𝓻𝓲𝓪𝓷: You told her she couldn't come into the party ! You also verbally laid into our History teacher who made you writes lines for eating peanuts in class. That was funny.


💬 𝐖𝐡𝐚𝐭 𝐭𝐡𝐞 𝐰𝐨𝐫𝐬𝐭 𝐠𝐢𝐠 𝐨𝐟 𝐭𝐡𝐞 𝐲𝐞𝐚𝐫 ?
𝓑𝓻𝓲𝓪𝓷: A few in Australia were really painful for me. I couldn't swallow and I felt really sick, and I had to try to get through on antibiotics. It was very very uncomfortable.
𝓢𝓽𝓮𝓿𝓮: Yeah, probably the back end of the Australia tour was the hardest. We were all very tired.
𝓑𝓻𝓲𝓪𝓷: The low point was getting ill and tired, breaking bones and going to hospital and having to cancel V99 (see quote after the interview to read brian's statement about this cancellation). Stef breaking his wrist and me losing the feeling in half of my head, because of a cracked vertebrae.

Photo credit: Powerzone / Edit by Laetitia

💬 𝐓𝐡𝐞𝐫𝐞 𝐦𝐮𝐬𝐭 𝐡𝐚𝐯𝐞 𝐛𝐞𝐞𝐧 𝐬𝐨𝐦𝐞 𝐩𝐫𝐞𝐭𝐭𝐲 𝐦𝐞𝐦𝐨𝐫𝐚𝐛𝐥𝐞 𝐚𝐟𝐭𝐞𝐫 𝐬𝐡𝐨𝐰𝐬 𝐚𝐧𝐝 𝐧𝐢𝐠𝐡𝐭𝐬 𝐨𝐮𝐭, 𝐰𝐡𝐢𝐜𝐡 𝐰𝐚𝐬 𝐲𝐨𝐮𝐫 𝐟𝐚𝐯𝐨𝐮𝐫𝐢𝐭𝐞 ?
𝓑𝓻𝓲𝓪𝓷: The oprning of Fabric was terrible. It was shit !
𝓢𝓽𝓮𝓿𝓮: St Kildarein Melbourne was good, and the Brits after show was pretty good too.
𝓢𝓽𝓮𝓯𝓪𝓷: Definitely. Dancing with Annie Lennox at the Eurythmics party, that was a good night.
𝓑𝓻𝓲𝓪𝓷: The usual mess was created at the Brits party definitely. The usual suspects were there and the usual shenanigans went on !
𝓢𝓽𝓮𝓯𝓪𝓷: One of the other best after shows was after the gig at the Irvine Plaza with Bowie in NY. That was a highlight.
𝓑𝓻𝓲𝓪𝓷: That was a mad gig ! Iman was in the audience along with Hazel O'Connor. Tony Visconti as well as Hole and Girls Against Boys. There was definitely a mixture of musicians present. We attract all generations !
[...]


💬 𝐖𝐡𝐨 𝐰𝐚𝐬 𝐭𝐡𝐞 𝐛𝐞𝐬𝐭 𝐛𝐚𝐧𝐝 𝐭𝐡𝐚𝐭 𝐬𝐮𝐩𝐨𝐨𝐫𝐭𝐞𝐝 𝐲𝐨𝐮 ?
𝓑𝓻𝓲𝓪𝓷: : Idlewild. They're a great band.
𝓢𝓽𝓮𝓿𝓮: Nice blokes too.
𝓢𝓽𝓮𝓯𝓪𝓷: Six By Seven were great and Flick, who no-one's probably heard of.
𝓑𝓻𝓲𝓪𝓷: Yeah, Flick they're all very young, about 16 - 20 and sound like T-Rex crossed with Radiohead. They toured America with us. I think they're the only Christian rock band that we like !
[...]


💬 𝐀𝐧𝐝 𝐭𝐡𝐞 𝐛𝐞𝐬𝐭 𝐟𝐞𝐬𝐭𝐢𝐯𝐚𝐥 ?
𝓑𝓻𝓲𝓪𝓷: The Greek festival. It was our first ever gig in Greece, and a headline show which was really cool. There were about 25 000 people really getting into it and as the performance went on it got more and more Spinal Tap. It was a real Spinal Tap rock moment.
𝓢𝓽𝓮𝓿𝓮: yeah, I was topless.
𝓢𝓽𝓮𝓯𝓪𝓷: It was about 90 degrees. That was crazy ! Brian: There were some great festival moments where you'd look over at the side of stage and Michael Stipe would be standing near the monitors.
✅ 𝚂𝚒𝚕𝚟𝚎𝚛 𝚁𝚘𝚌𝚔𝚎𝚝 𝚖𝚊𝚐𝚊𝚣𝚒𝚗𝚎 - 𝙸𝚜𝚜𝚞𝚎 #𝟻 (𝙳𝚎𝚌𝚎𝚖𝚋𝚎𝚛 𝟷𝟿𝟿𝟿 - 𝙼𝚊𝚛𝚌𝚑 𝟸000)

Photo credit: Gie Knaeps / Edit by Laetitia

🔶 As specified above, the performance of the band at the 𝑽99 𝒇𝒆𝒔𝒕𝒊𝒗𝒂𝒍 was cancel as Brian suffered from tonsilitis and here's the statement from Brian:

▪ 𝑃𝑙𝑎𝑐𝑒𝑏𝑜 ℎ𝑎𝑣𝑒 ℎ𝑎𝑑 𝑡𝑜 𝑝𝑢𝑙𝑙 𝑜𝑢𝑡 𝑜𝑓 𝑡ℎ𝑖𝑠 𝑦𝑒𝑎𝑟𝑠 𝑉99 𝑓𝑒𝑠𝑡𝑖𝑣𝑎𝑙 𝑎𝑠 𝐵𝑟𝑖𝑎𝑛 𝑖𝑠 𝑠𝑡𝑖𝑙𝑙 𝑠𝑢𝑓𝑓𝑒𝑟𝑖𝑛𝑔 𝑓𝑟𝑜𝑚 𝑡𝑜𝑛𝑠𝑖𝑙𝑙𝑖𝑡𝑖𝑠.

𝑆𝑖𝑛𝑐𝑒 𝑟𝑒𝑡𝑢𝑟𝑛𝑖𝑛𝑔 𝑡𝑜 𝑡ℎ𝑒 𝑈𝐾, 𝐵𝑟𝑖𝑎𝑛 ℎ𝑎𝑠 𝑏𝑒𝑒𝑛 𝑢𝑛𝑎𝑏𝑙𝑒 𝑡𝑜 𝑔𝑒𝑡 𝑟𝑖𝑑 𝑜𝑓 𝑡ℎ𝑖𝑠 𝑖𝑙𝑙𝑛𝑒𝑠𝑠 𝑎𝑛𝑑 𝑡ℎ𝑒 𝑏𝑎𝑛𝑑 ℎ𝑎𝑣𝑒 𝑟𝑒𝑙𝑢𝑐𝑡𝑎𝑛𝑡𝑙𝑦 ℎ𝑎𝑑 𝑡𝑜 𝑐𝑜𝑛𝑐𝑒𝑑𝑒 𝑑𝑒𝑓𝑒𝑎𝑡 𝑎𝑛𝑑 𝑚𝑖𝑠𝑠 𝑜𝑢𝑡 𝑜𝑛 𝑡ℎ𝑒 𝑓𝑒𝑠𝑡𝑖𝑣𝑎𝑙, 𝑤ℎ𝑖𝑐ℎ 𝑓𝑜𝑟𝑚𝑒𝑑 𝑡ℎ𝑒𝑖𝑟 𝑙𝑎𝑠𝑡 𝑠𝑐ℎ𝑒𝑑𝑢𝑙𝑒𝑑 𝑈𝐾 𝑙𝑖𝑣𝑒 𝑎𝑝𝑝𝑒𝑎𝑟𝑎𝑛𝑐𝑒 𝑜𝑓 1999.

▪ 𝐵𝑟𝑖𝑎𝑛 𝑝𝑟𝑒𝑝𝑎𝑟𝑒𝑑 𝑡ℎ𝑖𝑠 𝑠𝑡𝑎𝑡𝑒𝑚𝑒𝑛𝑡 𝑓𝑜𝑟 𝑡ℎ𝑒 𝑓𝑎𝑛𝑠 :

"𝑰 𝒘𝒐𝒖𝒍𝒅 𝒍𝒊𝒌𝒆 𝒕𝒐 𝒑𝒆𝒓𝒔𝒐𝒏𝒂𝒍𝒍𝒚 𝒂𝒑𝒐𝒍𝒐𝒈𝒊𝒔𝒆 𝒕𝒐 𝒂𝒍𝒍 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 𝒇𝒂𝒏𝒔 𝒘𝒉𝒐 𝒘𝒊𝒍𝒍 𝒃𝒆 𝒂𝒕𝒕𝒆𝒏𝒅𝒊𝒏𝒈 𝑽99. 𝑰 𝒉𝒂𝒗𝒆 𝒄𝒐𝒏𝒕𝒓𝒂𝒄𝒕𝒆𝒅 𝒂 𝒔𝒆𝒗𝒆𝒓𝒆 𝒄𝒂𝒔𝒆 𝒐𝒇 𝒕𝒐𝒏𝒔𝒊𝒍𝒊𝒕𝒔 𝒂𝒏𝒅 𝒊𝒇 𝒕𝒉𝒆𝒓𝒆 𝒘𝒂𝒔 𝒂𝒏𝒚𝒕𝒉𝒊𝒏𝒈 𝒕𝒉𝒂𝒕 𝑰 𝒄𝒐𝒖𝒍𝒅 𝒅𝒐 𝒕𝒐 𝒈𝒆𝒕 𝒎𝒚𝒔𝒆𝒍𝒇 𝒘𝒆𝒍𝒍 𝒂𝒏𝒅 𝒈𝒆𝒕 𝒖𝒑 𝒐𝒏 𝒔𝒕𝒂𝒈𝒆 𝑰 𝒘𝒐𝒖𝒍𝒅. 𝑼𝒏𝒇𝒐𝒓𝒕𝒖𝒏𝒂𝒕𝒆𝒍𝒚, 𝒕𝒉𝒆 𝒈𝒐𝒍𝒇 𝒃𝒂𝒍𝒍𝒔 𝒊𝒏 𝒎𝒚 𝒕𝒉𝒓𝒐𝒂𝒕 𝒂𝒑𝒑𝒆𝒂𝒓 𝒕𝒐 𝒃𝒆 𝒔𝒕𝒓𝒐𝒏𝒈𝒆𝒓 𝒕𝒉𝒂𝒏 𝒎𝒚 𝒓𝒆𝒔𝒐𝒍𝒗𝒆. 𝑰𝒇 𝒊𝒕'𝒔 𝒂𝒏𝒚 𝒄𝒐𝒏𝒔𝒐𝒍𝒂𝒕𝒊𝒐𝒏 𝑰 𝒂𝒎 𝒗𝒆𝒓𝒚 𝒅𝒆𝒑𝒓𝒆𝒔𝒔𝒆𝒅 𝒂𝒃𝒐𝒖𝒕 𝒏𝒐𝒕 𝒃𝒆𝒊𝒏𝒈 𝒂𝒃𝒍𝒆 𝒕𝒐 𝒔𝒆𝒆 𝑱𝒂𝒎𝒆𝒔 𝑩𝒓𝒐𝒘𝒏 𝒇𝒐𝒓 𝒕𝒘𝒐 𝒏𝒊𝒈𝒉𝒕𝒔 𝒊𝒏 𝒂 𝒓𝒐𝒘. 𝑾𝒆 𝒑𝒓𝒐𝒎𝒊𝒔𝒆 𝒔𝒐𝒎𝒆𝒉𝒐𝒘 𝒕𝒐 𝒎𝒂𝒌𝒆 𝒊𝒕 𝒖𝒑 𝒕𝒐 𝒚𝒐𝒖. 𝑩𝒆 𝒔𝒖𝒓𝒆 𝒕𝒐 𝒘𝒓𝒂𝒑 𝒖𝒑 𝒘𝒆𝒍𝒍 𝒂𝒏𝒅 𝒘𝒆𝒂𝒓 𝒂 𝒔𝒄𝒂𝒓𝒇 𝒂𝒕 𝒂𝒍𝒍 𝒕𝒊𝒎𝒆𝒔 -

𝑨𝒍𝒍 𝒎𝒚 𝒍𝒐𝒗𝒆, 𝑩𝒓𝒊𝒂𝒏 𝑴𝒐𝒍𝒌𝒐"
✅ 𝙿𝚕𝚊𝚌𝚎𝚋𝚘𝚠𝚘𝚛𝚕𝚍


🔶 The average 𝒔𝒆𝒕𝒍𝒊𝒔𝒕 was as followed. The intro of each concert was the instrumental 𝑰𝒐𝒏, which is one of the Bsides of the single 𝒀𝒐𝒖 𝑫𝒐𝒏'𝒕 𝑪𝒂𝒓𝒆 𝑨𝒃𝒐𝒖𝒕 𝑼𝒔.

⭐𝗜𝗼𝗻 𝗹𝗶𝘃𝗲 𝗮𝘁 𝗟𝗲 𝗕𝗮𝘁𝗮𝗰𝗹𝗮𝗻 - 𝗣𝗮𝗿𝗶𝘀 (𝗻𝗼𝘃𝗲𝗺𝗯𝗲𝗿 𝟯𝟬, 𝟭𝟵𝟵𝟴)
📢 https://bit.ly/3OOtNrI 🎶

Photo credit: Powerzone / Edit by Laetitia

AVERAGE SETLIST
🎵Ion
🎵Scared of Girls
🎵Brick Shithouse
🎵Allergic (to Thoughts of Mother Earth)
🎵You Don't Care About Us
🎵Bionic
🎵36 Degrees
🎵Without You I'm Nothing
🎵Every You Every Me
🎵Bruise Pristine
🎵Lady of the Flowers
🎵Nancy Boy
🎵Pure Morning
🎵Teenage Angst


🔶 I hope that this will have awakened some old memories for those of you who were lucky enough to attend one of the concerts the band played on this tour ! Perhaps you could share some of your memories or impressions if you feel like it.

It's time to go back in time and listen, watch and enjoy an old live stream 💗 🎶

⭐𝗣𝗹𝗮𝗰𝗲𝗯𝗼 𝗹𝗶𝘃𝗲 𝗮𝘁 𝗟𝗲𝘀 𝗘𝘂𝗿𝗼𝗰𝗸𝗲́𝗲̀𝗻𝗻𝗲𝘀 𝗱𝗲 𝗕𝗲𝗹𝗳𝗼𝗿𝘁 (𝗝𝘂𝗹𝘆 𝟵, 𝟭𝟵𝟵𝟵)
🎥 https://bit.ly/3JkxVPb 🎶

Post by Laetitia