🎉🌹A NEW MILESTONE FOR PLACEBO ANYWAY🌹🎉

With big steps we're making it towards reaching 20.000 fans on Facebook.
Today we hit a new milestone on the way and welcomed our 19.000 follower!
Instagram and Twitter included Placebo Anyway has about 25.000 subscribers now. This is a great success for our team and means a lot to everyone of us.

Photo credit: Mads Perch, edit by Silke

So once again we'd 𝐥𝐢𝐤𝐞 𝐭𝐨 𝐭𝐚𝐤𝐞 the 𝐨𝐩𝐩𝐨𝐫𝐭𝐮𝐧𝐢𝐭𝐲 𝐭𝐨 𝐬𝐚𝐲 𝐚 𝐡𝐞𝐚𝐫𝐭𝐟𝐞𝐥𝐭
💖𝐓𝐇𝐀𝐍𝐊 𝐘𝐎𝐔💖
𝐭𝐨 𝐞𝐯𝐞𝐫𝐲𝐨𝐧𝐞 𝐨𝐟 𝐲𝐨𝐮. 

Thank you all so much for regularly visiting our page, thank you so much for liking and commenting on our posts, thank you so much for all your lovely messages.

In short: Thank you all very much for your great daily support.

Always remember:
WITHOUT YOU WE'RE NOTHING AT ALL!🙏
Your Placebo Anyway Team


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🟥⚫️EXCLUSIVE INTERVIEW WITH MUSIC JOURNALIST MASSIMO COTTO⚫️🟥

Photo credit: Massimo Cotto's Instagram, edit by Emanuela

Dear soulmates, today we are delighted to share with all of you the exclusive interview that the italian journalist Massimo Cotto gave to Placebo Anyway.

Many of us already know him from his interviews with Placebo: the one he did in November 2016 in Milan, just before the concert celebrating Placebo's 20th anniversary, and the more recent one he did in London on the occasion of the release of Never Let Me Go (see our post from April 3rd). But there is much more...

...Massimo Cotto is not only a true institution and one of the most influential voices in italian music journalism: he is an enthusiastic professional, with an extraordinary ability to tell stories, the stories of rock and beyond, passionate and amused about his work, with a humble, genuine and above all self-ironic human side.

By reading his biography, one would think that he has already lived at least five lives...he is an ever-erupting volcano, suffice it to say that he has written 71 books - even though he says he has not read them all - to name just one of the countless activities he is involved in...

Before leaving you to read the interview, here is a 'short' biography to let you know something more about Massimo Cotto (I can assure you that it was very difficult to try to summarise it as much as possible, but I tried my best).

I hope you'll enjoy reading it as much as I enjoyed chatting with him.

I would like to thank Massimo Cotto once again, on behalf of the whole Placebo Anyway Team, for giving us this interview.
With gratitude,
Emanuela


🔷BIOGRAPHY🔷

Massimo Cotto was born in 1962 in Asti, where he still lives.
He was a promising basketball player, until, at the age of 16, he was struck by the voice of a deejay on the radio: the next day he left basketball and introduced himself to the director of a private radio station and began broadcasting, kicking off a career that would see him engaged on several fronts: radio, television, newspapers, books, theatre and artistic direction. He is considered one of the most important Italian music journalists, certainly the one with the highest number of publications as an author.

🔸RADIO: for 20 years he was a disc-jockey, host and then artistic director of Radiorai, later broadcasting for Radio 24 and Radio Capital, and for the last 10 years he has been hosting a morning show on Virgin Radio Italia.

🔸TELEVISION: has been both TV host and TV author (among the most important are the Sanremo Festival and the Virgin Rock Live Special, as well as author for several Italian artists).

🔸JOURNALISM: he was director of Rockstar Magazine and has collaborated with the main Italian and international newspapers (the American Billboard and the German Howl!. Today he writes for Italian newspaper Il Messaggero.

🔸PUBLISHING: he has written more than 70 books, including many official biographies for Italian artists. He has also written "Leonard Cohen: Canzoni da una stanza” (Songs from a Room) and, again on Leonard Cohen, "I Famosi Impermeabili Blu" (The Famous Blue Raincoats), which contains, among other things, nine interviews conducted with the Canadian artist over a period of 25 years. He has translated and commented on the lyrics of Tom Waits (first in Italy), Bruce Springsteen, Bob Marley, Janis Joplin and the Grateful Dead.

He has also written two novels for which he has received literary awards.
Etc, etc, etc...

🔸ARTISTIC DIRECTIONS: Radiorai for 4 years, SanremoLab and Area Sanremo, in addition to numerous festivals scattered throughout Italy like Festival di Castrocaro.

🔸THEATRE: He invented the so-called fireplace theatre, based on the desire to gather around the hot flame in the living room and listen to stories. In 2005 he staged his first play, 'Cry baby, Janis Joplin's last night'. He is currently on tour with the show “Decamerock”, based on his 2020 book by the same name.

He has won many awards. He is also a Knight of the Order of Merit of the Italian Republic.

Photo credit: Massimo Cotto's Instagram

🔷🔸🔷INTERVIEW🔷🔸🔷

Hi Massimo, welcome to Palcebo Anyway.
After so many years as a journalist, have you developed kind of a 'modus operandi', kind of an approach to the artist, a universally valid attitude to take home an interview with which you feel satisfied?
🎤 There are some common elements to all interviews. Preparation, firstly. Re-listening to records and reading a lot of previous interviews, to select which topics to develop and which not to cover. I often read answers given to other journalists and from there I start asking other questions. These are basic things that should be taken for granted. But it isn't so.
I remember a lunch with Mick Jagger's manager in London before I met Mick, who was coming out with a solo album. He kept asking me questions about the record that seemed randomly thrown around, but it was clear he wanted to know if I'd really listened to it.
I laughed and said, 'Do you think I'm going to interview Mick Jagger without having listened to the record?'
He said, 'Most people do, unfortunately.'
But no matter how much you prepare, it's the empathy you create with the artist that counts.


You are, to all intents and purposes, a sort of living 'music encyclopaedia'. Of all the 'close encounters' you have had with the greatest artists in music, which one or ones do you still remember with emotion and participation?
🎤 I have interviewed both David Bowie and Leonard Cohen nine times and they are my best memories.
Bowie in Berlin, London, New York, Rome and Milan. Cohen everywhere, but mostly at his home in Los Angeles.
If there was a mechanism to erase memories, I would ask for these encounters to be put at the bottom of the list.
Everything was perfect, both the outline and their words.


Were there any times when it didn't go as you expected?
🎤 I don't remember interviews that disappointed me. Of course, that time in Munich when Nick Cave threw up on me was not pleasant. He was at the peak of his addiction and he wasn't feeling good. I delude myself that it wasn't a consequence of a question I asked.


What percentage is 'spontaneous' and what percentage is 'planned' in advance in an interview with a musician or a band?
🎤 Let's think of a concert: you can rehearse all the time in the world but, luckily, it will never go exactly as it did when you were rehearsing. You don't know what mood the artist will be in, whether he will be melancholic or cheerful, willing to open up or not.
To give you an example, one of my best interviews was with Elton John in Verona. At one point he opened up, he told me about his odyssey with drugs, he started crying, he said beautiful, touching things. Everyone in the room was moved.
People at the record label were amazed, because they had never seen him like that, so they wanted to buy the interview and publish it worldwide. Yet not long before, I had interviewed Elton John in Oslo, Norway, and he had said normal, almost ordinary things.

Massimo Cotto and Paul McCartney. Photo credit: Massimo Cotto's Instagram

A question I've often asked myself thinking about people like you who, not only in the musical field, make their passion a job.
Have you ever found yourself with sweaty palms or a trembling voice thinking of the artist you were about to interview? Or, as a journalist, have you always managed to maintain a certain emotional detachment,a balance?
🎤 I am always happy and excited when I meet an artist, because the journalist always brings along the fan, the music lover. I live my job as the greatest gift life could give me, from a professional point of view of course.


In some interviews you talked about the moment, the exact event that completely changed your life when you were 17. Would you tell us about it?
🎤 I was 17 years old, I was a promising basketball player.
I was on my way to basket practice when I hear a voice on the radio, talking about things I don't understand: fluttering dresses, glass doors on the veranda slamming.
There are two people: a girl called Mary and a man who invites her into his car. He says that those two lanes can take you anywhere, but that the ride will not be free, he talks about redemption, roads, ghosts and dreams.
I don't understand, but I'm hooked.

Then Bruce Springsteen's 'Thunder Road' -which I'd never heard before- comes on...
'There were ghosts in the eyes
Of all the boys you sent away
They haunt this dusty beach road
In the skeleton frames of burned out Chevrolets'
...and by listening to the lyrics I realise that the speaker had made up a story out of the lyrics.

And then I say to myself 'This is what I want to do: tell stories and talk on the radio'.

Listening to the radio and to radio speakers today (apart from you of course) do you think you could find through words, through a story, the same dazzling inspiration as then?
🎤 Radio world has changed a lot since then. It's hard to relive those moments because the speakers are asked to do something different nowadays. But I'm not nostalgic. Nostalgia is quicksand, one wrong step and you're finished. I look at the past as an elastic band stretched towards tomorrow, otherwise you'll get old quickly.


Music, like other expressions of art, ends up permeating people's lives in every aspect...for you, has it remained confined to your work? Is there something in this sense that you share with your family?
🎤 If you love music, your whole life is music, even when there is no sound. There is music in everything you do. You just have to know how to listen to it.

Massimo Cotto and Alice Cooper. Photo credit: Massimo Cotto's Instagram

You have written many books, which is the one you are most attached to among them? And is there a writer you are inspired by when writing your books?
🎤 Of course I'm attached to all the books I've written, but my absolute favourite is 'Rock Live', because it's my most personal.
I'm not consciously inspired by any writer, but I've learned a lot from Riccardo Bertoncelli and from American writers such as Hemingway, Fitzgerald, Paul Auster, Pat Conroy and especially John Irving.


At the moment, in addition to your daily appointment on Virgin Radio Italia, you are touring a theatre show, 'Decamerock' (from the title of your book published in 2020), in which you talk about cursed and fascinating rock lives, both on stage and even more so behind the scenes, in their lives away from the spotlight. Upcoming projects?
🎤 I have a novel coming out in September. It was a necessity, not a desire to get away. After so many years spent recounting other people's stories (lives), I felt the need to invent. It's a very atypical noir. I consider it a present for my 60th birthday, which I am only on my identity card. Otherwise, I am not yet of legal age.


Of course, I can't help but ask you about Placebo, and I'm very curious about your opinion.
Have you listened to Never Let Me Go? What is your impression about their comeback, about the words and the themes chosen, and about the music as well?
🎤 I love Placebo because Brian Molko is not one to adjust. He has an uncanny ability to play with words and to draw you in. In his songs I always feel urgency to tell, anger and sweetness, the desire to feel part of the world even when you don't like it, the tension between isolation and joy. In this sense, we are mirrored in him and his songs. Regardless of our lives, job, whatever we do, nationality and age, we are all a little bit Brian Molko.


You've said that the words of the artists you've interviewed over the years, don't just remain on the tapes you painstakingly unspooled to write your book 'Rock Is The Answer', to name one, but they often echo in your head and you carry them with you. Are there any Brian's words or statements or lines from their songs that have resonated in your head?
🎤 "Soulmates Never Die". Of course he wasn't referring to love between two people, but to something more universal. He referred to those elective affinities that make us feel glued to someone even though we never met them.


Do you have a funny memory or anecdote related to the interviews you did with Placebo?
🎤 In Milan, in the dressing room at the Assago Forum, I asked him: 'Will you mind if we take a photo together?' He said: 'Yes, I do, but I'm happy to do it anyway'. It has all the Molko I love in it.
Years later, we are in London. I am on the sofa, waiting for my turn to interview him. He drops by for a bite to eat. He greets the press absent-mindedly. He goes up the stairs. Then, after a few steps, he stops, turns around, looks at me, points at me and says: "We have met before, haven't we?".
How he remembered that is really incredible.

Massimo Cotto and Michael Stipe. Photo credit: Massimo Cotto's Instagram

In your book 'Rock Is The Answer' you talked about the fragility of being an artist (Chester Bennington, Kurt Cobain), because of a greater sensitivity and a greater ability to read between the folds of the human soul.
I quote: 'Songs often have the answers, those who compose them do not. Fans worship you like a God, but you're as fragile as all human beings'.
🎤 Is it something you perceive in Placebo too? In Brian Molko in particular?
Brian was brilliant in realising that his frailty couldn't be overcome, but could be wooed and turned into art. To quote Cohen, my and his hero, 'we make ourselves strong through our weaknesses'.


Let's talk about social media. You already know Brian Molko has very precise and unflattering opinions on the subject. You look more friendly, you keep a connection with traditional media but you are always present on Instagram for example, isn't it?
Placebo's Instagram profile was completely emptied last year, and the oldest post currently dates back to 13 September 2021: since then rather 'service' communications and no personal content. Brian recently said that artists are under a lot of pressure from social media and rather than focusing on their art they become content creators for them.
What do you think about? What has the music world lost and gained with the advent of social media? Is there a way for artists to use it in their favour without being crushed by it?
🎤 I don't understand, honestly, the struggle against social media, by anyone, not necessarily Brian. As long as you use social media, as I think I do, without becoming a slave to it, I don't see any problem.
We are also those who follow us. Chiara Ferragni has her audience, I have mine.
What is really important is to be aware that social media are part of the real world, but they are not the real world.
Let's put it this way: social media stand to life as mobile phones at concerts. Taking a photo or video during a concert is fine with me. If you take photos and videos throughout the whole concert, I'm less OK with that.

I remember you said that talent is just the smell of the cake, but not the cake itself. What do you think there is in Placebo besides the talent that made the band so long-lived, but also so alive, so relevant after 26 years?
🎤 Besides what I've already said, I think the real guiding light of Placebo is Brian's unique and unmistakable voice. There is no voice like his in the world music scene.


You have been an author for the Sanremo Festival in several editions. Many of us remember the infamous “San Remo Incident” from 2001:

On 2nd of March Placebo performed “Special K” at the televised awards show Festival di San Remo in Italy, but the show didn't go as planned. To make a long story short, it ended with Brian smashing his guitar, provocating the shocked audience and finally proudly bowing to them before leaving stage. His violent outburst was televised live to 15 million Italian households.

SPECIAL K – SANREMO 2001
https://bit.ly/33yPJSq

But the festival has changed a lot in the last years, I think for example about the participation of Maneskin, much closer to Placebo's style than to the festival's one, and yet they were very successful.

Do you think Placebo from 2001 would be received differently in 2022 by the festival audience? And how do you think 2022's Placebo would deal with the festival and ihants audience?
🎤 That year, in 2001, I was in the stalls, in the front rows. It was great, because the punk spirit in me found nourishment and joy. The Ariston Theatre audience, of course, did not understand, also because most of them had never heard about punk or rock before.
Surely today Brian wouldn't behave like that anymore, for the simple reason that he would never do something in the same way as he has already done before.
Then it made sense: Sanremo Festival was the bourgeoisie opposed to rock. To not be crushed you had to ignore everything and everyone like Springsteen did: he went on stage and left immediately after the performance, or do what Placebo did. Which was kind of like saying, 'Hey, we always remain ourselves, even here in this context'.

THANKS SO MUCH, MASSIMO! 

Original Interview by Emanuela, Placebo Anyway
Transcript and translation by Emanuela


If you want to listen again and review the interviews Massimo Cotto did with Placebo:

Milan, Assago Forum, November 15th 2016:
👉 https://bit.ly/3kufLPm

London, Strongroom Studios, February 2022:
👉https://bit.ly/3jitKYd

Post by Emanuela

#Placebo #PlaceboAnyway #PlaceboWorld #BrianMolko #StefanOlsdal #Molko #Soulmates #PlaceboHistory #PlaceboInterview #PlaceboAnywayInterview #ExclusiveInterview #MassimoCotto #PlaceboAssagoForumInterview #NeverLetMeGo #Placebo8 #Placebo2022 #VirginRadioItalia

✨𝙇𝙀𝙏'𝙎 𝙏𝘼𝙇𝙆 𝘼𝘽𝙊𝙐𝙏 𝙀𝙁𝙁𝙀𝙏𝙏𝙊𝙋𝙇𝘼𝘾𝙀𝘽𝙊✨

✨Dear Soulmates, this evening I'd like to introduce you to 𝗘𝗳𝗳𝗲𝘁𝘁𝗼𝗣𝗹𝗮𝗰𝗲𝗯𝗼, an italian Placebo cover band in activity from 2003 to 2016. ✨
Over those years the band played hundreds live shows in Italy, Europe and Asia with great success, and in 2004 they even had the opportunity to personally get in touch with Placebo themselves, who on that occasion appointed 𝗘𝗳𝗳𝗲𝘁𝘁𝗼𝗣𝗹𝗮𝗰𝗲𝗯𝗼 𝗼𝗻𝗹𝘆 𝗼𝗳𝗳𝗶𝗰𝗶𝗮𝗹 𝗶𝗻𝘁𝗲𝗿𝗻𝗮𝘁𝗶𝗼𝗻𝗮𝗹 𝘁𝗿𝗶𝗯𝘂𝘁𝗲 𝗯𝗮𝗻𝗱.

Photo credit: Trip Fontaine (top); EffettoPlacebo / edit by Silke

I would say the guys do have something to be proud of, don't you think?🤩 So, let's read together an intense biography of the band:

🅱🅸🅾🅶🆁🅰🅿🅷🆈
EffettoPlacebo started their career on December 20th 2003, playing in Prato (Tuscany, Italy) at the presentation of Placebo’s biography, published by Arcana.
From that moment onwards, an endless tour took the band playing in the best Italian live clubs for the following 5 years.

On March 20th and 21st 2004, EffettoPlacebo organizes together with PlaceboItalia, the first “Placeboitaliaweekend”, a two-days event with an evening live show and a fans meeting the following day in Florence auditorium.
October 2004 sees the most important week in their career: on the 23rd, the band presents the brand new single “20years” by Placebo; on the 24th they’re invited as guests at 𝗠𝗧𝗩 𝗦𝘂𝗽𝗲𝗿𝘀𝗼𝗻𝗶𝗰 for the “real” Placebo’s performance, and on the 25th during MTV show TRL -Total Request Live- 𝘁𝗵𝗲𝘆 𝗺𝗲𝗲𝘁 𝗣𝗹𝗮𝗰𝗲𝗯𝗼 𝗮𝗻𝗱 𝗮𝗿𝗲 𝗼𝗳𝗳𝗶𝗰𝗶𝗮𝗹𝗹𝘆 𝗿𝗲𝗰𝗼𝗴𝗻𝗶𝘇𝗲𝗱 𝗯𝘆 𝗕𝗿𝗶𝗮𝗻 𝗠𝗼𝗹𝗸𝗼 & 𝗰𝗼. 𝗮𝘀 𝘁𝗵𝗲 𝗼𝗻𝗹𝘆 𝗮𝘂𝘁𝗵𝗼𝗿𝗶𝘇𝗲𝗱 𝗣𝗹𝗮𝗰𝗲𝗯𝗼 𝘁𝗿𝗶𝗯𝘂𝘁𝗲 𝗯𝗮𝗻𝗱.

On March 16th 2006, in cooperation with Radiorock and Virgin Italia, the band is in charge of launching the preview of “Meds” album for Italy during an unforgettable show at Qube club in Rome, where they hand out gadgets and CD singles on behalf of Placebo, as a gift to their fans.
On October 9th 2006, the band is back on show in Milan at the Transilvania and they perform at the Mazda Palace just after the Placebo’s gig, in a new fans meeting, which will never be forgotten.
The band cooperate with the major Italian, French and South American websites regarding Placebo.

In December 2007 and May 2008 EffettoPlacebo leave Italy to go on tour abroad, especially in Turkey where they get a huge success, sold-out gigs and lots of interviews for MTV Turkey as most requested tribute band of the year, thus creating a twinning between the Italian and the Turkish fans communities.
In 2010 and 2011 the band leaves for the 𝗡𝗮𝗻𝗰𝘆𝗯𝗼𝘆 𝗧𝗼𝘂𝗿, 𝗮 𝘀𝗵𝗼𝘄 𝘄𝗵𝗶𝗰𝗵 𝗴𝗼𝗲𝘀 𝗯𝗮𝗰𝗸 𝘁𝗼 𝘁𝗵𝗲 𝘃𝗲𝗿𝘆 𝗿𝗼𝗼𝘁𝘀 𝗼𝗳 𝗣𝗹𝗮𝗰𝗲𝗯𝗼 𝗮𝗻𝗱 𝘄𝗵𝗶𝗰𝗵 𝗿𝗲𝗮𝗰𝗵𝗲𝘀 𝟱 𝗰𝗼𝘂𝗻𝘁𝗿𝗶𝗲𝘀 𝗯𝗲𝘁𝘄𝗲𝗲𝗻 𝗘𝘂𝗿𝗼𝗽𝗲 𝗮𝗻𝗱 𝗔𝘀𝗶𝗮: Italy, Turkey, Cyprus, Holland and Belgium.
✨✨✨✨✨
Since we know more about this cover band, I want to share with you their latest production of 2016, released as a tribute to Placebo 20th anniversary:
🎬 EFFETTOPLACEBO – RUNNING UP THAT HILL
🎼https://bit.ly/3gFH0o6 🎼

Photo credit: EffettoPlacebo

🆃🅷🅴 🅱🅰🅽🅳 🅼🅴🅼🅱🅴🆁🆂
Several members took turns in the band from 2003 to 2012, but the two core members of EffettoPlacebo are:
𝗞𝗜𝗞𝗜 – 𝗟𝗘𝗔𝗗 𝗦𝗜𝗡𝗚𝗘𝗥 𝗔𝗡𝗗 𝗚𝗨𝗜𝗧𝗔𝗥
Simone Baldassin, aka Kiki, was born in Treviso. He started his song-writer career in 1995 and over the years learned to play bass guitar, acoustic guitar, synth and electronic guitar. He set up Alternathiva, an electronic music band that disbanded in 2003 when Kiki became a singer and founded EffettoPlacebo.
As side projects, he first set up the indie band Seven- with which he released two albums- and then the Killtherabbit - with which he released one debut album.
Furthermore Kiki is both the creator and the manager of the 𝗼𝗳𝗳𝗶𝗰𝗶𝗮𝗹 𝗶𝘁𝗮𝗹𝗶𝗮𝗻 𝗣𝗹𝗮𝗰𝗲𝗯𝗼'𝘀 𝘄𝗲𝗯𝘀𝗶𝘁𝗲 𝗽𝗹𝗮𝗰𝗲𝗯𝗼𝘄𝗼𝗿𝗹𝗱𝗶𝘁𝗮𝗹𝗶𝗮.𝗰𝗼𝗺, 𝗮𝘀 𝘄𝗲𝗹𝗹 𝗮𝘀 𝗼𝗻𝗲 𝗼𝗳 𝘁𝗵𝗲 𝗺𝗮𝗻𝗮𝗴𝗲𝗿𝘀 𝗼𝗳 𝗣𝗹𝗮𝗰𝗲𝗯𝗼 𝗜𝘁𝗮𝗹𝗶𝗮 𝗙𝗕 𝗰𝗼𝗺𝗺𝘂𝗻𝗶𝘁𝘆.


𝗭𝗜𝗢𝗔𝗟𝗘 – 𝗕𝗔𝗦𝗦 𝗔𝗡𝗗 𝗕𝗔𝗖𝗞𝗚𝗥𝗢𝗨𝗡𝗗 𝗩𝗢𝗖𝗔𝗟
Alessandro “ZioAle” Pisu was born in Treviso. He learned to play bass by himself, and together with Federico Roncato, (former drummer of EffettoPlacebo) he set up Valium, a Nirvana cover band.
He joined EffettoPlacebo in 2004, and toured several countries with the band such as Cyprus, Turkey, Holland, Belgium and, of course, Italy.

Photo credit: EffettoPlacebo

EffettoPlacebo stopped their activity as Tribute band in 2012: after 10 years playing Placebo songs across Italy and Europe, they took a long break to dedicate to their own projects.
The band has never officially dissolved, they just decided not to perform more live shows.
From time to time they produce some studio recordings as "Running up that hill" for Placebo20's birthday and they do not exclude- sooner or later- to come back to play live. So, maybe we'll be able to see them playing live again from March 25th on 🤩🤩.


I'd like to share with you what the singer, Kiki, shared on FB last November 11th 2021: an heartfelt and nostalgic memory thinking back to some years ago when touring throughout Europe with the band:

“𝘐 𝘩𝘢𝘥 𝘵𝘩𝘦 𝘱𝘳𝘪𝘷𝘪𝘭𝘦𝘨𝘦 𝘰𝘧 𝘱𝘭𝘢𝘺𝘪𝘯𝘨 𝘰𝘯 𝘴𝘰𝘮𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘮𝘰𝘴𝘵 𝘢𝘮𝘢𝘻𝘪𝘯𝘨 𝘴𝘵𝘢𝘨𝘦𝘴 𝘪𝘯 𝘣𝘰𝘵𝘩 𝘌𝘶𝘳𝘰𝘱𝘦 𝘢𝘯𝘥 𝘈𝘴𝘪𝘢, 𝘣𝘶𝘵 𝘸𝘩𝘦𝘯 𝘐'𝘮 𝘢𝘴𝘬𝘦𝘥 𝘸𝘩𝘢𝘵 𝘸𝘢𝘴 𝘵𝘩𝘦 𝘮𝘰𝘴𝘵 𝘦𝘹𝘤𝘪𝘵𝘪𝘯𝘨 𝘴𝘩𝘰𝘸 𝘐 𝘳𝘦𝘮𝘦𝘮𝘣𝘦𝘳, 𝘐 𝘤𝘢𝘯'𝘵 𝘩𝘦𝘭𝘱 𝘵𝘩𝘪𝘯𝘬𝘪𝘯𝘨 𝘢𝘣𝘰𝘶𝘵 𝘔𝘢𝘺 31𝘴𝘵 2008 𝘸𝘩𝘦𝘯 𝘱𝘭𝘢𝘺𝘪𝘯𝘨 𝘢𝘵 𝘵𝘩𝘦 𝘐𝘯𝘴𝘵𝘢𝘯𝘣𝘶𝘭 𝘚𝘵𝘶𝘥𝘪𝘰 𝘓𝘪𝘷𝘦.
𝘞𝘦 𝘸𝘦𝘳𝘦 𝘪𝘯 𝘛𝘶𝘳𝘬𝘦𝘺 𝘧𝘰𝘳 5 𝘥𝘢𝘺𝘴, 𝘸𝘦 𝘩𝘢𝘥 𝘱𝘭𝘢𝘺𝘦𝘥 𝘪𝘯 𝘢 𝘥𝘪𝘧𝘧𝘦𝘳𝘦𝘯𝘵 𝘤𝘪𝘵𝘺 𝘦𝘷𝘦𝘳𝘺 𝘯𝘪𝘨𝘩𝘵, 𝘤𝘰𝘷𝘦𝘳𝘪𝘯𝘨 500/600 𝘬𝘮 𝘱𝘦𝘳 𝘥𝘢𝘺 𝘪𝘯 𝘢 𝘵𝘰𝘶𝘳 𝘣𝘶𝘴.
𝘐 𝘩𝘢𝘥 𝘭𝘰𝘴𝘵 𝘮𝘺 𝘷𝘰𝘪𝘤𝘦 𝘢𝘭𝘰𝘯𝘨 𝘸𝘪𝘵𝘩 4 𝘱𝘢𝘤𝘬𝘴 𝘰𝘧 𝘤𝘪𝘨𝘢𝘳𝘦𝘵𝘵𝘦𝘴 𝘢𝘯𝘥 𝘴𝘦𝘷𝘦𝘳𝘢𝘭 𝘭𝘪𝘵𝘦𝘳𝘴 𝘰𝘧 𝘢𝘭𝘤𝘰𝘩𝘰𝘭 𝘪𝘯 𝘱𝘳𝘦𝘷𝘰𝘪𝘶𝘴 𝘥𝘢𝘺𝘴.
𝘗𝘦𝘰𝘱𝘭𝘦 𝘵𝘩𝘪𝘯𝘬 𝘪𝘵'𝘴 𝘢𝘭𝘭 𝘧𝘶𝘯, 𝘣𝘶𝘵 𝘪𝘵 𝘵𝘢𝘬𝘦𝘴 𝘢 𝘷𝘦𝘳𝘺 𝘴𝘵𝘳𝘰𝘯𝘨 𝘣𝘰𝘥𝘺 𝘪𝘧 𝘺𝘰𝘶 𝘩𝘢𝘷𝘦 𝘵𝘰 𝘴𝘪𝘯𝘨 𝘧𝘰𝘳 𝘢𝘯 𝘩𝘰𝘶𝘳 𝘢𝘯𝘥 𝘧𝘰𝘳𝘵𝘺 𝘮𝘪𝘯𝘶𝘵𝘦𝘴 𝘦𝘷𝘦𝘳𝘺 𝘯𝘪𝘨𝘩𝘵 (…).
𝘞𝘦 𝘨𝘰𝘵 𝘵𝘰 𝘵𝘩𝘦 𝘚𝘵𝘶𝘥𝘪𝘰 𝘓𝘪𝘷𝘦 𝘢𝘵 6 𝘱𝘮, 𝘸𝘦 𝘸𝘦𝘳𝘦 𝘦𝘹𝘩𝘢𝘶𝘴𝘵𝘦𝘥, 𝘣𝘶𝘵 𝘵𝘩𝘦 𝘰𝘯𝘭𝘺 𝘵𝘩𝘪𝘯𝘨 𝘵𝘩𝘢𝘵 𝘮𝘢𝘵𝘵𝘦𝘳𝘦𝘥 𝘸𝘢𝘴 𝘵𝘰 𝘨𝘪𝘷𝘦 𝘵𝘰 𝘵𝘩𝘦 𝘢𝘶𝘥𝘪𝘦𝘯𝘤𝘦 𝘵𝘩𝘦 𝘣𝘦𝘴𝘵 𝘴𝘩𝘰𝘸 𝘸𝘦 𝘤𝘰𝘶𝘭𝘥. 𝘛𝘩𝘪𝘴 𝘪𝘴 𝘸𝘩𝘢𝘵 𝘸𝘦 𝘥𝘪𝘥, 𝘢𝘯𝘥 𝘵𝘩𝘪𝘴 𝘪𝘴 𝘸𝘩𝘢𝘵 𝘵𝘩𝘦 𝘱𝘦𝘰𝘱𝘭𝘦 𝘸𝘩𝘰 𝘸𝘦𝘳𝘦 𝘪𝘯 𝘭𝘪𝘯𝘦 𝘵𝘰 𝘦𝘯𝘵𝘦𝘳 𝘧𝘳𝘰𝘮 6.30 𝘱𝘮 𝘥𝘦𝘴𝘦𝘳𝘷𝘦𝘥.
𝘞𝘦 𝘸𝘦𝘯𝘵 𝘶𝘱 𝘰𝘯 𝘵𝘩𝘦 𝘴𝘵𝘢𝘨𝘦 𝘢𝘵 1.30 𝘢𝘮 𝘰𝘧 𝘵𝘩𝘦 𝘧𝘰𝘭𝘭𝘰𝘸𝘪𝘯𝘨 𝘥𝘢𝘺, 𝘢𝘧𝘵𝘦𝘳 𝘥𝘫 𝘴𝘦𝘵, 𝘵𝘩𝘦 𝘱𝘭𝘢𝘤𝘦 𝘸𝘢𝘴 𝘱𝘢𝘤𝘬𝘦𝘥 𝘢𝘯𝘥 𝘪𝘵 𝘸𝘢𝘴 𝘢 𝘴𝘱𝘦𝘤𝘵𝘢𝘤𝘶𝘭𝘢𝘳 𝘯𝘪𝘨𝘩𝘵.
𝘐 𝘢𝘮 𝘯𝘰𝘵 𝘴𝘶𝘳𝘦 𝘦𝘷𝘦𝘳𝘺𝘰𝘯𝘦 𝘤𝘢𝘯 𝘶𝘯𝘥𝘦𝘳𝘴𝘵𝘢𝘯𝘥 𝘸𝘩𝘢𝘵 𝘪𝘵 𝘮𝘦𝘢𝘯𝘴 𝘵𝘰 𝘣𝘦 𝘪𝘵𝘢𝘭𝘪𝘢𝘯 𝘢𝘣𝘳𝘰𝘢𝘥 𝘸𝘪𝘵𝘩 𝘺𝘰𝘶𝘳 𝘵𝘩𝘳𝘦𝘦 𝘮𝘢𝘵𝘦𝘴 𝘢𝘯𝘥 𝘮𝘢𝘬𝘦 𝘴𝘰𝘭𝘥 𝘰𝘶𝘵 𝘨𝘪𝘨𝘴 3500 𝘬𝘮 𝘧𝘢𝘳 𝘧𝘳𝘰𝘮 𝘺𝘰𝘶𝘳 𝘩𝘰𝘮𝘦, 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦 𝘢𝘶𝘥𝘪𝘦𝘯𝘤𝘦 𝘴𝘪𝘯𝘨𝘪𝘯𝘨 𝘦𝘷𝘦𝘳𝘺 𝘴𝘪𝘯𝘨𝘭𝘦 𝘸𝘰𝘳𝘥 𝘰𝘧 𝘦𝘢𝘤𝘩 𝘴𝘰𝘯𝘨.
𝘈𝘯𝘥 𝘺𝘰𝘶 𝘤𝘢𝘯 𝘥𝘰 𝘵𝘩𝘪𝘴 𝘣𝘦𝘤𝘢𝘶𝘴𝘦 𝘺𝘰𝘶 𝘩𝘢𝘷𝘦 𝘳𝘰𝘤𝘬'𝘯'𝘳𝘰𝘭𝘭 𝘪𝘯 𝘺𝘰𝘶𝘳 𝘣𝘭𝘰𝘰𝘥, 𝘯𝘰 𝘮𝘢𝘵𝘵𝘦𝘳 𝘩𝘰𝘸 𝘵𝘪𝘳𝘦𝘥 𝘺𝘰𝘶 𝘢𝘳𝘦, 𝘪𝘵 𝘥𝘰𝘦𝘴𝘯'𝘵 𝘮𝘢𝘵𝘵𝘦𝘳 𝘢𝘯𝘺𝘮𝘰𝘳𝘦 𝘸𝘩𝘦𝘯 𝘺𝘰𝘶 𝘵𝘶𝘳𝘯 𝘰𝘯 𝘵𝘩𝘦 𝘢𝘮𝘱𝘭𝘪𝘧𝘪𝘦𝘳 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘣𝘢𝘴𝘦 𝘴𝘵𝘢𝘳𝘵𝘴. 𝘍𝘢𝘵𝘪𝘨𝘶𝘦, 𝘴𝘵𝘳𝘦𝘴𝘴 𝘰𝘳 𝘫𝘦𝘵𝘭𝘢𝘨 𝘤𝘰𝘶𝘯𝘵 𝘧𝘰𝘳 𝘯𝘰𝘵𝘩𝘪𝘯𝘨, 𝘨𝘪𝘷𝘦 𝘪𝘵 𝘺𝘰𝘶𝘳 𝘢𝘭𝘭 𝘢𝘯𝘥 𝘣𝘳𝘪𝘯𝘨 𝘩𝘰𝘮𝘦 𝘦𝘯𝘤𝘰𝘳𝘦𝘴 𝘢𝘯𝘥 𝘢𝘱𝘱𝘭𝘢𝘶𝘴𝘦𝘴 𝘪𝘴 𝘢𝘭𝘭 𝘵𝘩𝘢𝘵 𝘺𝘰𝘶 𝘸𝘢𝘯𝘵, 𝘢𝘯𝘥 𝘺𝘰𝘶 𝘬𝘯𝘰𝘸 𝘺𝘰𝘶 𝘥𝘰𝘯'𝘵 𝘥𝘰 𝘪𝘵 𝘣𝘦𝘤𝘢𝘶𝘴𝘦 𝘺𝘰𝘶 𝘢𝘳𝘦 𝘢𝘴𝘬𝘦𝘥 𝘣𝘶𝘵 𝘣𝘦𝘤𝘢𝘶𝘴𝘦 𝘪𝘵 𝘪𝘴 𝘵𝘩𝘦 𝘸𝘢𝘺 𝘺𝘰𝘶 𝘢𝘳𝘦”.
𝘔𝘦𝘮𝘰𝘳𝘪𝘦𝘴 𝘰𝘧 𝘢 𝘮𝘪𝘯𝘴𝘵𝘳𝘦𝘭
(Translation by Emanuela)

Photo credit: EffettoPlacebo

⭐️⭐️⭐️⭐️
Here you can enjoy the cover version of “I KNOW” recorded at Studio Live, Instanbul on the 31st of May 2008:
🎬 EFFETTOPLACEBO – I KNOW
🎼https://bit.ly/3Jmggp9🎼

Reading these statements I thought of Brian's quotes about artists' nomadic way of life when on tour: as fans, we experience only the joyful aspects, the positive emotions, the “collective euphoria” using Brian's words, but for artists it is undoubtely true that “pleasure comes with a price” both physically and mentally and at times it can be really exhausting and disorienting. Anyway this is the price that artists are willing to pay to live with their passions, and we are grateful for that.

We'll come back and gather again!
Take care of each other,

To know more about EffettoPlacebo:
http://www.effettoplacebo.net/
https://www.facebook.com/effettoplaceboband
https://bit.ly/3rL1NNy
http://www.placeboworlditalia.com/

Post by Emanuela

✨𝗜𝗡𝗧𝗘𝗥𝗩𝗜𝗘𝗪 𝗪𝗜𝗧𝗛 𝗦𝗧𝗘𝗙𝗔𝗡 𝗢𝗟𝗦𝗗𝗔𝗟 (𝗦𝗢𝗣𝗜𝗧𝗔𝗦.𝗖𝗢𝗠 𝟮𝟬𝟭𝟳)✨

💫⭐ "𝐀 𝐌𝐔𝐒𝐈𝐂𝐈𝐀𝐍 𝐍𝐄𝐕𝐄𝐑 𝐑𝐄𝐓𝐈𝐑𝐄𝐒, 𝐓𝐇𝐄𝐑𝐄 𝐈𝐒 𝐒𝐓𝐈𝐋𝐋 𝐌𝐎𝐑𝐄 𝐏𝐋𝐀𝐂𝐄𝐁𝐎":
𝐒𝐓𝐄𝐅𝐀𝐍 𝐎𝐋𝐒𝐃𝐀𝐋 ⭐💫

It always comes good to read an interview of our dear 𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍 and for this afternoon I have translated for you a great interview he did in 𝑴𝒆𝒙𝒊𝒄𝒐 𝑪𝒊𝒕𝒚 in the spring of 𝟐𝟎𝟏𝟕, in which is so far, the last time 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 visited 𝑴𝒆𝒙𝒊𝒄𝒐 - we look forward to his return! 💖. I love 𝑺𝒕𝒆𝒇𝒂𝒏's answers here, I feel he was very honest, humble and caring. I hope you like it a lot too soulmates. 😊

 Photo Credit: Fresale / Pepsi Center WTC (2) / Edit by Rita

⭐ 𝐀𝐩𝐫𝐢𝐥 𝟒, 𝟐𝟎𝟏𝟕 ✨

𝘔𝘰𝘯𝘥𝘢𝘺. 𝘛𝘩𝘢𝘵 𝘥𝘢𝘺 𝘵𝘩𝘢𝘵 𝘢𝘭𝘭 𝘰𝘧𝘧𝘪𝘤𝘦 𝘸𝘰𝘳𝘬𝘦𝘳𝘴 𝘩𝘢𝘵𝘦 𝘢𝘯𝘥 𝘵𝘩𝘢𝘵 𝘪𝘴 𝘭𝘪𝘷𝘦𝘥 𝘧𝘳𝘢𝘯𝘵𝘪𝘤𝘢𝘭𝘭𝘺 𝘪𝘯 𝘵𝘩𝘦 𝘱𝘢𝘳𝘵𝘴 𝘰𝘧 𝘵𝘩𝘦 𝘤𝘪𝘵𝘺 𝘸𝘩𝘦𝘳𝘦 𝘰𝘧𝘧𝘪𝘤𝘦𝘴 𝘢𝘯𝘥 𝘸𝘰𝘳𝘬𝘱𝘭𝘢𝘤𝘦𝘴 𝘢𝘣𝘰𝘶𝘯𝘥. 𝘐𝘯 𝘵𝘩𝘦 𝘢𝘳𝘦𝘢 𝘯𝘦𝘢𝘳 𝘵𝘩𝘦 𝐖𝐓𝐂 (*𝑾𝒐𝒓𝒍𝒅 𝑻𝒓𝒂𝒅𝒆 𝑪𝒆𝒏𝒕𝒆𝒓) 𝘪𝘵 𝘴𝘦𝘦𝘮𝘴 𝘢 𝘤𝘩𝘢𝘰𝘵𝘪𝘤 𝘢𝘧𝘵𝘦𝘳𝘯𝘰𝘰𝘯 𝘭𝘪𝘬𝘦 𝘵𝘩𝘦 𝘰𝘯𝘦𝘴 𝘸𝘦 𝘢𝘳𝘦 𝘶𝘴𝘦𝘥 𝘵𝘰 𝘪𝘯 𝘵𝘩𝘦 𝐂𝐃𝐌𝐗: 𝘵𝘩𝘦 𝘴𝘶𝘯 𝘪𝘴 𝘣𝘭𝘢𝘻𝘪𝘯𝘨, 𝘵𝘳𝘢𝘧𝘧𝘪𝘤, 𝘵𝘩𝘦 𝘮𝘦𝘵𝘳𝘰𝘣𝘶𝘴 𝘪𝘴 𝘧𝘶𝘭𝘭 𝘢𝘯𝘥 𝘱𝘦𝘰𝘱𝘭𝘦 𝘢𝘳𝘦 𝘳𝘶𝘴𝘩𝘪𝘯𝘨 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘵𝘩𝘦 𝘴𝘵𝘳𝘦𝘦𝘵𝘴. 𝘖𝘩, 𝘢𝘯𝘥 𝘪𝘵'𝘴 𝘢𝘭𝘴𝘰 𝘤𝘰𝘯𝘤𝘦𝘳𝘵 𝘥𝘢𝘺.

𝘞𝘩𝘪𝘭𝘦 𝘮𝘢𝘯𝘺 𝘢𝘳𝘦 𝘢𝘭𝘳𝘦𝘢𝘥𝘺 𝘦𝘯𝘵𝘦𝘳𝘪𝘯𝘨 𝘵𝘩𝘦 𝑷𝒆𝒑𝒔𝒊 𝑪𝒆𝒏𝒕𝒆𝒓 𝐖𝐓𝐂 𝘵𝘰 𝘴𝘦𝘦 𝑷𝒍𝒂𝒄𝒆𝒃𝒐, 𝘸𝘦 𝘦𝘯𝘵𝘦𝘳 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘵𝘩𝘦 𝘱𝘢𝘳𝘬𝘪𝘯𝘨 𝘭𝘰𝘵. 𝘞𝘦 𝘸𝘢𝘭𝘬 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘮𝘢𝘯𝘺 𝘥𝘢𝘳𝘬 𝘤𝘰𝘳𝘳𝘪𝘥𝘰𝘳𝘴, 𝘸𝘦 𝘱𝘢𝘴𝘴 𝘴𝘦𝘷𝘦𝘳𝘢𝘭 𝘮𝘦𝘮𝘣𝘦𝘳𝘴 𝘰𝘧 𝘵𝘩𝘦 𝘴𝘦𝘤𝘶𝘳𝘪𝘵𝘺 𝘴𝘵𝘢𝘧𝘧, 𝘶𝘯𝘵𝘪𝘭 𝘢 𝘥𝘰𝘰𝘳 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦 𝘸𝘰𝘳𝘥 𝐏𝐋𝐀𝐂𝐄𝐁𝐎 𝘰𝘯 𝘪𝘵 𝘪𝘯𝘥𝘪𝘤𝘢𝘵𝘦𝘴 𝘵𝘩𝘢𝘵 𝘸𝘦 𝘩𝘢𝘷𝘦 𝘢𝘳𝘳𝘪𝘷𝘦𝘥 𝘢𝘵 𝘵𝘩𝘦 𝘱𝘭𝘢𝘤𝘦 𝘰𝘧 𝘰𝘶𝘳 𝘥𝘢𝘵𝘦 𝘸𝘪𝘵𝘩 𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍, 𝘣𝘢𝘴𝘴𝘪𝘴𝘵 𝘰𝘧 𝘵𝘩𝘦 𝘣𝘢𝘯𝘥 𝘵𝘩𝘢𝘵 𝘧𝘰𝘳 𝘮𝘰𝘳𝘦 𝘵𝘩𝘢𝘯 20 𝘺𝘦𝘢𝘳𝘴 𝘩𝘦 𝘴𝘩𝘢𝘳𝘦𝘴 𝘸𝘪𝘵𝘩 𝑩𝒓𝒊𝒂𝒏 𝑴𝒐𝒍𝒌𝒐.

𝘞𝘦 𝘢𝘳𝘦 𝘴𝘶𝘳𝘱𝘳𝘪𝘴𝘦𝘥 𝘣𝘺 𝘩𝘪𝘴 𝘴𝘵𝘢𝘵𝘶𝘳𝘦, 𝘣𝘶𝘵 𝘢𝘭𝘴𝘰 𝘣𝘺 𝘩𝘪𝘴 𝘬𝘪𝘯𝘥𝘯𝘦𝘴𝘴 𝘢𝘯𝘥 𝘪𝘯𝘵𝘦𝘳𝘦𝘴𝘵, 𝘢𝘴 𝘸𝘦𝘭𝘭 𝘢𝘴 𝘩𝘪𝘴 𝘨𝘳𝘦𝘢𝘵 𝘤𝘰𝘮𝘮𝘢𝘯𝘥 𝘰𝘧 𝘚𝘱𝘢𝘯𝘪𝘴𝘩. 𝘞𝘦 𝘨𝘰 𝘪𝘯𝘵𝘰 𝘢 𝘳𝘰𝘰𝘮 𝘯𝘦𝘹𝘵 𝘵𝘰 𝘩𝘪𝘴 𝘥𝘳𝘦𝘴𝘴𝘪𝘯𝘨 𝘳𝘰𝘰𝘮, 𝘮𝘢𝘬𝘦 𝘰𝘶𝘳𝘴𝘦𝘭𝘷𝘦𝘴 𝘤𝘰𝘮𝘧𝘰𝘳𝘵𝘢𝘣𝘭𝘦 𝘪𝘯 𝘢 𝘤𝘰𝘶𝘱𝘭𝘦 𝘰𝘧 𝘢𝘳𝘮𝘤𝘩𝘢𝘪𝘳𝘴 𝘢𝘯𝘥 𝘴𝘵𝘢𝘳𝘵 𝘵𝘢𝘭𝘬𝘪𝘯𝘨.

Photo credit: Fresale

💫 𝑳𝒐𝒐𝒌𝒊𝒏𝒈 𝒃𝒂𝒄𝒌 𝒂𝒕 𝒕𝒉𝒊𝒔 𝒕𝒐𝒖𝒓 𝒚𝒐𝒖 𝒉𝒂𝒅 𝒊𝒏 𝑴𝒆𝒙𝒊𝒄𝒐, 𝒘𝒉𝒂𝒕 𝒅𝒊𝒅 𝒚𝒐𝒖 𝒍𝒊𝒌𝒆 𝒕𝒉𝒆 𝒎𝒐𝒔𝒕 𝒂𝒃𝒐𝒖𝒕 𝒂𝒍𝒍 𝒕𝒉𝒆𝒔𝒆 𝒄𝒐𝒏𝒄𝒆𝒓𝒕𝒔? 𝑫𝒐 𝒚𝒐𝒖 𝒇𝒆𝒆𝒍 𝒂𝒕 𝒉𝒐𝒎𝒆?
🎤𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍: I really like this country and playing here. We have always had a very generous audience, which gives us a lot of energy, a lot of love, and no fuss. There is a very quiet atmosphere and excitement at the same time. Now we have spent almost three weeks here, I would like to spend much more time here, we have been lucky to spend more time because we tour all over the world, and the truth is that we have a great time in Mexico.


💗 𝐁𝐫𝐢𝐚𝐧 𝐌𝐨𝐥𝐤𝐨 𝐚𝐧𝐝 𝐒𝐭𝐞𝐟𝐚𝐧 𝐎𝐥𝐬𝐝𝐚𝐥 𝐭𝐨𝐮𝐜𝐡𝐞𝐝 𝐛𝐲 𝐭𝐡𝐞 𝐚𝐟𝐟𝐞𝐜𝐭𝐢𝐨𝐧 𝐨𝐟 𝐭𝐡𝐞𝐢𝐫 𝐌𝐞𝐱𝐢𝐜𝐚𝐧 𝐟𝐚𝐧𝐬 - 𝐌𝐚𝐫𝐜𝐡 𝟐𝟎𝟏𝟕 💕
https://bit.ly/3fZso2D


💫 𝒀𝒐𝒖 𝒉𝒂𝒗𝒆 𝒄𝒆𝒍𝒆𝒃𝒓𝒂𝒕𝒆𝒅 𝒕𝒉𝒆𝒔𝒆 𝟐𝟎 𝒚𝒆𝒂𝒓𝒔 𝒊𝒏 𝒂 𝒃𝒊𝒈 𝒘𝒂𝒚, 𝒕𝒉𝒆 𝒕𝒐𝒖𝒓, 𝒂𝒏 𝑬𝑷, 𝒅𝒐 𝒚𝒐𝒖 𝒉𝒂𝒗𝒆 𝒑𝒍𝒂𝒏𝒔 𝒕𝒐 𝒓𝒆𝒍𝒆𝒂𝒔𝒆 𝒂 𝒏𝒆𝒘 𝒂𝒍𝒃𝒖𝒎 𝒂𝒔 𝒘𝒆𝒍𝒍?
🎤𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍: With this anniversary we released a couple of new songs, but we are doing this retrospective tour, and it's like a moment to be thankful for what Placebo has done and is today. We're still touring, I don't know what's going to happen after that, but we're musicians and as musicians we can't retire, because a musician can't stop. Maybe you don't do it the same way, maybe you stop touring, but you can't retire. So far Brian and I have been together for 20 years but I don't feel like stopping, so if we add that up, I think there's going to be more Placebo music.


🔊 𝟐𝟎 𝐘𝐞𝐚𝐫𝐬 - 𝐏𝐥𝐚𝐜𝐞𝐛𝐨 𝐏𝐞𝐩𝐬𝐢 𝐂𝐞𝐧𝐭𝐞𝐫 𝐂𝐃𝐌𝐗 𝟐𝟎𝟏𝟕 🎶
https://bit.ly/3fYZ0K7

Photo credit:  Lulú Urdapilleta / Ocesa

💫 𝒀𝒐𝒖 𝒔𝒂𝒊𝒅 𝒊𝒕 𝒘𝒆𝒍𝒍, 𝟐𝟎 𝒚𝒆𝒂𝒓𝒔 𝒔𝒉𝒂𝒓𝒊𝒏𝒈 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 𝒘𝒊𝒕𝒉 𝑩𝒓𝒊𝒂𝒏, 𝒘𝒉𝒆𝒓𝒆 𝑰 𝒊𝒎𝒂𝒈𝒊𝒏𝒆 𝒚𝒐𝒖'𝒗𝒆 𝒉𝒂𝒅 𝒃𝒐𝒕𝒉 𝒈𝒐𝒐𝒅 𝒂𝒏𝒅 𝒃𝒂𝒅 𝒕𝒊𝒎𝒆𝒔. 𝑾𝒉𝒂𝒕'𝒔 𝒕𝒉𝒆 𝒔𝒆𝒄𝒓𝒆𝒕 𝒕𝒐 𝒔𝒕𝒂𝒚𝒊𝒏𝒈 𝒊𝒏 𝒂 𝒃𝒂𝒏𝒅 𝒇𝒐𝒓 𝒔𝒐 𝒍𝒐𝒏𝒈 𝒂𝒏𝒅 𝒔𝒕𝒊𝒍𝒍 𝒘𝒂𝒏𝒕𝒊𝒏𝒈 𝒎𝒐𝒓𝒆?
🎤𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍: Patience, distance, and protecting yourself. Also every day to value what we have, because it's very easy to be without looking to the sides, and look only in one direction, like horses. We have to take time every day to see what we have in life, how lucky we are, to be thankful that we are very lucky.


🔊 𝐈 𝐊𝐧𝐨𝐰 - 𝐏𝐥𝐚𝐜𝐞𝐛𝐨 𝐏𝐞𝐩𝐬𝐢 𝐂𝐞𝐧𝐭𝐞𝐫 𝐂𝐃𝐌𝐗 𝟐𝟎𝟏𝟕 🎶
https://bit.ly/3fXRjDU


💫 𝑨𝒏𝒅 𝒊𝒕 𝒔𝒆𝒆𝒎𝒔 𝒕𝒉𝒂𝒕 𝒚𝒐𝒖𝒓 𝒏𝒆𝒘 𝒔𝒐𝒏𝒈 "𝑱𝒆𝒔𝒖𝒔' 𝑺𝒐𝒏" 𝒔𝒖𝒎𝒔 𝒖𝒑 𝒂 𝒍𝒊𝒕𝒕𝒍𝒆 𝒂𝒍𝒍 𝒕𝒉𝒊𝒔 𝒇𝒐𝒓 𝒘𝒉𝒂𝒕 𝒚𝒐𝒖 𝒉𝒂𝒗𝒆 𝒈𝒐𝒏𝒆 𝒕𝒉𝒓𝒐𝒖𝒈𝒉, 𝒔𝒊𝒏𝒄𝒆 𝒊𝒕 𝒉𝒂𝒔 𝒂 𝒕𝒉𝒆𝒎𝒆 𝒐𝒇 "𝒕𝒐 𝒕𝒓𝒊𝒖𝒎𝒑𝒉 𝒊𝒏 𝒕𝒉𝒆 𝒇𝒂𝒄𝒆 𝒐𝒇 𝒂𝒅𝒗𝒆𝒓𝒔𝒊𝒕𝒚"...
🎤𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍: When that song was written it didn't have a place on the last studio album Loud Like Love. We left it aside, and thought it would have its moment. When we did the compilation, it was the perfect time to release it because, relative to other Placebo tracks, "Jesus' Son" has a more positive vibe, and to do a celebration and a birthday party vibe we thought it was the perfect song. It gives more positive energy, more hope and it became the theme of this tour.


🔊 𝐉𝐞𝐬𝐮𝐬' 𝐒𝐨𝐧 - 𝐏𝐥𝐚𝐜𝐞𝐛𝐨 𝐏𝐞𝐩𝐬𝐢 𝐂𝐞𝐧𝐭𝐞𝐫 𝐂𝐃𝐌𝐗 𝟐𝟎𝟏𝟕 🎶
https://bit.ly/32wKPso

Photo credit: Fresale

💫 𝑯𝒆𝒚, 𝒂𝒏𝒅 𝒚𝒐𝒖 𝒔𝒑𝒆𝒂𝒌 𝑺𝒑𝒂𝒏𝒊𝒔𝒉 𝒗𝒆𝒓𝒚 𝒘𝒆𝒍𝒍, 𝒂𝒔 𝒂 𝒓𝒆𝒔𝒖𝒍𝒕 𝒐𝒇 𝒕𝒉𝒆 𝒕𝒊𝒎𝒆 𝒚𝒐𝒖 𝒉𝒂𝒗𝒆 𝒍𝒊𝒗𝒆𝒅 𝒊𝒏 𝑺𝒑𝒂𝒊𝒏.....
🎤𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍: Yes, but it's not Mexican Spanish (𝘭𝘢𝘶𝘨𝘩𝘴). Now I live in London, but I have a strong relationship with Spain; I interact with musicians from there, I've worked with them, and I still spend a lot of time there. If you go to Spain and think you are going to have a social life speaking English, you are wrong (𝘭𝘢𝘶𝘨𝘩𝘴). When I got there almost, yes more than 20 years ago, I realized that if I wanted to talk to people and have a social life, I had to learn Spanish.


💫 𝑺𝒑𝒂𝒏𝒊𝒔𝒉 𝒊𝒔 𝒂 𝒗𝒆𝒓𝒚 𝒄𝒐𝒎𝒑𝒍𝒆𝒙 𝒂𝒏𝒅 𝒃𝒆𝒂𝒖𝒕𝒊𝒇𝒖𝒍 𝒍𝒂𝒏𝒈𝒖𝒂𝒈𝒆 𝒂𝒕 𝒕𝒉𝒆 𝒔𝒂𝒎𝒆 𝒕𝒊𝒎𝒆, 𝒔𝒖𝒓𝒆𝒍𝒚 𝒚𝒐𝒖 𝒏𝒐𝒕𝒊𝒄𝒆𝒅 𝒕𝒉𝒆 𝒅𝒊𝒇𝒇𝒆𝒓𝒆𝒏𝒄𝒆𝒔 𝒏𝒐𝒘 𝒕𝒉𝒂𝒕 𝒚𝒐𝒖 𝒘𝒆𝒓𝒆 𝒊𝒏 𝑴𝒆𝒙𝒊𝒄𝒐. 𝒀𝒐𝒖 𝒂𝒓𝒆 𝒇𝒍𝒖𝒆𝒏𝒕 𝒊𝒏 𝒔𝒆𝒗𝒆𝒓𝒂𝒍 𝒍𝒂𝒏𝒈𝒖𝒂𝒈𝒆𝒔, 𝒃𝒖𝒕 𝒘𝒉𝒂𝒕 𝒉𝒂𝒔 𝒔𝒖𝒓𝒑𝒓𝒊𝒔𝒆𝒅 𝒚𝒐𝒖 𝒕𝒉𝒆 𝒎𝒐𝒔𝒕 𝒂𝒃𝒐𝒖𝒕 𝑺𝒑𝒂𝒏𝒊𝒔𝒉?
🎤𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍: I like languages, I speak French, German, Swedish and English, but Spanish is for me... (𝘩𝘦 𝘵𝘩𝘪𝘯𝘬𝘴) what happens is that I have had loves too, that have a lot to do with the language, that influences. It is quite easy to learn it, I think, and it is also very useful in the world. I am Swedish, Swedish is worth... very little (𝘭𝘢𝘶𝘨𝘩𝘴). It is only spoken in Sweden, but Spanish, here I am speaking Spanish which is not the same as Mexican, but we understand each other. The world is getting smaller, I give up French, it is worth very little too, I prefer Spanish (𝘭𝘢𝘶𝘨𝘩𝘴).


🇪🇦 𝐒𝐭𝐞𝐟𝐚𝐧 𝐬𝐩𝐞𝐚𝐤𝐢𝐧𝐠 𝐒𝐩𝐚𝐧𝐢𝐬𝐡
https://bit.ly/3G45x0z


🇨🇵 𝐒𝐭𝐞𝐟𝐚𝐧 𝐬𝐩𝐞𝐚𝐤𝐢𝐧𝐠 𝐅𝐫𝐞𝐧𝐜𝐡
https://bit.ly/3ubttwu


🇩🇪 𝐒𝐭𝐞𝐟𝐚𝐧 𝐬𝐩𝐞𝐚𝐤𝐢𝐧𝐠 𝐆𝐞𝐫𝐦𝐚𝐧
https://bit.ly/33V8wvd


🇸🇪 𝐒𝐭𝐞𝐟𝐚𝐧 𝐬𝐩𝐞𝐚𝐤𝐢𝐧𝐠 𝐒𝐰𝐞𝐝𝐢𝐬𝐡
https://bit.ly/3AIVME4

fc Photo credit:  Lulú Urdapilleta / Ocesa

💫 𝒀𝒐𝒖 𝒉𝒂𝒅 𝒂 𝒗𝒆𝒓𝒚 𝒈𝒐𝒐𝒅 𝒓𝒆𝒍𝒂𝒕𝒊𝒐𝒏𝒔𝒉𝒊𝒑 𝒘𝒊𝒕𝒉 𝑫𝒂𝒗𝒊𝒅 𝑩𝒐𝒘𝒊𝒆, 𝒏𝒐𝒕 𝒐𝒏𝒍𝒚 𝒑𝒆𝒓𝒔𝒐𝒏𝒂𝒍𝒍𝒚, 𝒃𝒖𝒕 𝒐𝒏 𝒂 𝒎𝒖𝒔𝒊𝒄𝒂𝒍 𝒍𝒆𝒗𝒆𝒍 𝑰 𝒕𝒉𝒊𝒏𝒌 𝒕𝒉𝒂𝒕 𝒃𝒐𝒕𝒉 𝒉𝒆 𝒂𝒏𝒅 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 𝒉𝒂𝒗𝒆 𝒐𝒏𝒆 𝒕𝒉𝒊𝒏𝒈 𝒊𝒏 𝒄𝒐𝒎𝒎𝒐𝒏: 𝒎𝒊𝒔𝒖𝒏𝒅𝒆𝒓𝒔𝒕𝒐𝒐𝒅 𝒑𝒆𝒐𝒑𝒍𝒆, 𝒘𝒉𝒐 𝒂𝒓𝒆 𝒅𝒊𝒇𝒇𝒆𝒓𝒆𝒏𝒕, 𝒊𝒅𝒆𝒏𝒕𝒊𝒇𝒚 𝒘𝒊𝒕𝒉 𝒉𝒊𝒔 𝒎𝒖𝒔𝒊𝒄, 𝒊𝒕'𝒔 𝒕𝒉𝒆 𝒔𝒂𝒎𝒆 𝒄𝒂𝒔𝒆 𝒂𝒔 𝑷𝒓𝒊𝒏𝒄𝒆. 𝑵𝒐𝒘 𝒕𝒉𝒂𝒕 𝒃𝒐𝒕𝒉 𝑷𝒓𝒊𝒏𝒄𝒆 𝒂𝒏𝒅 𝑩𝒐𝒘𝒊𝒆 𝒂𝒓𝒆 𝒏𝒐 𝒍𝒐𝒏𝒈𝒆𝒓 𝒘𝒊𝒕𝒉 𝒖𝒔, 𝒅𝒐 𝒚𝒐𝒖 𝒕𝒉𝒊𝒏𝒌 𝒘𝒆 𝒏𝒆𝒆𝒅 𝒎𝒐𝒓𝒆 𝒃𝒂𝒏𝒅𝒔 𝒕𝒉𝒂𝒕 𝒔𝒊𝒏𝒈 𝒕𝒐 𝒕𝒉𝒊𝒔 𝒎𝒊𝒔𝒖𝒏𝒅𝒆𝒓𝒔𝒕𝒐𝒐𝒅 𝒑𝒖𝒃𝒍𝒊𝒄?
🎤𝑺𝒕𝒆𝒇𝒂𝒏 𝑶𝒍𝒔𝒅𝒂𝒍: Music doesn't disappear, the music of many artists that are not with us now continues, that's what's left. There's a lot of music to discover, and that's like the most important thing there is, to have artists that influence you. In Placebo we do what is true for us, and I think we are here after 20 years because we have followed our very unique vision, and to have faith that what we are doing, is something that comes from the heart. As a musician, as artists who are still doing that, it's easier for the public to identify with, and me as a music fan, I have other bands that I identify with. Of course, you've talked about Prince and David Bowie who are not here but still live on in the atmosphere, on the internet, because everything is there, for the visual, the audio as well. I don't know if we are a band for people who don't identify with the mainstream, but it's great, because music can be your best friend, and if we can have that role for people, I'm really happy.✪


🔊 𝐖𝐢𝐭𝐡𝐨𝐮𝐭 𝐘𝐨𝐮 𝐈'𝐦 𝐍𝐨𝐭𝐡𝐢𝐧𝐠 - 𝐏𝐥𝐚𝐜𝐞𝐛𝐨 𝐏𝐞𝐩𝐬𝐢 𝐂𝐞𝐧𝐭𝐞𝐫 𝐂𝐃𝐌𝐗 𝟐𝟎𝟏𝟕 🎶
https://bit.ly/32DXObW


⭐𝑩𝒐𝒏𝒖𝒔⭐

✨https://bit.ly/3o1y68w ✨
✨https://bit.ly/3KRjP8f ✨


📄𝐒𝐨𝐮𝐫𝐜𝐞: 𝑆𝑜𝑝𝑖𝑡𝑎𝑠.𝑐𝑜𝑚
✒️𝐎𝐫𝐢𝐠𝐢𝐧𝐚𝐥 𝐓𝐞𝐱𝐭: 𝐴𝑏𝑟𝑎𝒉𝑎𝑚 𝐻𝑢𝑖𝑡𝑟𝑜́𝑛
▪️𝐄𝐧𝐠𝐥𝐢𝐬𝐡 𝐓𝐫𝐚𝐧𝐬𝐥𝐚𝐭𝐢𝐨𝐧: 𝑅𝑖𝑡𝑎 𝑀𝑜𝑙𝑘𝑜 𝑑𝑒 𝐿. 𝑓𝑜𝑟 𝑃𝑙𝑎𝑐𝑒𝑏𝑜 𝐴𝑛𝑦𝑤𝑎𝑦

Post by Rita

🔺𝐍𝐄𝐖 𝐈𝐍𝐓𝐄𝐑𝐕𝐈𝐄𝐖 𝐖𝐈𝐓𝐇 𝐁𝐑𝐈𝐀𝐍 𝐀𝐍𝐃 𝐒𝐓𝐄𝐅𝐀𝐍 (𝑽𝒊𝒄𝒆 𝑴𝒂𝒈𝒂𝒛𝒊𝒏𝒆)🔻

Photo credit: Mads Perch

𝑷𝑳𝑨𝑪𝑬𝑩𝑶 𝑨𝑹𝑬 𝑫𝑶𝑵𝑬 𝑾𝑰𝑻𝑯 𝑩𝑬𝑰𝑵𝑮 𝑭𝑬𝑻𝑰𝑺𝑯𝑰𝑺𝑬𝑫
“We were just trying to express ourselves in the way that we needed to – which was cross-dressing and wearing makeup.”
Placebo – Brian Molko and Stefan Olsdal – do not want their interviews to take place via video call. Instead, I ring them at their individual London homes, one after the other. After 25 years together, they prefer to speak separately. They're also exactly how you'd imagine: cynical, but not humourless. Molko laughs often during the course of our interview. At one point, when I ask him where hope lies, he takes a deep breath before exclaiming “Ooh la la!”

Given the themes at the centre of their upcoming release, their avoidance of the camera shouldn't come as much surprise. Never Let Me Go, the cult band's eighth studio album (and first in nine years), is an expedient rumination on modern life: one lived under the threat of imminent eco-catastrophe, the mercy of modern surveillance capitalism and the constant thumb of tyrannical profit motive.

The tracks they have released so far do not have traditional music videos but “visualisers”; still photos of Molko and Olsdal filtered and warped like an old Windows screensaver. For a band whose glamorous, psycho-sexual image seemed inextricably tired to their identity when they first gained popularity in the mid-1990s (who could forget the frosted pink-lipped video for “Nancy Boy”, or the now-iconic cherry red visual for “Teenage Angst”?) this may seem like an unusual change in direction.
“We've had shitloads of time to think about the demands that are placed on us – being photographed and fetishised and surveilled – and how it makes us feel,” says Molko. His voice has a compelling charm – not dissimilar to the iconic, reedy voice he sings in. “I guess we're a little bit less willing to sacrifice our feelings and our souls to the band.”

People have always been obsessed with Placebo's image. But now, people are equally obsessed with their own. “We were also thinking about how nobody presents themselves in the world today without some kind of filter, so we thought that we would take that Instagram aesthetic and push it as far as we could with distortion and filtering,” says Molko. “We figured that it would create images which would resonate today and would help us cope with our shyness coming back into the limelight.”

Photo credit: Screenshot from Surrounded by Spies video

Someone brave enough to wear a leather skirt and a t-shirt emblazoned with the word “hypocrite” to perform on CD:UK at the height of the UK’s macho “Cool Britannia” phase may not immediately scream “shy”, but Placebo’s lustre lies partially in the fact that they are far too extraordinary a band to be easily categorised. As a teenager who liked both Britpop and grunge and many other things in between (crazy!), part of what drew me to these beguiling boys in eyeshadow singing about drugs and bi sex was the sense that what they were doing was not so much a pointed statement about anything as it was them just being their authentic selves and telling everyone else to deal with it.
“Absolutely, you hit the nail on the head,” confirms Molko. “This philosophical opposition to Britpop and lad culture was something created by journalists to give what we were doing context, but we were just trying to express ourselves in the way that we needed to – which was cross-dressing and wearing makeup. Britpop were following in a certain tradition, and I suppose we were following in another tradition.”

Attempting to pigeonhole artists into neat and tidy genres has been happening since music writing began (probably), but something that seems to have changed over the course of Placebo’s decades-long career is the ever-growing tendency for people to willingly categorise themselves in this manner. As modern life has become increasingly overdetermined by the algorithms of big tech, it has become more atomised and solitary; a real sense of personhood replaced with cross-platform-compatible identity signifiers.

“The only thing that I like in boxes are the guitar pedals that surround me in my studio – they look great in boxes,” chuckles Olsdal when I present my theory to him. “I think the way that we've chosen to present ourselves has been not to give everything away… Read into it what you want and create your own ideas. Placebo has never been about putting ourselves into a box, or anyone else for that matter.”
Having parted ways with their long-time drummer Steve Forrest in 2015 and fresh off the back of a gruelling two-year long 20th anniversary tour that soon turned into a “soulless exercise”, the new album was born from a place of both apprehension and excitement. “We began to feel like wax effigies of ourselves,” Molko says, “being moved around the world for the purposes of entertainment. I think I reacted against that commerciality when it came to thinking about what tone and sonic palette this new record was going to have.”

On the flipside, the tour had left Osdal feeling low in confidence and disillusioned with the band. They were playing the same songs from the past, night after night. “When we got back together to embark on this album, it was with trepidation from my side… I didn't know if I had it in me,” he confesses. “But Brian was brimming with enthusiasm and when he showed me this photo, which became the cover, it just felt right. It was like leaving something behind and looking out into the future somehow.”
Upon finding themselves alone in Olsdal’s home studio with a blank canvas and no third musician for the first time in forever, the pair realised they could basically do whatever they wanted. They plugged in everything they had, which included a lot of keyboards, and “spent days on end just falling down different wormholes of guitar pedals”.

They eschewed their normal process (going to the rehearsal room for three months, jamming, writing, then going into the studio) in favour of doing everything backwards. Song titles were chosen before songs had been written. The cover was chosen before the album was made. “For me, it was also about trying to create discomfort,” Molko reflects. “My friend and mentor David Bowie always used to say `if you're feeling comfortable, you're doing it wrong.’”

Photo credit: Mads Perch

Never Let Me Go is a synthesiser-led soundtrack to the end of the world: a society defined by claustrophobic horror, inconsolable despondency and brief, euphoric glimmers of hope. “Surrounded by Spies” oozes paranoia and disappointment at the world its narrator has found himself in; “Happy Birthday In The Sky” harks back to the despairing melancholy of 2006 release Meds; “This is What You Wanted” finds Molko’s unmistakable voice vibrating with quietly angry, contemptuous resignation.

But there are also brief rays of weak, wintery sunshine: “The Prodigal” incorporates joyous, driving strings influenced by The Beatles “Eleanor Rigby,” and “Try Better Next Time” is a curiously upbeat song about the end of the (human) world with a repeated refrain of “Grow fins / Go back in the water” as a darkly comic solution to the impending apocalypse.

“When I talk about the environment, I really don't think that people should listen to me because I have climate depression… I look around and it's difficult for me to get optimistic,” says Molko. “I think it's important for people to have hope, and I don't want to come across as some kind of harbinger of doom, but I do wonder if we're already past the point of no return, unfortunately.”

Olsdal is a little brighter. “As humans we're very complex – there's fight in us. Even when you're having a bad day, there's still the day after where you wake up and want to put one foot in front of the other and do good somehow.”

When Molko and I finish our call so that I can ring up his bandmate, he tells me in an impish tone to “ask Stefan about the mystery meat” but will not elaborate any further. Unfortunately, Olsdal seems to have no idea what I’m talking about, and the mystery meat remains, ultimately a mystery. Somehow, I feel this suits them both just fine.
(𝑉𝑖𝑐𝑒, 𝐽𝑎𝑛𝑢𝑎𝑟𝑦 17𝑡ℎ, 2022)

Original interview: https://bit.ly/3Afd6Ak

Post by Olga

🌟𝐓𝐇𝐄 𝐑𝐔𝐒𝐒𝐈𝐀𝐍 𝐏𝐋𝐀𝐂𝐄𝐁𝐎 – "𝐁𝐄𝐀𝐔𝐓𝐈𝐅𝐔𝐋 𝐉𝐀𝐌𝐄𝐒" 𝐂𝐎𝐕𝐄𝐑 𝐁𝐘 𝐒𝐏𝐄𝐂𝐈𝐀𝐋 𝐆🌟

Today I want to share a great cover version of “Beautiful James“ with you. It was recorded by Special G, a band from Moscow, Russia, that was founded in summer 2013.

After the split up of his former group Special G guitarist Dmitry Kryukov surfed some music forums to search for a new singer, preferentally one who was experienced in English, and found Alex Riot's profile. Dmitry: “I immediately realized that this was my chance because a vocalist with this level of vocal skills and really good English pronunciation is rare in Russian musicians community. The similarity with Brian Molko wasn't the main reason, to be honest.”
So he decided to start a band with Alex as soon as possible. They were joined by two musicians of Dmitry's previous combo, Roman Kashitsyn (bass) and Dmitry Linnik (drums).

”When we first played together we didn't really know where to start“, Alex concedes. ”So, because of the specifics of my voice, we decided to cover a few Placebo songs.“
They recorded some videos and put them on Youtube, and this is how their manager finally found the band.

Photo credit: Special G

Quite a few of you may think that Special G is somehow related to the song “Special K“, but you're miles out! Alex explains: “When we played our first gig we did not have a name yet. So our manager decided to announce us as Special Guest, shortly Special G. And the name remained.“

By the way: If you're located in or near Moscow you should definitely jump at the chance and see the band at their next live show on February 6th.
More info about the concert: 👉 https://bit.ly/3FyQCLw
Tickets: 👉 https://bit.ly/3zZfL0T

Photo credit: Special G

Special G are often referred to as the Russian Placebo, but actually none of the band members was a big Placebo fan from the beginning. They only knew the big hits like “Every you Every me”, “Meds”, “Pure morning” and some others. “I've started to discover Placebo through covering them and I realized that there are real jewels deep inside the albums and b-sides”, Dmitry admits. He continues that he could list many songs now, but wants to mention some aesthetically wonderful arranged ones from the early albums: “Lady of the flowers“, “Ask for answers“, “The Crawl“, “Narcoleptic“ and “Leni”. “They are absolutely beautiful songs, the melodies, harmonies, arrangements and sounds that are used in them are really unique and it's hard to find many other bands who did something like that.”

Alex' story is similar. He listened to a lot of different music and Placebo was not his favorite band at all, but he was told so often that his voice sounds very much like Brian's that he finally tried it out and sang some of their songs. “And then, through playing and singing, I felt that there was something special about them. Something magical, something sublime, something strange. And I love that.”

Photo credit: Special G

But there's something that is even better for Alex Riot: Playing his own songs. ”It's a pure orgasm for me”. Below you can check out a sample of how that sounds.

📹 SPECIAL G – LIAR
🎵 https://bit.ly/3nseWbO 🎵

“Liar” was written when the singer lived in Italy. “I was 19 and I realized how many times people are used to lie. They find comfort in their lies, and so do I. Actually I don't want to be like that and I’m (unsuccessfully) trying to always say the truth.” Back in Russia Alex and the “Specials” rearranged the song and recorded the shared demo in 2015.

Photo credit: Special G

Now back to “Beautiful James“: It's hard to believe but recording the cover version started off as a kind of joke. Dmitry: ”I was just noodling with my guitar when we listened to it and accidentally I found a similarity to a riff from ”Without you I'm nothing”. If you slightly change the first chord it can be adapted to “Beautiful James”, you only need to find a right rhythm pattern. Also we decided to change the atmosphere and feeling of the song and play it more acoustic and live, not so robotic and synthesized like the original track.”

At the moment Special G are working on new material. Several singles will be released in the near future. So stay tuned, soulmates, and check out the pages below from time to time!

More about Special G:
👉 https://vk.com/specialg
👉 https://www.instagram.com/specialg_band/

Post by Silke

🎵 𝐂𝐄𝐍𝐓𝐑𝐄𝐅𝐎𝐋𝐃𝐒 🎵

"Centrefolds" is the last song on the album “Sleeping with ghosts”, a record that mainly deals with past relationships. The album title is about carrying the ghosts of them with you, to the point where sometimes a smell or situation or an item they bought you kind of brings a person back. Brian: "𝙁𝙤𝙧 𝙢𝙚 𝙞𝙩'𝙨 𝙖𝙗𝙤𝙪𝙩 𝙩𝙝𝙚 𝙧𝙚𝙡𝙖𝙩𝙞𝙤𝙣𝙨𝙝𝙞𝙥 𝙩𝙝𝙖𝙩 𝙮𝙤𝙪 𝙝𝙖𝙫𝙚 𝙬𝙞𝙩𝙝 𝙮𝙤𝙪𝙧 𝙢𝙚𝙢𝙤𝙧𝙞𝙚𝙨” (ReadMag, November 25th 2003).

In an interview with X-Ray he said that 'Sleeping with ghosts' was about exorcising the demons of his past and in that way “it became a very therapeutic and cathartic thing for me” (April 2003). On another occasion Brian explained that on the album he looks back on the relationships he had over the past ten years and that “whatever masochism is going on in the songs is nearly always directed towards myself – ‘you’ actually means ‘me’“ (Rock Sound, April 2003).

“Centrefolds” is a track about a washed-up celebrity, a type of character that Brian also uses in “Special needs”. The lyrics are about someone telling this celebrity that their days of fame are over and that this person is the best that they can get now (see quotes below). So it is basically a song about obsession and the role reversal in a relationship.

𝗔 𝗽𝗼𝘀𝘀𝗶𝗯𝗹𝗲 𝗶𝗻𝘁𝗲𝗿𝗽𝗿𝗲𝘁𝗮𝘁𝗶𝗼𝗻 is that although the celebrity in question may finally succumb to the narrator, they will never be more than second choice for them. So the speaker basically degrades himself to achieve the love or attention of the adored one. But when we take a closer look we have to realize that there's something mean about the narrator too because they are so obsessed with the washed-up celebrity that they prefer to see them broke but reachable and in their own arms instead of famous and loved by everyone but out of reach for them.

“Come on fallen star / I refuse to let you die" could be about wishes because of the tradition to make a wish whenever you see a shooting star. In scriptural context Balthazar refers to a fallen angel who was banned from heaven and cast down to earth for 4.000 years to wander around drowning in his own misery for being a noble follower of Satan. So “Come on Balthazar / I refuse to let you die” would give a new dimension to the following 'fallen star' line. But it's also possible to see Balthazar and the fallen star as a metaphor for someone who's been at the top but is not anymore now, which brings us back to the washed-up celebrity.

The shared live version of “Centrefolds” was recorded at at Palais Omnisport in Paris on October 18th 2003. The concert was released on DVD in March2004.

Screenshot from "Soulmates never die" DVD.

📌 𝗕𝗥𝗜𝗔𝗡 𝗢𝗡 “𝗖𝗘𝗡𝗧𝗥𝗘𝗙𝗢𝗟𝗗𝗦” 📌
📢 ”Someone telling a washed-up celebrity 'I’m the best you can get now so you’d better be mine.' It’s about obsession, questions of status and self-degradation.”
(Rock Sound, April 2003)

📢 ”This is a track written by Stefan six years ago at the piano. It's about the role reversal in relationships, the lost power, a very desperate form of love, very unclean, impossible.”
(Les Inrockuptibles, March-April 2003)

📢 “When you’re releasing your first couple of records you do think that you’re invincible. As a young artist there’s always this voice in the back of your head telling you you’re shit, that you’re not as good as the next guy. By the time you get to your fourth album that voice has changed. You know you can’t be shit because you’ve just sold X amount of records, but now it’s telling you you’re a has-been. As an artist that’s been on my mind and that’s why it’s crept into songs like ‘Centrefolds’ and ‘Special Needs’, this idea of washed-up celebrity.”
(Rock Sound, April 2003)

📜 𝗟𝗬𝗥𝗜𝗖𝗦
Come on Balthazar
I refuse to let you die
Come on fallen star
I refuse to let you die
'Cause it's wrong
And I've been waiting far too long
And that's wrong
I've been waiting far too long
For you to be
Be mine
All the centrefolds
That you can't afford
They've long since waved their last goodbyes
All the centrefolds
That you can't afford
You've long since faded from their eyes
So be
Be mine

Post by Silke 

PLACEBO INTERVIEWED BY FANS 1998 (part 2)

As I promised you last Saturday, today I bring you the 𝒔𝒆𝒄𝒐𝒏𝒅 𝒑𝒂𝒓𝒕 of the amusing questions 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 fans sent to 𝑵𝑴𝑬 𝑴𝒂𝒈𝒂𝒛𝒊𝒏𝒆 in November 1998. The band answered what they would do if they were women for a day, what they think about facial hair, underwear and cleared up some rumors among other things.

Have a good time reading, dear soulmates!
Stay safe & much love. 💖

𝙌 & 𝘼 𝙒𝙄𝙏𝙃 𝙋𝙇𝘼𝘾𝙀𝘽𝙊  (𝙿𝚊𝚛𝚝 𝙸𝙸)

Photo credit: Scarlet Page

𝑾𝒉𝒂𝒕’𝒔 𝒕𝒉𝒆 𝒎𝒐𝒔𝒕 𝒓𝒐𝒎𝒂𝒏𝒕𝒊𝒄 𝒕𝒉𝒊𝒏𝒈 𝒚𝒐𝒖’𝒗𝒆 𝒆𝒗𝒆𝒓 𝒅𝒐𝒏𝒆? (𝚁𝚊𝚌𝚑𝚎𝚕 𝚂𝚒𝚖𝚙𝚜𝚘𝚗, 𝚈𝚘𝚛𝚔)
𝑺𝒕𝒆𝒗𝒆: “Probably sending flowers. Used to be quite into that.”
𝑩𝒓𝒊𝒂𝒏: “I don’t really date in that romantic way. I have to be really, really smitten, and that doesn’t happen that often, unfortunately. I spend a lot of money, and shower them with loads of gifts.”
𝑺𝒕𝒆𝒇𝒂𝒏: “I threw a surprise party at Cafi Freedom.”

𝑾𝒉𝒂𝒕’𝒔 𝒕𝒉𝒆 𝒘𝒐𝒓𝒔𝒕 𝒘𝒂𝒚 𝒚𝒐𝒖’𝒗𝒆 𝒅𝒖𝒎𝒑𝒆𝒅 𝒂𝒏𝒚𝒐𝒏𝒆? (𝚃𝚛𝚊𝚌𝚎𝚢 𝚂𝚑𝚎𝚛𝚕𝚘𝚌𝚔/𝙴𝚖𝚖𝚊 𝙷𝚊𝚢𝚎𝚜, 𝚈𝚊𝚛𝚖𝚘𝚞𝚝𝚑)
𝑩𝒓𝒊𝒂𝒏: “Just not phoning back. Pretending they don’t exist. It’s really evil. But it’s so easy.”
𝑺𝒕𝒆𝒗𝒆: “And at the same time you hate it when it happens to you, but sh*t happens, you know?”

𝑰𝒇 𝒚𝒐𝒖 𝒘𝒆𝒓𝒆 𝒂 𝒘𝒐𝒎𝒂𝒏 𝒇𝒐𝒓 𝒂 𝒅𝒂𝒚, 𝒘𝒉𝒂𝒕 𝒘𝒐𝒖𝒍𝒅 𝒚𝒐𝒖 𝒅𝒐? (𝙱𝚞𝚛𝚐𝚎𝚛 𝚀𝚞𝚎𝚎𝚗, 𝙴𝚜𝚜𝚎𝚡)
𝑩𝒓𝒊𝒂𝒏: “I’d probably have my period. Maybe invest in some exotic and extravagant battery-operated toys.”
𝑺𝒕𝒆𝒇𝒂𝒏: “I’d probably fondle my breasts all day.”
𝑺𝒕𝒆𝒗𝒆: “Dunno, maybe get some lesbian action.”

𝑾𝒉𝒚 𝒅𝒐 𝒚𝒐𝒖 𝒉𝒂𝒗𝒆 𝒂 𝒔𝒆𝒄𝒐𝒏𝒅 𝒈𝒖𝒊𝒕𝒂𝒓𝒊𝒔𝒕 𝒐𝒇𝒇𝒔𝒕𝒂𝒈𝒆? 𝑾𝒉𝒐 𝒊𝒔 𝒉𝒆? (𝙳𝚊𝚟𝚒𝚍 𝙼𝚌𝙻𝚢𝚖𝚘𝚗𝚝, 𝚂𝚌𝚘𝚝𝚕𝚊𝚗𝚍)
𝑩𝒓𝒊𝒂𝒏: “He’s Bill Lloyd from the group Tram, and he plays a little bass when Stefan and I are both playing guitar, and plays a little keyboards. It’s his choice he’s offstage. He doesn’t want to be seen. He’s our tech, who got promoted.”

𝑰𝒔 𝒊𝒕 𝒕𝒓𝒖𝒆 𝒕𝒉𝒂𝒕 𝒘𝒉𝒆𝒏 𝒚𝒐𝒖 𝒓𝒆𝒄𝒐𝒓𝒅𝒆𝒅 ‘𝑩𝒓𝒖𝒊𝒔𝒆 𝑷𝒓𝒊𝒔𝒕𝒊𝒏𝒆’, 𝒚𝒐𝒖 𝒅𝒊𝒅 𝒊𝒕 𝒏𝒂𝒌𝒆𝒅? (𝙼𝚊𝚝𝚑𝚎𝚠 𝙻𝚊𝚛𝚢, 𝚄𝚂𝙰)
𝑩𝒓𝒊𝒂𝒏: “Absolutely.”
 https://youtu.be/v6XhoHTDFSM

𝑯𝒂𝒗𝒆 𝒚𝒐𝒖 𝒆𝒗𝒆𝒓 𝒉𝒂𝒅 𝒂 𝒏𝒆𝒂𝒓-𝒅𝒆𝒂𝒕𝒉 𝒆𝒙𝒑𝒆𝒓𝒊𝒆𝒏𝒄𝒆 𝒘𝒊𝒕𝒉 𝒂 𝒇𝒂𝒏? (𝙺𝚊𝚝𝚒𝚎 𝙲𝚞𝚛𝚛𝚢, 𝙺𝚎𝚗𝚝)
𝑺𝒕𝒆𝒇𝒂𝒏: “Nearly, when you dive into the crowd at gigs, and they’ve got you by the crotch and are strangling you.”
𝑩𝒓𝒊𝒂𝒏: “Most fans have been really sweet to me. Real darlings. But when you spend an hour signing autographs outside a gig, and then suddenly it’s time to go, and they go from screaming ‘I love you’ to you becoming the biggest c– in the world. It’s quite blinkered. A hotel receptionist in Zurich once pulled a gun on me, because I jumped behind reception and started to hug him because he was being such an arsehole. It was then I was told it would be a good idea to go to bed.”
𝑺𝒕𝒆𝒗𝒆: “I haven’t. But I tried to hang myself when I was 16, from an apple tree, with a fucking garden hose. I was really pissed up. I was going down, and my mates sorted it out.”
𝑩𝒓𝒊𝒂𝒏: “You never told us that.”

𝑾𝒉𝒆𝒏 𝒅𝒊𝒅 𝒚𝒐𝒖 𝒔𝒕𝒂𝒓𝒕 𝒔𝒎𝒐𝒌𝒊𝒏𝒈? (𝙰𝚕𝚒𝚌𝚎 𝚁𝚘𝚝𝚑, 𝙱𝚊𝚛𝚗𝚜𝚝𝚊𝚙𝚕𝚎)
𝑩𝒓𝒊𝒂𝒏: “When I was 13. I stole my mother’s: Peter Stuyvesant luxury length, gold. And I went to the park in Dundee, where I grew up.”
𝑺𝒕𝒆𝒗𝒆: “When I was 11.”
𝑺𝒕𝒆𝒇𝒂𝒏: “Properly, when I was 17, but my first cigarette was at a Monsters Of Rock Festival in Germany when I was 12. They gave out free packets of three fags. ‘Kids! Smoke up!'”

Photo credit: Levy

𝒀𝒐𝒖’𝒓𝒆 𝒐𝒏𝒆 𝒐𝒇 𝒕𝒉𝒆 𝒇𝒆𝒘 𝒎𝒆𝒏 𝒘𝒉𝒐 𝒂𝒄𝒕𝒖𝒂𝒍𝒍𝒚 𝒍𝒐𝒐𝒌 𝒎𝒐𝒓𝒆 𝒂𝒕𝒕𝒓𝒂𝒄𝒕𝒊𝒗𝒆 𝒊𝒏 𝒎𝒂𝒌𝒆-𝒖𝒑. 𝑾𝒉𝒐 𝒕𝒐𝒍𝒅 𝒚𝒐𝒖 𝒊𝒕 𝒘𝒂𝒔 𝒂 𝒈𝒐𝒐𝒅 𝒊𝒅𝒆𝒂 𝒕𝒐 𝒘𝒆𝒂𝒓 𝒊𝒕? (𝙽𝚒𝚌𝚘𝚕𝚊 𝚂𝚖𝚒𝚝𝚑, 𝙿𝚕𝚞𝚖𝚜𝚝𝚎𝚊𝚍)
𝑾𝒉𝒂𝒕’𝒔 𝒚𝒐𝒖 𝒇𝒂𝒗𝒐𝒖𝒓𝒊𝒕𝒆 𝒎𝒂𝒌𝒆-𝒖𝒑 𝒃𝒓𝒂𝒏𝒅? (𝙽𝚒𝚌𝚘𝚕𝚊 𝙼𝚘𝚘𝚛𝚎, 𝚂𝚝𝚘𝚌𝚔𝚙𝚘𝚛𝚝)
𝑩𝒓𝒊𝒂𝒏: “No-one, really. I was about 11 when I started acting in school plays, and I instantly loved it. I figured it out by myself, really. I have an excellent make-up artist now. Maybelline does an excellent eyeliner and an excellent concealer. But as far as foundation goes, Ultra-Moist Max Factor Long-Lasting is pretty good if you’re a working musician.”

𝑰𝒇 𝒚𝒐𝒖 𝒘𝒆𝒓𝒆 𝒕𝒐 𝒃𝒆 𝒏𝒆𝒖𝒕𝒆𝒓𝒆𝒅 𝒕𝒐𝒎𝒐𝒓𝒓𝒐𝒘, 𝒘𝒉𝒊𝒄𝒉 𝒑𝒆𝒓𝒔𝒐𝒏 𝒘𝒐𝒖𝒍𝒅 𝒚𝒐𝒖 𝒔𝒍𝒆𝒆𝒑 𝒘𝒊𝒕𝒉 𝒕𝒐𝒏𝒊𝒈𝒉𝒕? (𝙰𝚍𝚊𝚖 𝚆𝚎𝚜𝚝𝚠𝚘𝚘𝚍, 𝙲𝚊𝚗𝚝𝚎𝚛𝚋𝚞𝚛𝚢)
𝑺𝒕𝒆𝒗𝒆: “Tara Banks.”
𝑩𝒓𝒊𝒂𝒏: “A girl I met in Spain.”
𝑺𝒕𝒆𝒇𝒂𝒏: “A guy I met in Spain.”
𝑩𝒓𝒊𝒂𝒏: “Spain, man. We just want to roll that country over and fuck it raw.”
𝑺𝒕𝒆𝒇𝒂𝒏 (𝘲𝘶𝘪𝘦𝘵𝘭𝘺): “With no lube.”
𝑺𝒕𝒆𝒗𝒆: “No lube! Jesus!”
𝑩𝒓𝒊𝒂𝒏: “I’m supposed to be the evil one. He’s the evil one!”

𝑾𝒉𝒂𝒕’𝒔 𝒕𝒉𝒆 𝒃𝒆𝒔𝒕 𝒐𝒓 𝒕𝒉𝒆 𝒘𝒐𝒓𝒔𝒕 𝒓𝒖𝒎𝒐𝒖𝒓 𝒕𝒉𝒂𝒕 𝒚𝒐𝒖’𝒗𝒆 𝒉𝒆𝒂𝒓𝒅 𝒂𝒃𝒐𝒖𝒕 𝒚𝒐𝒖𝒓𝒔𝒆𝒍𝒗𝒆𝒔? (𝙹𝚎𝚜𝚜𝚒𝚌𝚊 𝚃𝚑𝚘𝚖𝚊𝚜, 𝙲𝚊𝚖𝚋𝚎𝚛𝚕𝚎𝚢, 𝚂𝚞𝚛𝚛𝚎y)
𝑺𝒕𝒆𝒗𝒆: “That I was supposed to be going out with Tara Banks.”
𝑩𝒓𝒊𝒂𝒏: “That I was a junkie. That was really hurtful, and also the one about me being a misogynist.”
𝑺𝒕𝒆𝒇𝒂𝒏: “That I had an enormous d*ck.”

𝑾𝒉𝒂𝒕 𝒂𝒓𝒆 𝒚𝒐𝒖𝒓 𝒑𝒐𝒓𝒏 𝒏𝒂𝒎𝒆𝒔? (𝙶𝚎𝚘𝚛𝚐𝚎 𝙱𝚛𝚘𝚠𝚗, 𝙴𝚜𝚜𝚎𝚡) (𝘠𝘰𝘶𝘳 𝘱𝘰𝘳𝘯 𝘯𝘢𝘮𝘦 𝘪𝘴 𝘵𝘩𝘦 𝘯𝘢𝘮𝘦 𝘰𝘧 𝘺𝘰𝘶𝘳 𝘧𝘪𝘳𝘴𝘵 𝘱𝘦𝘵, 𝘢𝘯𝘥 𝘺𝘰𝘶𝘳 𝘮𝘰𝘵𝘩𝘦𝘳’𝘴 𝘮𝘢𝘪𝘥𝘦𝘯 𝘯𝘢𝘮𝘦 – Ed)
𝑩𝒓𝒊𝒂𝒏: “I’m from France: mine is Lancer Farrel.”
𝑺𝒕𝒆𝒗𝒆: “Mine’s Butch Williams.”
𝑺𝒕𝒆𝒇𝒂𝒏: “Mine’s more a Germanic one: Ihssdey Haha.”

𝑰𝒇 𝒚𝒐𝒖 𝒘𝒆𝒓𝒆 𝒃𝒐𝒓𝒏 𝒂 𝒈𝒊𝒓𝒍, 𝒘𝒐𝒖𝒍𝒅 𝒚𝒐𝒖 𝒔𝒕𝒊𝒍𝒍 𝒘𝒂𝒏𝒕 𝒕𝒐 𝒍𝒐𝒐𝒌 𝒍𝒊𝒌𝒆 𝒐𝒏𝒆? (𝙷𝚊𝚣𝚎𝚕 𝙽𝚘𝚛𝚛𝚒𝚜, 𝙷𝚒𝚐𝚑 𝚆𝚢𝚌𝚘𝚖𝚋𝚎)
𝑩𝒓𝒊𝒂𝒏: “I hope so. I was talking about this last night, because it would have been fun to be a real rock chick superwench, and use my sexual powers to destroy men. Hopefully, I’d be a maneater.”

𝑾𝒉𝒆𝒏 𝒅𝒊𝒅 𝒚𝒐𝒖 𝒍𝒐𝒔𝒆 𝒚𝒐𝒖𝒓 𝒗𝒊𝒓𝒈𝒊𝒏𝒊𝒕𝒚? (𝙲𝚕𝚊𝚒𝚛𝚎 𝙼𝚞𝚛𝚙𝚑𝚢, 𝙳𝚞𝚕𝚠𝚒𝚌𝚑)
𝑩𝒓𝒊𝒂𝒏: “When I was 14.”
𝑺𝒕𝒆𝒗𝒆: “When I was 13.”
𝑺𝒕𝒆𝒇𝒂𝒏: “At the illegal age of 19.”

𝑯𝒐𝒘 𝒅𝒊𝒅 𝒚𝒐𝒖 𝒈𝒆𝒕 𝒊𝒏𝒕𝒐 𝒕𝒉𝒂𝒕 𝒇𝒊𝒈𝒉𝒕 𝒊𝒏 𝑴𝒊𝒅𝒅𝒍𝒆𝒔𝒃𝒓𝒐𝒖𝒈𝒉? (𝙳𝚊𝚗𝚗𝚢 𝙺𝚒𝚗𝚐𝚜𝚝𝚘𝚗, 𝚁𝚘𝚖𝚏𝚘𝚛𝚍)
𝑩𝒓𝒊𝒂𝒏: “That wasn’t us, it was a couple of our crew. These people heard a couple of cockney accents on them, and waited for them outside a pub and beat them with sticks.”
𝑺𝒕𝒆𝒗𝒆: “It was a football thing. It was all because they supported a different football team. Sad f*cks. Every football fan can go and f*ck themselves.”

𝑾𝒉𝒆𝒓𝒆 𝒅𝒊𝒅 𝒚𝒐𝒖 𝒈𝒆𝒕 𝒕𝒉𝒆 𝒅𝒓𝒆𝒔𝒔 𝒕𝒉𝒂𝒕 𝒚𝒐𝒖 𝒘𝒆𝒓𝒆 𝒘𝒆𝒂𝒓𝒊𝒏𝒈 𝒂𝒕 𝑳𝒐𝒏𝒅𝒐𝒏 𝑩𝒓𝒊𝒙𝒕𝒐𝒏 𝑨𝒄𝒂𝒅𝒆𝒎𝒚? (𝙳𝚊𝚟𝚒𝚍 𝚂𝚞𝚝𝚝𝚘𝚗, 𝙻𝚘𝚗𝚍𝚘𝚗)
𝑩𝒓𝒊𝒂𝒏: “It’s a John Richmond. And please don’t go out and buy it.”

𝑾𝒉𝒂𝒕’𝒔 𝒕𝒉𝒆 𝒎𝒐𝒔𝒕 𝒎𝒐𝒏𝒆𝒚 𝒚𝒐𝒖’𝒗𝒆 𝒑𝒂𝒊𝒅 𝒇𝒐𝒓 𝒂𝒏 𝒊𝒕𝒆𝒎 𝒐𝒇 𝒄𝒍𝒐𝒕𝒉𝒊𝒏𝒈? (𝚃𝚛𝚊𝚌𝚒𝚎 𝚂𝚑𝚎𝚛𝚕𝚘𝚌𝚔/𝙴𝚖𝚖𝚊 𝙷𝚊𝚢𝚎𝚜, 𝚈𝚊𝚛𝚖)
𝑺𝒕𝒆𝒇𝒂𝒏: “About 250 quid. At Alexander McQueen.”
𝑩𝒓𝒊𝒂𝒏: “Mine was a Moschino dress.”
𝑺𝒕𝒆𝒗𝒆: “About 400 pounds. I had a pinstripe suit made to measure.”

Photo credit unknown

𝑾𝒉𝒚 𝒅𝒐 𝒚𝒐𝒖 𝒕𝒉𝒊𝒏𝒌 𝑽𝒆𝒍𝒗𝒆𝒕 𝑮𝒐𝒍𝒅𝒎𝒊𝒏𝒆 𝒘𝒂𝒔 𝒔𝒖𝒄𝒉 𝒂 𝒍𝒐𝒕 𝒐𝒇 𝒔𝒆𝒍𝒇-𝒊𝒏𝒅𝒖𝒍𝒈𝒆𝒏𝒕 𝒃𝒐𝒍𝒍𝒐𝒄𝒌𝒔? (𝙰𝚗𝚍𝚛𝚎𝚠 𝙳𝚊𝚕𝚝𝚘𝚗, 𝙳𝚞𝚋𝚕𝚒𝚗)
𝑩𝒓𝒊𝒂𝒏: “Because you obviously didn’t understand it. It’s a great , it’s a feast of colour and music.”
𝑺𝒕𝒆𝒇𝒂𝒏: “And it has the most beautiful scene of two men kissing, ever.”

𝑾𝒉𝒂𝒕’𝒔 𝒕𝒉𝒆 𝒔𝒕𝒓𝒂𝒏𝒈𝒆𝒔𝒕 𝒕𝒉𝒊𝒏𝒈 𝒚𝒐𝒖’𝒗𝒆 𝒃𝒆𝒆𝒏 𝒈𝒊𝒗𝒆𝒏 𝒃𝒚 𝒂 𝒇𝒂𝒏? (𝚃𝚛𝚎𝚟𝚘𝚛 𝚆𝚊𝚔𝚎𝚛, 𝙾𝚗𝚝𝚊𝚛𝚒𝚘, 𝙲𝚊𝚗𝚊𝚍𝚊)
𝑩𝒓𝒊𝒂𝒏: “We’ve just been given a tape by some fans. These two s were waiting outside, and they’re playing ‘I Know’ off the first album really badly and they’ve changed the words to how much they want to have intimate knowledge of our… er, privates. It’s not very musical, but it is hilarious.
“Another time, I got given a photograph of this girl with a black eye with ‘Kill/ /Die’ written on it, which I carry with me everywhere, because it’s the most intense thing I’ve been given.”

𝑾𝒊𝒍𝒍 𝒚𝒐𝒖 𝒆𝒗𝒆𝒓 𝒈𝒓𝒐𝒘 𝒇𝒂𝒄𝒊𝒂𝒍 𝒉𝒂𝒊𝒓? (𝙽𝚊𝚗𝚘 𝙿𝚛𝚘𝚎𝚗𝚌𝚊, 𝙿𝚘𝚛𝚝𝚞𝚐𝚊𝚕)
𝑩𝒓𝒊𝒂𝒏: “Stef, you used to have interesting facial hair: that Prince beard kind of thing. You looked very suave. Facial hair I don’t think is my thing, really. I’m a pretty clean-shaven kind of guy. It doesn’t suit me.”

𝑾𝒉𝒊𝒄𝒉 𝒅𝒐 𝒚𝒐𝒖 𝒑𝒓𝒆𝒇𝒆𝒓? 𝑬𝒎𝒃𝒓𝒂𝒄𝒆 𝒐𝒓 𝒂 𝒄𝒖𝒔𝒕𝒂𝒓𝒅 𝒑𝒊𝒆 𝒊𝒏 𝒕𝒉𝒆 𝒇𝒂𝒄𝒆? (𝙾𝚕𝚕𝚒𝚎, 𝙶𝚞𝚒𝚕𝚍𝚏𝚘𝚛𝚍)
𝑩𝒓𝒊𝒂𝒏: “Sorry. It’s going to have to be the custard pie.”

𝑨𝒓𝒆 𝒚𝒐𝒖 𝒉𝒂𝒑𝒑𝒚? (𝙸𝚌𝚎𝚍 𝙶𝚎𝚖, 𝙱𝚛𝚒𝚜𝚝𝚘𝚕)
𝑺𝒕𝒆𝒗𝒆: “Yes. I’m fit, and well, and playing like a demon.”
𝑩𝒓𝒊𝒂𝒏: “I’m relatively content. It’s a few hundred miles away from happy. I would like to have a meaningful relationship with somebody that I cared about. Loneliness is quite debilitating.”

𝑫𝒐 𝒚𝒐𝒖 𝒕𝒉𝒊𝒏𝒌 𝒚𝒐𝒖𝒓 𝒓𝒆𝒑𝒖𝒕𝒂𝒕𝒊𝒐𝒏 𝒂𝒔 𝒕𝒉𝒆 𝒇𝒊𝒍𝒕𝒉𝒊𝒆𝒔𝒕 𝒃𝒂𝒏𝒅 𝒊𝒏 𝑩𝒓𝒊𝒕𝒂𝒊𝒏 𝒘𝒊𝒍𝒍 𝒅𝒐 𝒚𝒐𝒖 𝒂𝒏𝒚 𝒉𝒂𝒓𝒎 𝒊𝒏 𝒕𝒉𝒆 𝒇𝒖𝒕𝒖𝒓𝒆? (𝚂𝚒𝚖𝚘𝚗 𝙼𝚞𝚕𝚕𝚒𝚗𝚜, 𝚂𝚑𝚎𝚏𝚏𝚒𝚎𝚕𝚍)
𝑩𝒓𝒊𝒂𝒏: “Only if we start getting probe-searched at customs. It’s all complete , but it’s all part of the myth.”

Photo credit: David Corio

𝑾𝒉𝒂𝒕 𝒅𝒐𝒆𝒔 𝑴𝒊𝒄𝒉𝒂𝒆𝒍 𝑺𝒕𝒊𝒑𝒆 𝒔𝒎𝒆𝒍𝒍 𝒍𝒊𝒌𝒆? (𝙿𝚊𝚙𝚎𝚛𝚋𝚊𝚌𝚔 𝚁𝚒𝚘𝚝𝚎𝚛, 𝙻𝚘𝚗𝚍𝚘𝚗)
𝑩𝒓𝒊𝒂𝒏: “He smells really nice, actually. Very clean. Of expensive beauty products.”

𝑷𝒓𝒊𝒏𝒄𝒆 𝒐𝒓 𝑴𝒂𝒅𝒐𝒏𝒏𝒂 ? 𝑾𝒉𝒐 𝒘𝒐𝒖𝒍𝒅 𝒚𝒐𝒖 𝒃𝒆? (𝚂𝚌𝚘𝚝𝚝 , 𝚂𝚊𝚗 𝙵𝚛𝚊𝚗𝚌𝚒𝚜𝚌𝚘)
𝑩𝒓𝒊𝒂𝒏: “Madonna.”
𝑺𝒕𝒆𝒇𝒂𝒏: “Madonna.”
𝑺𝒕𝒆𝒗𝒆: “Prince. So f*ck you two.”

𝑾𝒉𝒂𝒕’𝒔 𝒘𝒐𝒓𝒕𝒉 𝒇𝒊𝒈𝒉𝒕𝒊𝒏𝒈 𝒇𝒐𝒓? (𝚈𝚟𝚎𝚝𝚝𝚎 𝙲𝚑𝚒𝚐𝚠𝚒𝚍𝚍𝚎𝚗, 𝚁𝚎𝚍𝚏𝚎𝚛𝚗, 𝙰𝚞𝚜𝚝𝚛𝚊𝚕𝚒𝚊)
𝑺𝒕𝒆𝒗𝒆: “Love.”
𝑩𝒓𝒊𝒂𝒏: “Freedom. I actually tried to beat up our crew the other day. The bus ran out of gas, and I lost it for a while. I didn’t get on very well, they’re huge.”

𝑾𝒉𝒆𝒏 𝒚𝒐𝒖 𝒘𝒆𝒂𝒓 𝒂 𝒅𝒓𝒆𝒔𝒔 𝒐𝒏𝒔𝒕𝒂𝒈𝒆 𝒅𝒐 𝒚𝒐𝒖 𝒘𝒆𝒂𝒓 𝒌𝒏𝒊𝒄𝒌𝒆𝒓𝒔, 𝒐𝒓 𝒑𝒍𝒂𝒊𝒏 𝒐𝒍𝒅 𝒃𝒐𝒙𝒆𝒓 𝒔𝒉𝒐𝒓𝒕𝒔? (𝙺𝚊𝚛𝚎𝚗, 𝚃𝚎𝚕𝚏𝚘𝚛𝚍)
𝑩𝒓𝒊𝒂𝒏: “Oh, knickers. Lacy ones.”

𝑾𝒉𝒚 𝒅𝒐 𝑰 𝒉𝒂𝒗𝒆 𝒕𝒐 𝒍𝒊𝒗𝒆? (𝙹𝚘𝚎𝚢 𝙻𝚊𝚞, 𝙿𝚘𝚕𝚒𝚌𝚎 𝙼𝚊𝚛𝚛𝚒𝚎𝚍 𝚀𝚞𝚊𝚛𝚝𝚎𝚛𝚜, 𝙷𝚘𝚗𝚐 𝙺𝚘𝚗𝚐)
𝑩𝒓𝒊𝒂𝒏: “Because there’s nothing else to do.”
𝑺𝒕𝒆𝒇𝒂𝒏: “The grass is always greener somewhere else. But you have to be here to know that. Make sense?”

𝑯𝒐𝒘 𝒅𝒐 𝒚𝒐𝒖 𝒂𝒎𝒖𝒔𝒆 𝒚𝒐𝒖𝒓𝒔𝒆𝒍𝒗𝒆𝒔 𝒐𝒏 𝒕𝒉𝒆 𝒕𝒐𝒖𝒓𝒃𝒖𝒔? (𝙳𝚊𝚟𝚒𝚍 𝚂𝚞𝚝𝚝𝚘𝚗, 𝙻𝚘𝚗𝚍𝚘𝚗)
𝑩𝒓𝒊𝒂𝒏: “Watch South Park. Also, we have a new court jester, our merchandising guy who amuses us for hours by talking complete bollocks over the intercom. It’s bollocks, but it’s the funniest bollocks you’ll ever hear.”

𝑰𝒇 𝒚𝒐𝒖 𝒄𝒐𝒖𝒍𝒅 𝒈𝒐 𝒃𝒂𝒄𝒌 𝒊𝒏 𝒕𝒊𝒎𝒆 𝒂𝒏𝒅 𝒈𝒊𝒗𝒆 𝒚𝒐𝒖𝒓𝒔𝒆𝒍𝒇 𝒐𝒏𝒆 𝒑𝒊𝒆𝒄𝒆 𝒐𝒇 𝒂𝒅𝒗𝒊𝒄𝒆, 𝒘𝒉𝒂𝒕 𝒘𝒐𝒖𝒍𝒅 𝒊𝒕 𝒃𝒆? (𝙱𝚎𝚌, 𝙲𝚑𝚎𝚕𝚖𝚜𝚏𝚘𝚛𝚍)
𝑩𝒓𝒊𝒂𝒏: “Whatever you do, don’t sleep with her.”
𝘎𝘰𝘰𝘥 𝘢𝘥𝘷𝘪𝘤𝘦, 𝘪𝘯𝘥𝘦𝘦𝘥. 𝘈𝘴 𝘢 𝘨𝘳𝘰𝘶𝘱 𝘰𝘧 𝘨𝘪𝘨𝘨𝘭𝘪𝘯𝘨 𝘨𝘪𝘳𝘭𝘴 𝘨𝘢𝘵𝘩𝘦𝘳 𝘢𝘳𝘰𝘶𝘯𝘥 𝘉𝘳𝘪𝘢𝘯 𝘧𝘰𝘳 𝘴𝘰𝘮𝘦 𝘱𝘦𝘳𝘧𝘦𝘤𝘵𝘭𝘺 𝘢𝘤𝘤𝘦𝘯𝘵𝘦𝘥 𝘸𝘰𝘳𝘥𝘴 𝘰𝘧 𝘸𝘪𝘴𝘥𝘰𝘮, 𝘵𝘩𝘦𝘺 𝘤𝘢𝘯𝘯𝘰𝘵 𝘬𝘯𝘰𝘸 𝘵𝘩𝘢𝘵 𝘵𝘩𝘦𝘪𝘳 𝘲𝘶𝘦𝘴𝘵𝘪𝘰𝘯𝘴 𝘩𝘢𝘷𝘦 𝘢𝘭𝘳𝘦𝘢𝘥𝘺 𝘣𝘦𝘦𝘯 𝘢𝘯𝘴𝘸𝘦𝘳𝘦𝘥, 𝘢𝘯𝘥 𝘵𝘩𝘢𝘵 𝘵𝘩𝘦 𝘵𝘳𝘢𝘪𝘭 𝘰𝘧 𝘣𝘭𝘰𝘰𝘥 𝘢𝘯𝘥 𝘴𝘱𝘶𝘯𝘬 𝘥𝘰𝘦𝘴 𝘯𝘰𝘵 𝘭𝘦𝘢𝘥 𝘵𝘰 𝘰𝘣𝘭𝘪𝘷𝘪𝘰𝘯. 𝘐𝘵 𝘭𝘦𝘢𝘥𝘴, 𝘪𝘯 𝘧𝘢𝘤𝘵, 𝘵𝘰 𝘵𝘩𝘦 𝘱𝘢𝘭𝘢𝘤𝘦 𝘰𝘧 𝘸𝘪𝘴𝘥𝘰𝘮. 𝘚𝘢𝘵𝘦𝘥 𝘢𝘯𝘥 𝘤𝘰𝘯𝘵𝘦𝘯𝘵, 𝘕𝘔𝘌 𝘢𝘥𝘫𝘶𝘴𝘵𝘴 𝘪𝘵𝘴 𝘩𝘰𝘴𝘦 𝘢𝘯𝘥 𝘭𝘦𝘢𝘷𝘦𝘴, 𝘳𝘦𝘴𝘰𝘭𝘷𝘪𝘯𝘨 𝘵𝘰 𝘭𝘦𝘢𝘥 𝘢 𝘴𝘩𝘢𝘭𝘭𝘰𝘸𝘦𝘳 𝘢𝘯𝘥 𝘮𝘰𝘳𝘦 𝘭𝘪𝘧𝘦. 

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