💖🎸 𝐁𝐑𝐈𝐀𝐍 𝐌𝐎𝐋𝐊𝐎 𝐀𝐍𝐃 𝐇𝐈𝐒 𝐆𝐔𝐈𝐓𝐀𝐑 🎸💕

📍They do have a special relationship: the ingenious melancholic, this composing scientist without technology, and his guitar. They love and hate each other. He needs her, but isn’t really interested in her - at least not in the way professional guitarist usually are. Thanks to “𝑴𝒆𝒅𝒔” he has learned to love his instrument, which had almost become an office appliance for him, again. 𝐓𝐡𝐞 𝐬𝐭𝐨𝐫𝐲 𝐛𝐞𝐡𝐢𝐧𝐝 𝐢𝐭 - 𝐢𝐧 𝐡𝐢𝐬 𝐨𝐰𝐧 𝐰𝐨𝐫𝐝𝐬:

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🎙️“𝘐’𝘷𝘦 𝘢𝘭𝘸𝘢𝘺𝘴 𝘳𝘦𝘨𝘢𝘳𝘥𝘦𝘥 𝘵𝘩𝘦 𝘨𝘶𝘪𝘵𝘢𝘳 𝘢𝘴 𝘮𝘺 𝘵𝘰𝘰𝘭 𝘢𝘯𝘥 𝘶𝘴𝘦𝘥 𝘪𝘵 𝘵𝘰 𝘸𝘳𝘪𝘵𝘦 𝘴𝘰𝘯𝘨𝘴. 𝘐’𝘮 𝘯𝘦𝘪𝘵𝘩𝘦𝘳 𝘰𝘣𝘴𝘦𝘴𝘴𝘦𝘥 𝘸𝘪𝘵𝘩 𝘢𝘮𝘱𝘴, 𝘱𝘦𝘥𝘢𝘭𝘴, 𝘴𝘰𝘶𝘯𝘥𝘴 𝘰𝘳 𝘵𝘦𝘤𝘩𝘯𝘪𝘲𝘶𝘦. 𝘐𝘵’𝘴 𝘯𝘰𝘵 𝘪𝘮𝘱𝘰𝘳𝘵𝘢𝘯𝘵 𝘵𝘰 𝘣𝘦 𝘵𝘰 𝘥𝘰 𝘢𝘯𝘺 𝘮𝘢𝘥 𝘵𝘩𝘪𝘯𝘨𝘴 𝘸𝘪𝘵𝘩 𝘪𝘵 𝘵𝘰 𝘪𝘮𝘱𝘳𝘦𝘴𝘴 𝘰𝘵𝘩𝘦𝘳𝘴. 𝘐𝘯 𝘰𝘶𝘳 𝘣𝘢𝘯𝘥, 𝘵𝘩𝘢𝘵 𝘱𝘢𝘳𝘵 𝘪𝘴 𝘵𝘢𝘬𝘦𝘯 𝘣𝘺 𝘚𝘵𝘦𝘧. (𝘭𝘢𝘶𝘨𝘩𝘴) 𝘐 𝘧𝘦𝘦𝘭 𝘮𝘰𝘳𝘦 𝘤𝘰𝘮𝘧𝘰𝘳𝘵𝘢𝘭𝘣𝘦 𝘷𝘪𝘦𝘸𝘪𝘯𝘨 𝘵𝘩𝘦 𝘨𝘶𝘪𝘵𝘢𝘳 𝘢𝘴 𝘢 𝘬𝘪𝘯𝘥 𝘰𝘧 𝘮𝘦𝘢𝘯𝘴 𝘵𝘩𝘢𝘵 𝘦𝘯𝘢𝘣𝘭𝘦𝘴 𝘮𝘦 𝘵𝘰 𝘤𝘳𝘦𝘢𝘵𝘦 𝘢 𝘭𝘢𝘳𝘨𝘦𝘳 𝘤𝘰𝘮𝘱𝘰𝘴𝘪𝘵𝘪𝘰𝘯, 𝘢 𝘴𝘰𝘯𝘨 - 𝘴𝘰𝘮𝘦𝘵𝘩𝘪𝘯𝘨 𝘵𝘩𝘢𝘵 𝘪𝘴 𝘣𝘦𝘢𝘶𝘵𝘪𝘧𝘶𝘭 𝘢𝘯𝘥, 𝘪𝘯 𝘵𝘩𝘦 𝘣𝘦𝘴𝘵 𝘤𝘢𝘴𝘦, 𝘶𝘯𝘪𝘲𝘶𝘦 𝘢𝘨𝘢𝘪𝘯. 𝘛𝘩𝘪𝘴 𝘪𝘴 𝘷𝘦𝘳𝘺 𝘪𝘮𝘱𝘰𝘳𝘵𝘢𝘯𝘵 𝘧𝘰𝘳 𝘮𝘦, 𝘦𝘷𝘦𝘳𝘺𝘵𝘩𝘪𝘯𝘨 𝘦𝘭𝘴𝘦 𝘪𝘴 𝘰𝘯𝘭𝘺 𝘢𝘯 𝘢𝘧𝘵𝘦𝘳𝘵𝘩𝘰𝘶𝘨𝘩𝘵 𝘪𝘯 𝘵𝘩𝘦 𝘦𝘯𝘥. 𝘈𝘯𝘥 𝘵𝘩𝘦𝘳𝘦’𝘥 𝘣𝘦 𝘴𝘦𝘷𝘦𝘳𝘢𝘭 𝘵𝘩𝘪𝘯𝘨𝘴 𝘵𝘩𝘢𝘵 𝘐 𝘴𝘩𝘰𝘶𝘭𝘥 𝘣𝘦 𝘱𝘳𝘢𝘤𝘵𝘪𝘴𝘪𝘯𝘨, 𝘣𝘶𝘵 𝘶𝘴𝘶𝘢𝘭𝘭𝘺 𝘐 𝘭𝘢𝘤𝘬 𝘵𝘩𝘦 𝘮𝘰𝘵𝘪𝘷𝘢𝘵𝘪𝘰𝘯. 𝘐 𝘱𝘭𝘢𝘺 𝘴𝘰 𝘮𝘶𝘤𝘩 𝘨𝘶𝘪𝘵𝘢𝘳 𝘰𝘯 𝘴𝘵𝘢𝘨𝘦 𝘢𝘯𝘺𝘸𝘢𝘺 𝘵𝘩𝘢𝘵 𝘐 𝘷𝘦𝘳𝘺 𝘮𝘶𝘤𝘩 𝘭𝘪𝘬𝘦 𝘴𝘦𝘱𝘢𝘳𝘢𝘵𝘪𝘯𝘨 𝘮𝘺𝘴𝘦𝘭𝘧 𝘧𝘳𝘰𝘮 𝘪𝘵 𝘥𝘶𝘳𝘪𝘯𝘨 𝘮𝘺 𝘧𝘳𝘦𝘦 𝘮𝘰𝘮𝘦𝘯𝘵𝘴. 𝘋𝘶𝘳𝘪𝘯𝘨 𝘵𝘩𝘦 𝘭𝘢𝘴𝘵 𝘺𝘦𝘢𝘳, 𝘵𝘩𝘢𝘵 𝘪𝘯𝘤𝘳𝘦𝘢𝘴𝘪𝘯𝘨𝘭𝘺 𝘩𝘢𝘱𝘱𝘦𝘯𝘦𝘥, 𝘸𝘩𝘪𝘤𝘩 𝘪𝘴 𝘯𝘰𝘵 𝘢 𝘯𝘪𝘤𝘦 𝘧𝘦𝘦𝘭𝘪𝘯𝘨. 𝘉𝘦𝘧𝘰𝘳𝘦 𝘵𝘩𝘦 𝘳𝘦𝘤𝘰𝘳𝘥𝘪𝘯𝘨 𝘰𝘧 𝘵𝘩𝘦 𝘯𝘦𝘸 𝘢𝘭𝘣𝘶𝘮 𝘐 𝘴𝘱𝘦𝘯𝘵 𝘴𝘰𝘮𝘦 𝘵𝘪𝘮𝘦 𝘪𝘯 𝘐𝘯𝘥𝘪𝘢. 𝘐 𝘩𝘢𝘥 𝘢 𝘧𝘦𝘦𝘭𝘪𝘯𝘨 𝘵𝘩𝘢𝘵 𝘪𝘵 𝘸𝘰𝘶𝘭𝘥 𝘣𝘦 𝘢 𝘨𝘰𝘰𝘥, 𝘪𝘯𝘴𝘱𝘪𝘳𝘪𝘯𝘨 𝘱𝘭𝘢𝘤𝘦. 𝘚𝘰 𝘐 𝘣𝘰𝘶𝘨𝘩𝘵 𝘢 𝘯𝘰𝘳𝘮𝘢𝘭 𝘛𝘦𝘭𝘦𝘤𝘢𝘴𝘵𝘦𝘳 - 𝘐 𝘸𝘢𝘯𝘵𝘦𝘥 𝘵𝘰 𝘢𝘷𝘰𝘪𝘥 𝘩𝘢𝘷𝘪𝘯𝘨 𝘰𝘯𝘦 𝘰𝘧 𝘮𝘺 𝘪𝘳𝘳𝘦𝘱𝘭𝘢𝘤𝘦𝘢𝘣𝘭𝘦 𝘷𝘪𝘯𝘵𝘢𝘨𝘦 𝘨𝘶𝘪𝘵𝘢𝘳𝘴 𝘴𝘵𝘰𝘭𝘦𝘯 𝘧𝘳𝘰𝘮 𝘮𝘦 𝘥𝘰𝘸𝘯 𝘵𝘩𝘦𝘳𝘦 𝘵𝘩𝘢𝘵 𝘐 𝘶𝘴𝘶𝘢𝘭𝘭𝘺 𝘱𝘳𝘦𝘧𝘦𝘳 𝘵𝘰 𝘱𝘭𝘢𝘺.
𝘐 𝘵𝘩𝘰𝘶𝘨𝘩𝘵 𝘪𝘵 𝘸𝘰𝘶𝘭𝘥 𝘣𝘦 𝘢 𝘨𝘰𝘰𝘥 𝘵𝘪𝘮𝘦 𝘢𝘯𝘥 𝘱𝘭𝘢𝘤𝘦 𝘣𝘦𝘤𝘢𝘶𝘴𝘦 𝘐 𝘸𝘢𝘯𝘵𝘦𝘥 𝘵𝘰 𝘳𝘦𝘥𝘪𝘴𝘤𝘰𝘷𝘦𝘳 𝘵𝘩𝘦 𝘧𝘦𝘦𝘭𝘪𝘯𝘨 𝘰𝘧 𝘳𝘦𝘨𝘢𝘳𝘥𝘪𝘯𝘨 𝘵𝘩𝘦 𝘨𝘶𝘪𝘵𝘢𝘳 𝘢𝘴 𝘢𝘯 𝘪𝘯𝘴𝘵𝘳𝘶𝘮𝘦𝘯𝘵 𝘰𝘧 𝘫𝘰𝘺 𝘢𝘯𝘥 𝘱𝘭𝘦𝘢𝘴𝘶𝘳𝘦.
𝘐𝘵 𝘴𝘰𝘶𝘯𝘥𝘴 𝘩𝘢𝘳𝘴𝘩, 𝘣𝘶𝘵 𝘵𝘩𝘢𝘵’𝘴 𝘵𝘩𝘦 𝘸𝘢𝘺 𝘪𝘵 𝘪𝘴: 𝘣𝘦𝘤𝘢𝘶𝘴𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘤𝘰𝘶𝘯𝘵𝘭𝘦𝘴𝘴 𝘵𝘰𝘶𝘳𝘴, 𝘵𝘩𝘦 𝘨𝘶𝘪𝘵𝘢𝘳 𝘩𝘢𝘴 𝘣𝘦𝘤𝘰𝘮𝘦 𝘢 𝘬𝘪𝘯𝘥 𝘰𝘧 𝘰𝘧𝘧𝘪𝘤𝘦 𝘢𝘱𝘱𝘭𝘪𝘢𝘯𝘤𝘦 𝘵𝘰 𝘮𝘦, 𝘯𝘰 𝘥𝘪𝘧𝘧𝘦𝘳𝘦𝘯𝘵 𝘵𝘩𝘢𝘯 𝘸𝘩𝘢𝘵 𝘢 𝘤𝘰𝘮𝘱𝘶𝘵𝘦𝘳 𝘪𝘴 𝘵𝘰 𝘢 𝘣𝘢𝘯𝘬 𝘢𝘤𝘤𝘰𝘶𝘯𝘵𝘢𝘯𝘵. 𝘐’𝘷𝘦 𝘣𝘦𝘦𝘯 𝘮𝘰𝘷𝘪𝘯𝘨 𝘧𝘶𝘳𝘵𝘩𝘦𝘳 𝘢𝘯𝘥 𝘧𝘶𝘳𝘵𝘩𝘦𝘳 𝘢𝘸𝘢𝘺 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘨𝘶𝘪𝘵𝘢𝘳 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘰𝘳𝘪𝘨𝘪𝘯𝘢𝘭 𝘳𝘦𝘢𝘴𝘰𝘯𝘴 𝘐 𝘩𝘢𝘥 𝘴𝘵𝘢𝘳𝘵𝘦𝘥 𝘵𝘰 𝘱𝘭𝘢𝘺 𝘪𝘵. 𝘛𝘩𝘦 𝘮𝘰𝘳𝘦 𝘐 𝘨𝘳𝘦𝘸 𝘴𝘪𝘤𝘬 𝘰𝘧 𝘵𝘩𝘦 𝘤𝘰𝘯𝘴𝘵𝘢𝘯𝘵 𝘵𝘰𝘶𝘳𝘴, 𝘵𝘩𝘦 𝘨𝘳𝘦𝘢𝘵𝘦𝘳 𝘵𝘩𝘦 𝘳𝘦𝘴𝘦𝘯𝘵𝘮𝘦𝘯𝘵𝘴 𝘢𝘨𝘢𝘪𝘯𝘴𝘵 𝘱𝘪𝘤𝘬𝘪𝘯𝘨 𝘶𝘱 𝘢 𝘨𝘶𝘪𝘵𝘢𝘳 𝘣𝘦𝘤𝘢𝘮𝘦. 𝘚𝘰 𝘐 𝘵𝘰𝘰𝘬 𝘵𝘩𝘦 𝘛𝘦𝘭𝘦 𝘸𝘪𝘵𝘩 𝘮𝘦 𝘵𝘰 𝘐𝘯𝘥𝘪𝘢 - 𝘢𝘯𝘥 𝘫𝘶𝘴𝘵 𝘱𝘭𝘢𝘺𝘦𝘥. 𝘌𝘷𝘦𝘳𝘺 𝘥𝘢𝘺, 𝘸𝘪𝘵𝘩 𝘪𝘯𝘤𝘳𝘦𝘢𝘴𝘪𝘯𝘨 𝘫𝘰𝘺. 𝘛𝘩𝘢𝘵 𝘸𝘢𝘴 𝘢 𝘸𝘰𝘯𝘥𝘦𝘳𝘧𝘶𝘭 𝘧𝘦𝘦𝘭𝘪𝘯𝘨, 𝘣𝘦𝘤𝘢𝘶𝘴𝘦 𝘪𝘵 𝘣𝘦𝘤𝘢𝘮𝘦 𝘢 𝘧𝘳𝘪𝘦𝘯𝘥 𝘢𝘨𝘢𝘪𝘯, 𝘯𝘰𝘵 𝘢 𝘣𝘶𝘳𝘥𝘦𝘯. 𝘈𝘯𝘥: 𝘴𝘦𝘷𝘦𝘳𝘢𝘭 𝘴𝘰𝘯𝘨 𝘪𝘥𝘦𝘢𝘴 𝘸𝘦𝘳𝘦 𝘣𝘰𝘳𝘯 𝘵𝘩𝘢𝘵 𝘤𝘢𝘯 𝘣𝘦 𝘧𝘰𝘶𝘯𝘥 𝘰𝘯 𝘵𝘩𝘦 𝘢𝘭𝘣𝘶𝘮 𝘯𝘰𝘸. 𝘐𝘵 𝘳𝘦𝘢𝘭𝘭𝘺 𝘸𝘢𝘴 𝘢 𝘧𝘢𝘯𝘵𝘢𝘴𝘵𝘪𝘤 𝘦𝘹𝘱𝘦𝘳𝘪𝘦𝘯𝘤𝘦. 𝘞𝘦 𝘩𝘢𝘷𝘦 𝘢 𝘷𝘦𝘳𝘺 𝘤𝘭𝘰𝘴𝘦 𝘳𝘦𝘭𝘢𝘵𝘪𝘰𝘯𝘴𝘩𝘪𝘱 𝘯𝘰𝘸. 𝘛𝘩𝘦 𝘯𝘦𝘸 𝘢𝘭𝘣𝘶𝘮 𝘫𝘶𝘴𝘵 𝘥𝘰𝘦𝘴 𝘵𝘩𝘦 𝘳𝘦𝘴𝘵.”
▪️𝐵𝑟𝑖𝑎𝑛 𝑀𝑜𝑙𝑘𝑜, 𝑉𝑖𝑠𝑖𝑜𝑛𝑠, 𝑀𝑎𝑟𝑐𝒉 2006.

Photo credit unknown

Today I wanted to share with you this excerpt that caught my attention, where 𝑩𝒓𝒊𝒂𝒏 𝑴𝒐𝒍𝒌𝒐 talks frankly about how his relationship with his favorite instrument, the 𝒈𝒖𝒊𝒕𝒂𝒓, went into crisis and the reasons for that to happen. I imagine it must be terrible for any artistic creator to feel that they are losing the motivation and excitement to keep producing their art.💔 Fortunately, on his trip to India, 𝑩𝒓𝒊𝒂𝒏 managed to get inspired and connect with his passion again, which led to beautiful songs like the one I invite you to listen to below.


🔊 𝐒𝐨𝐧𝐠 𝐓𝐨 𝐒𝐚𝐲 𝐆𝐨𝐨𝐝𝐛𝐲𝐞 - 𝐋𝐢𝐯𝐞 𝐀𝐭 𝐓 𝐈𝐧 𝐓𝐡𝐞 𝐏𝐚𝐫𝐤 𝟐𝟎𝟎𝟔 🎶
https://bit.ly/3RaFcUb

🔊 𝐒𝐨𝐧𝐠 𝐓𝐨 𝐒𝐚𝐲 𝐆𝐨𝐨𝐝𝐛𝐲𝐞 - 𝐋𝐢𝐯𝐞 𝐀𝐭 𝐌𝟔 𝐏𝐫𝐢𝐯𝐚𝐭𝐞 𝐂𝐨𝐧𝐜𝐞𝐫𝐭 𝟐𝟎𝟎𝟔 🎶
https://bit.ly/3Smsx1y

Photo credit: Loll Willems

💠"𝑨 𝑺𝒐𝒏𝒈 𝑻𝒐 𝑺𝒂𝒚 𝑮𝒐𝒐𝒅𝒃𝒚𝒆 ", 𝒕𝒉𝒆 𝒇𝒊𝒓𝒔𝒕 𝒔𝒊𝒏𝒈𝒍𝒆 𝒇𝒓𝒐𝒎 𝒕𝒉𝒆 𝒂𝒍𝒃𝒖𝒎, 𝒘𝒂𝒔 𝒘𝒓𝒊𝒕𝒕𝒆𝒏 𝒇𝒐𝒓 𝒔𝒐𝒎𝒆𝒐𝒏𝒆 𝒊𝒏 𝒑𝒂𝒓𝒕𝒊𝒄𝒖𝒍𝒂𝒓? 𝒀𝒐𝒖, 𝑩𝒓𝒊𝒂𝒏, 𝒑𝒆𝒓𝒉𝒂𝒑𝒔?

🎙️𝑩𝒓𝒊𝒂𝒏: Yes, it's like a letter I would address to me. I went to India last year, I was there during the tsunami ... There was no damage, like there was in Sri Lanka or in Madras. I took my guitar with me to make it mine again as a friend. Over time, the guitar became an instrument of work. A job, so to speak. Before being in a band, it was a friend and... Well I was trying to have an honest conversation with myself. I wanted to make myself understand that the world doesn't need another dead rock star...

💠 𝑨𝒕 𝒕𝒉𝒊𝒔 𝒑𝒐𝒊𝒏𝒕?
🎙️𝑩𝒓𝒊𝒂𝒏: (𝑐𝑜𝑛𝑐𝑒𝑟𝑛𝑒𝑑 𝑙𝑜𝑜𝑘 𝑡𝒉𝑒𝑛 𝑝𝑜𝑤𝑒𝑟𝑙𝑒𝑠𝑠 𝑙𝑖𝑡𝑡𝑙𝑒 𝑠𝑚𝑖𝑙𝑒)...Yes...

💠 𝒀𝒐𝒖 𝒂𝒍𝒔𝒐 𝒑𝒂𝒚 𝒕𝒓𝒊𝒃𝒖𝒕𝒆 𝒕𝒐 𝒕𝒉𝒆 𝑵𝒆𝒊𝒍 𝒀𝒐𝒖𝒏𝒈'𝒔 𝒔𝒐𝒏𝒈 "𝑻𝒉𝒆 𝑵𝒆𝒆𝒅𝒍𝒆 𝒂𝒏𝒅 𝑻𝒉𝒆 𝑫𝒂𝒎𝒂𝒈𝒆 𝑫𝒐𝒏𝒆".
🎙️𝑩𝒓𝒊𝒂𝒏: Yes, right. We were in Brazil in March and we learned that the last time Neil Young had played "Rock in Rio", he wore a Placebo T-shirt (𝑏𝑖𝑔 𝑠𝑚𝑖𝑙𝑒).

💠 𝑨𝒓𝒆 𝒚𝒐𝒖 𝒈𝒐𝒊𝒏𝒈 𝒕𝒉𝒓𝒐𝒖𝒈𝒉 𝒂 𝒑𝒉𝒂𝒔𝒆 𝒐𝒇 𝒓𝒆𝒅𝒆𝒎𝒑𝒕𝒊𝒐𝒏, 𝒂𝒔 𝑫𝒂𝒗𝒆 𝑮𝒂𝒉𝒂𝒏 𝒐𝒓 𝑩𝒐𝒘𝒊𝒆, 𝒇𝒐𝒓 𝒆𝒙𝒂𝒎𝒑𝒍𝒆?
🎙️𝑩𝒓𝒊𝒂𝒏: You know, writing songs is a way to talk to yourself. You tell yourself things you would not tell yourself in everyday life; it's such a chance to have this form of expression. It provides a way to understand a bit more his life. It's constructive and positive.
▪️𝐵𝑟𝑖𝑎𝑛 𝑀𝑜𝑙𝑘𝑜, 𝑆𝑡𝑎𝑟𝑡 𝑈𝑝 𝑁𝑜. 110, 𝑀𝑎𝑐𝒉 2006.

Photo credit unknown

⭐ If you want to know more about 𝑩𝒓𝒊𝒂𝒏 and his guitars, you can take a look at the previous posts we have prepared related to this topic by clicking on the links below:

🎸 https://bit.ly/3xNSRti

🎸 https://bit.ly/3dHJ4hO

🎸 https://bit.ly/3dDIq4J

🎸 https://bit.ly/3R3lSIt

🎸 https://bit.ly/3UyM0Oc

🎸 https://bit.ly/3Ss03Dw

Post by Rita

💦 𝙋𝙇𝘼𝘾𝙀𝘽𝙊 𝙎𝙃𝙊𝙒𝙎 𝙏𝙃𝙀 𝙒𝘼𝙔 💦

▪◾▪ 𝗜𝗻𝘁𝗲𝗿𝘃𝗶𝗲𝘄 𝘄𝗶𝘁𝗵 𝗕𝗿𝗶𝗮𝗻 ▪◾▪

“𝙄 𝙖𝙡𝙬𝙖𝙮𝙨 𝙩𝙝𝙞𝙣𝙠 𝙩𝙝𝙖𝙩 𝙩𝙝𝙚𝙧𝙚 𝙞𝙨 𝙖 𝙡𝙞𝙩𝙩𝙡𝙚 𝙗𝙞𝙩 𝙤𝙛 𝙝𝙤𝙥𝙚 𝙖𝙣𝙙 𝙤𝙥𝙩𝙞𝙢𝙞𝙨𝙢 𝙞𝙣 𝙤𝙪𝙧 𝙢𝙪𝙨𝙞𝙘, 𝙞𝙩'𝙨 𝙣𝙤𝙩 𝙩𝙝𝙚𝙧𝙚 𝙩𝙤 𝙘𝙧𝙚𝙖𝙩𝙚 𝙢𝙞𝙨𝙚𝙧𝙮. 𝙈𝙖𝙮𝙗𝙚 𝙞𝙩'𝙨 𝙟𝙪𝙨𝙩 𝙖 𝙬𝙞𝙣𝙙𝙤𝙬 𝙞𝙣𝙩𝙤 𝙩𝙝𝙚 𝙙𝙖𝙧𝙠𝙚𝙧 𝙨𝙞𝙙𝙚 𝙤𝙛 𝙩𝙝𝙚 𝙨𝙤𝙪𝙡, 𝙖𝙣𝙙 𝙤𝙛 𝙡𝙤𝙫𝙚, 𝙗𝙚𝙘𝙖𝙪𝙨𝙚 𝙡𝙤𝙫𝙚 𝙘𝙖𝙣 𝙗𝙚 𝙡𝙞𝙠𝙚 𝙩𝙝𝙖𝙩: 𝙞𝙩 𝙘𝙖𝙣 𝙜𝙞𝙫𝙚 𝙮𝙤𝙪 𝙖 𝙡𝙤𝙩 𝙤𝙛 𝙟𝙤𝙮, 𝙗𝙪𝙩 𝙖𝙡𝙨𝙤 𝙖 𝙡𝙤𝙩 𝙤𝙛 𝙥𝙖𝙞𝙣.”
𝙱𝚁𝙸𝙰𝙽 𝙼𝙾𝙻𝙺𝙾

Photo credit: Liam Duke / Guitar Part cover / Edit by Laetitia

🔹 In today's interview from November 2000, with the album Black Market Music recently released, Brian opens up about the music of the beginning of the millennium, sharing his vision of what music should be. And obviously, he mentions his "heroes" who played an important role for him and Placebo. And he also blames his opposite for the musical blandness of the time, in somewhat unflattering terms.

🔹 At the beginning of the century, the internet was becoming more and more popular, but was not yet as important as it is today. When Brian says that "At the moment, I don't think that the technology is sufficient for it to be very dangerous", I wonder if his opinion is still the same now…

🔹 A rather serious interview, but with a bit of sharp humour here and there 😄
Enjoy reading ! 😊

🔹 🔷 🔹

〰️ 𝐂𝐨𝐜𝐤𝐭𝐚𝐢𝐥 𝐌𝐨𝐥𝐤𝐨 〰️

🔹 𝐴𝑝𝑎𝑟𝑡 𝑓𝑟𝑜𝑚 𝑡ℎ𝑒 𝑓𝑎𝑐𝑡 𝑡ℎ𝑎𝑡 𝐵𝑟𝑖𝑎𝑛 𝑀𝑜𝑙𝑘𝑜 𝑠𝑡𝑜𝑙𝑒 𝑎𝑙𝑙 𝑚𝑦 𝑎𝑝𝑝𝑙𝑒 𝑔𝑢𝑚, ℎ𝑒'𝑠 𝑎 𝑐ℎ𝑎𝑟𝑚𝑖𝑛𝑔 𝑔𝑢𝑦 𝑤ℎ𝑜 𝑑𝑜𝑒𝑠𝑛'𝑡 𝑠ℎ𝑦 𝑎𝑤𝑎𝑦 𝑓𝑟𝑜𝑚 𝑞𝑢𝑒𝑠𝑡𝑖𝑜𝑛𝑠, 𝑎𝑛𝑑 𝑑𝑜𝑒𝑠𝑛'𝑡 𝑚𝑖𝑛𝑐𝑒 ℎ𝑖𝑠 𝑤𝑜𝑟𝑑𝑠. 𝐹𝑎𝑟 𝑓𝑟𝑜𝑚 𝑡ℎ𝑒 𝑝𝑟𝑜𝑣𝑜𝑐𝑎𝑡𝑖𝑣𝑒 𝑖𝑚𝑎𝑔𝑒 𝑡ℎ𝑎𝑡 𝑡ℎ𝑒 𝐴𝑛𝑔𝑙𝑜-𝑆𝑎𝑥𝑜𝑛 𝑝𝑟𝑒𝑠𝑠 𝑡𝑟𝑖𝑒𝑠 𝑡𝑜 𝑠𝑡𝑖𝑐𝑘 𝑡𝑜 ℎ𝑖𝑚.

𝑇𝑜 𝑡𝑎𝑙𝑘 𝑎𝑏𝑜𝑢𝑡 𝑡ℎ𝑒 𝑛𝑒𝑤 𝑃𝑙𝑎𝑐𝑒𝑏𝑜, 𝐵𝑙𝑎𝑐𝑘 𝑀𝑎𝑟𝑘𝑒𝑡 𝑀𝑢𝑠𝑖𝑐, 𝑡ℎ𝑒 𝑔𝑒𝑛𝑡𝑙𝑒𝑚𝑎𝑛 𝑒𝑣𝑒𝑛 𝑎𝑔𝑟𝑒𝑒𝑠 𝑡𝑜 𝑑𝑜 𝑡ℎ𝑒 𝑖𝑛𝑡𝑒𝑟𝑣𝑖𝑒𝑤 𝑖𝑛 𝐹𝑟𝑒𝑛𝑐ℎ...

◾ 𝑩𝒓𝒊𝒂𝒏, 𝒘𝒉𝒂𝒕 𝒌𝒊𝒏𝒅 𝒐𝒇 𝒈𝒖𝒊𝒕𝒂𝒓 𝒑𝒍𝒂𝒚𝒆𝒓 𝒘𝒆𝒓𝒆 𝒚𝒐𝒖 𝒘𝒉𝒆𝒏 𝒚𝒐𝒖 𝒘𝒆𝒓𝒆 𝒂 𝒌𝒊𝒅?
💬 A bad one. But maybe I still am...

◾ 𝑫𝒊𝒅 𝒚𝒐𝒖 𝒓𝒆𝒂𝒅 𝒈𝒖𝒊𝒕𝒂𝒓 𝒎𝒂𝒈𝒂𝒛𝒊𝒏𝒆𝒔?
💬 No, not really. I'm completely self-taught. When you teach yourself, there are no rules, or at least you don't know them. So you develop your own style. Even mistakes can be beautiful: you have to invent everything, everything is possible. I was especially inspired by Sonic Youth: detune everything, invent a new way of playing, develop it. And all this happened because nobody told me: "𝑂ℎ 𝑦𝑜𝑢 𝑐𝑎𝑛'𝑡 𝑝𝑙𝑎𝑦 𝑙𝑖𝑘𝑒 𝑡ℎ𝑎𝑡"... Of course I can! (𝘭𝘢𝘶𝘨𝘩𝘴). Look: plink! (𝘭𝘢𝘶𝘨𝘩𝘴). Sometimes, some things that people consider awful are actually very "musical". It's an adventure thing I think.

◾ 𝑫𝒐 𝒚𝒐𝒖 𝒓𝒆𝒎𝒆𝒎𝒃𝒆𝒓 𝒚𝒐𝒖𝒓 𝒇𝒊𝒓𝒔𝒕 𝒈𝒖𝒊𝒕𝒂𝒓?
💬 It was an acoustic Aria, which I still have, by the way. And I haven't changed the strings in... pfff, five years. And it's tuned in a very, very interesting way: it only has four strings, and it's a special guitar.

Photo credit: Anja, Wall Backstage, 2000

◾ 𝒀𝒐𝒖 𝒉𝒂𝒗𝒆 𝒂 𝒓𝒆𝒂𝒍 𝒍𝒐𝒐𝒌, 𝒚𝒐𝒖'𝒓𝒆 𝒒𝒖𝒊𝒕𝒆 𝒄𝒉𝒂𝒓𝒊𝒔𝒎𝒂𝒕𝒊𝒄: 𝒂𝒓𝒆 𝒚𝒐𝒖 𝒕𝒉𝒆 𝒔𝒕𝒂𝒓 𝒂𝒘𝒂𝒊𝒕𝒆𝒅 𝒔𝒊𝒏𝒄𝒆 𝑲𝒖𝒓𝒕 𝑪𝒐𝒃𝒂𝒊𝒏?
💬 Pfff... To be honest, if I answered that question by saying yes, I would be Billie Corgan... It's important not to believe in your myth too much. Otherwise, you start to become a bit of an asshole...

◾ 𝑨𝒏𝒅 𝒚𝒐𝒖 𝒕𝒉𝒊𝒏𝒌 𝑩𝒊𝒍𝒍𝒊𝒆 𝑪𝒐𝒓𝒈𝒂𝒏...
💬 ...that he believes in his myth ? Yes. Yes, I do. I'm not going to say things like "𝐼'𝑚 𝑡ℎ𝑒 𝑠𝑜𝑛𝑔𝑤𝑟𝑖𝑡𝑒𝑟 𝑜𝑓 𝑚𝑦 𝑔𝑒𝑛𝑒𝑟𝑎𝑡𝑖𝑜𝑛" etc. etc., otherwise it stalls progress. You always have to keep a certain humility, be your own fiercest critic, to keep learning. I have never considered myself as an extremely revolutionary guitarist. For me, the guitar has always been a "vehicle" for writing songs. I have a very instinctive approach. Stef, on the other hand, learned guitar in music schools: we complement each other very well. We complement each other very well. He has a very technical approach, I'm more abstract. That's why it works.

◾ 𝑩𝒍𝒂𝒄𝒌 𝑴𝒂𝒓𝒌𝒆𝒕 𝑴𝒖𝒔𝒊𝒄 𝒔𝒐𝒖𝒏𝒅𝒔 𝒍𝒆𝒔𝒔 𝒏𝒆𝒈𝒂𝒕𝒊𝒗𝒆 𝒕𝒉𝒂𝒏 𝑾𝒊𝒕𝒉𝒐𝒖𝒕 𝒀𝒐𝒖 𝑰'𝒎 𝑵𝒐𝒕𝒉𝒊𝒏𝒈...
💬 Without You I'm Nothing was made in a rather depressive atmosphere. We weren't very happy. A lot of things that were going on in our lives were quite painful. We had "romantic" problems, let's say: in our personal relationships, we had a lot of problems with our partners, and everything basically came out with the music.

◾ 𝑺𝒐𝒎𝒆 𝒑𝒆𝒐𝒑𝒍𝒆 𝒔𝒂𝒊𝒅 𝒕𝒉𝒂𝒕 𝒊𝒇 𝒘𝒆 𝒇𝒐𝒍𝒍𝒐𝒘 𝒕𝒉𝒆 𝒍𝒐𝒈𝒊𝒄 𝒐𝒇 𝑾𝒊𝒕𝒉𝒐𝒖𝒕 𝒀𝒐𝒖 𝑰'𝒎 𝑵𝒐𝒕𝒉𝒊𝒏𝒈 𝒕𝒐 𝒕𝒉𝒆 𝒆𝒏𝒅, 𝒘𝒆'𝒅 𝒉𝒂𝒗𝒆 𝒕𝒐 𝒔𝒉𝒐𝒐𝒕 𝒐𝒖𝒓𝒔𝒆𝒍𝒗𝒆𝒔 𝒊𝒏 𝒕𝒉𝒆 𝒉𝒆𝒂𝒅 !
💬 Well, I hope not. I still think there's a little bit of hope and optimism in our music, it's not there to create misery. Maybe it's just a window into the dark side of the soul, and of love, because love can be like that: it can give you a lot of joy, but also a lot of pain.

◾ 𝑾𝒊𝒕𝒉𝒐𝒖𝒕 𝒀𝒐𝒖 𝑰'𝒎 𝑵𝒐𝒕𝒉𝒊𝒏𝒈... 𝒕𝒉𝒆 𝒔𝒐𝒏𝒈, 𝒉𝒂𝒔 𝒂𝒍𝒎𝒐𝒔𝒕 𝒃𝒆𝒄𝒐𝒎𝒆 𝒂𝒏 𝒂𝒏𝒕𝒉𝒆𝒎...
💬 It's funny. I'll tell you a story: at the Reading Festival, you know ? Last year, two people got married on the Reading stage. Before the first band, at eleven o'clock in the morning, on Without You I'm Nothing. We really laughed, we couldn't believe it. I always thought there was a great irony: I imagined that a lot of couples might be having sex on that song and on My Sweet Prince, and they're both songs about relationships falling apart: I find that very ironic. Very "depressive" songs but people sing them to each other as proof of love.

Photo credit: Jamie Beeden

◾ 𝑾𝒉𝒚 𝒅𝒊𝒅 𝒚𝒐𝒖 𝒓𝒆-𝒓𝒆𝒄𝒐𝒓𝒅 𝒊𝒕 𝒘𝒊𝒕𝒉 𝑫𝒂𝒗𝒊𝒅 𝑩𝒐𝒘𝒊𝒆?
💬 We didn't re-record it. He came in, put his voice on it, and we remixed it. In fact, we were going to do a song at the Brit Awards with David. The tradition is to do covers of classic English songs. Since we had done Twentieth Century Boy for Velvet Goldmine, I suggested to David that we do it for the Brits. He said OK. Then he called me and said "𝑊𝑒 𝑠ℎ𝑜𝑢𝑙𝑑 𝑑𝑜 𝑊𝑖𝑡ℎ𝑜𝑢𝑡 𝑌𝑜𝑢, 𝑖𝑡'𝑠 𝑚𝑦 𝑓𝑎𝑣𝑜𝑢𝑟𝑖𝑡𝑒...", I said "𝐼 𝑑𝑜𝑛'𝑡 𝑡ℎ𝑖𝑛𝑘 𝑡ℎ𝑒 𝐵𝑟𝑖𝑡𝑠 𝑤𝑖𝑙𝑙 𝑙𝑖𝑘𝑒 𝑖𝑡...". We asked them and they said, "𝑊𝑒 𝑝𝑟𝑒𝑓𝑒𝑟 𝑇𝑤𝑒𝑛𝑡𝑖𝑒𝑡ℎ 𝐶𝑒𝑛𝑡𝑢𝑟𝑦 𝐵𝑜𝑦." So David and I decided to make it a single: he had already written his harmony, he really wanted to be on this song. It's a huge honour.

◾ 𝑾𝒉𝒚 𝒅𝒊𝒅 𝒚𝒐𝒖 𝒘𝒐𝒓𝒌 𝒘𝒊𝒕𝒉 𝑷𝒂𝒖𝒍 𝑪𝒐𝒓𝒌𝒆𝒕𝒕 𝒂𝒈𝒂𝒊𝒏 𝒐𝒏 𝒕𝒉𝒆 𝒑𝒓𝒐𝒅𝒖𝒄𝒕𝒊𝒐𝒏?
💬 Because he was someone, when we met him, that we were sure would become a friend. We could go out for a drink with him. We felt with him the ability to work as a group. We wanted to do a co-production, but we didn't want to work with a big producer with a big back catalogue and the big ego that goes with it... We wanted to work as a team and Corkie (smiles) became one of our closest friends. A bit like Bowie discovered his Visconti.

◾ 𝑺𝒖𝒓𝒑𝒓𝒊𝒔𝒆: 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 𝒔𝒕𝒂𝒓𝒕𝒔 𝒓𝒂𝒑𝒑𝒊𝒏𝒈?
💬 Why ? (𝘭𝘢𝘶𝘨𝘩𝘴)

◾ 𝑻𝒉𝒆 𝒒𝒖𝒆𝒔𝒕𝒊𝒐𝒏 𝒊𝒔 "𝒉𝒐𝒘?" ...
💬 I don't rap the most, Justiin Warfield does. He's not a gangster rapper, that's why we wanted to work with him. He's a very intellectual, literary rapper. Justin wanted to fit perfectly with the Placebo spirit. There was a big hole in the song, on the chorus, it didn't come out, and I don't like to force it, I want it to be instinctive when I write lyrics. The idea came to me: "𝐿𝑒𝑡'𝑠 𝑡𝑟𝑦 𝑟𝑎𝑝, 𝑤𝑒'𝑣𝑒 𝑛𝑒𝑣𝑒𝑟 𝑑𝑜𝑛𝑒 𝑖𝑡 𝑏𝑒𝑓𝑜𝑟𝑒, 𝑏𝑖𝑔 𝑒𝑥𝑝𝑒𝑟𝑖𝑚𝑒𝑛𝑡: 𝑙𝑒𝑡'𝑠 𝑑𝑜 𝑖𝑡 !" We tried it with Justin in Los Angeles, he wrote something great, he came, and bam !

◾ 𝑯𝒐𝒘 𝒅𝒐 𝒚𝒐𝒖 𝒕𝒉𝒊𝒏𝒌 𝒕𝒉𝒆 𝒇𝒂𝒏𝒔 𝒘𝒊𝒍𝒍 𝒓𝒆𝒂𝒄𝒕?
💬 I think they are scared. But I'm sure that as soon as they hear it, they will understand. Because it works. And we put it on track 4 on purpose, because we wanted to surprise our audience, because we love it, it's very important for us.

Photo credit: Kevin Westenberg

◾ 𝒀𝒐𝒖 𝒍𝒊𝒔𝒕𝒆𝒏𝒆𝒅 𝒂 𝒍𝒐𝒕 𝒕𝒐 𝑷𝒓𝒊𝒎𝒂𝒍 𝑺𝒄𝒓𝒆𝒂𝒎, 𝑨𝒔𝒊𝒂𝒏 𝑫𝒖𝒃 𝑭𝒐𝒖𝒏𝒅𝒂𝒕𝒊𝒐𝒏, 𝒅𝒊𝒅 𝒊𝒕 𝒂𝒘𝒂𝒌𝒆𝒏 𝒂 "𝒑𝒐𝒍𝒊𝒕𝒊𝒄𝒂𝒍 𝒄𝒐𝒏𝒔𝒄𝒊𝒆𝒏𝒄𝒆" 𝒊𝒏 𝒚𝒐𝒖?
💬 It was a bit of an inspiration: it was good to listen to albums that you could dance to but that also made you think. In the pop rock scene today, there are so many "disposable razors". There's not much soul and anger. That's why I love a band like Six By Seven, for example. Their latest album is one of the most vitriolic I've ever heard. A lot of bands have become quite complacent. I've always believed in the motto "Anger is an energy". The fighting spirit, the punk spirit of rock has disappeared, and Oasis is responsible for that, responsible for the dilution of rock. After Oasis, we had Travis, Stereophonics, all that... I really like the Muse album, for example, there's a bombastic side to it. But there's not much that interests us in England.

◾ 𝑹𝒊𝒈𝒉𝒕. 𝑺𝒐 𝒂𝒏𝒔𝒘𝒆𝒓 𝒚𝒆𝒔 𝒐𝒓 𝒏𝒐: 𝒊𝒏 𝒚𝒐𝒖𝒓 𝒐𝒑𝒊𝒏𝒊𝒐𝒏, 𝒊𝒔 𝑶𝒂𝒔𝒊𝒔 𝒕𝒉𝒆 𝒘𝒐𝒓𝒔𝒕 𝒕𝒉𝒊𝒏𝒈 𝒕𝒉𝒂𝒕 𝒄𝒐𝒖𝒍𝒅 𝒉𝒂𝒑𝒑𝒆𝒏 𝒕𝒐 𝒕𝒉𝒆 𝑬𝒏𝒈𝒍𝒊𝒔𝒉 𝒔𝒄𝒆𝒏𝒆?
💬 In a way, yes. But maybe it's also positive because we've created things to go against that. We've got Britney Spears, Cristina Aguilera, Eminem and Limp Bizkit, and we've got Oasis, Travis and Stereophonics, so that creates something: a new underground, I hope.

◾ 𝑳𝒆𝒕'𝒔 𝒌𝒆𝒆𝒑 𝒈𝒐𝒊𝒏𝒈: 𝒘𝒊𝒕𝒉 𝒑𝒓𝒐-𝒕𝒐𝒐𝒍𝒔, 𝒅𝒐𝒏'𝒕 𝒚𝒐𝒖 𝒕𝒉𝒊𝒏𝒌 𝒊𝒕'𝒔 𝒃𝒆𝒄𝒐𝒎𝒆 𝒕𝒐𝒐 𝒆𝒂𝒔𝒚 𝒕𝒐 𝒎𝒂𝒌𝒆 𝒎𝒖𝒔𝒊𝒄 𝒏𝒐𝒘𝒂𝒅𝒂𝒚𝒔?
💬 Mmm... No. The technology is there to make your life a little easier in the studio. You can have all the machines you want, if you don't have the idea... You have to know what to do with it: your machine has thousands of effects, so you can do anything.

◾ 𝑩𝒖𝒕 𝒚𝒐𝒖 𝒄𝒂𝒏 𝒎𝒂𝒌𝒆 𝒂 𝒓𝒆𝒄𝒐𝒓𝒅 𝒘𝒊𝒕𝒉𝒐𝒖𝒕 𝒆𝒗𝒆𝒓 𝒉𝒂𝒗𝒊𝒏𝒈 𝒃𝒆𝒆𝒏 𝒐𝒏 𝒔𝒕𝒂𝒈𝒆...
💬 That's depriving yourself of the musician's greatest pleasure. It's magical, spiritual...

◾ 𝑰 𝒉𝒆𝒂𝒓𝒅 𝒚𝒐𝒖 𝒍𝒊𝒌𝒆 𝒕𝒐 𝒓𝒆𝒂𝒅 𝒂 𝒍𝒐𝒕...
💬 I read a lot on tour, in planes, tour-buses, hotels when I can't sleep. If I don't have a book with me, I get scared. I left one of my favourite books on a plane, and I'm very disappointed, it was Billie Holiday's autobiography: Lady Sings The Blues. I have the biography of Jacques Brel and Janis Joplin with me: two people I adore.

Photo credit: Karin Catt 

◾ 𝑨𝒏𝒚 𝒐𝒕𝒉𝒆𝒓 𝒑𝒂𝒔𝒔𝒊𝒐𝒏𝒔?
💬 Cinema: the last film I saw was Boys Don't Cry. The true story of a woman who dressed up as a guy and started to have a man's life, had a girlfriend, etc. And when people found out she was a girl, they raped and killed her. It's quite hard, but it's true. I'm a big fan of Lars Von Trier, and the style of Dogma, Festen, Les Idiots, Breakin' The Waves...

◾ 𝑰𝒕'𝒔 𝒑𝒓𝒆𝒕𝒕𝒚 𝒔𝒑𝒆𝒄𝒊𝒂𝒍 𝒊𝒔𝒏'𝒕 𝒊𝒕?
💬 It's very special but I love it, so I'm looking forward to the release of Dancer In The Dark (𝘣𝘺 𝘓𝘢𝘳𝘴 𝘝𝘰𝘯 𝘛𝘳𝘪𝘦𝘳 𝘸𝘪𝘵𝘩 𝘉𝘫𝘰̈𝘳𝘬).

◾ 𝑺𝒑𝒆𝒂𝒌𝒊𝒏𝒈 𝒐𝒇 𝒊𝒎𝒂𝒈𝒆, 𝒑𝒆𝒐𝒑𝒍𝒆 𝒐𝒇𝒕𝒆𝒏 𝒔𝒂𝒚 𝒂𝒃𝒐𝒖𝒕 𝑷𝒍𝒂𝒄𝒆𝒃𝒐: 𝒕𝒉𝒆𝒚 𝒂𝒓𝒆 𝒂𝒓𝒓𝒐𝒈𝒂𝒏𝒕, 𝒆𝒕𝒄. 𝒀𝒐𝒖𝒓 𝒐𝒑𝒊𝒏𝒊𝒐𝒏?
💬 (𝘚𝘮𝘪𝘭𝘦𝘴 𝘢𝘯𝘥 𝘴𝘩𝘳𝘶𝘨𝘴) Fuck you! (𝘓𝘢𝘶𝘨𝘩𝘴) These are people who don't know us. People who spend time with us know very well that we are quite charming, polite and pleasant people. What we do for a living can make you quite schizophrenic: I find that our sense of humour is too often mistaken for arrogance. We are 'jokers'... (𝘓𝘢𝘶𝘨𝘩𝘴)

◾ 𝒀𝒐𝒖 𝒐𝒇𝒕𝒆𝒏 𝒄𝒐𝒎𝒑𝒍𝒂𝒊𝒏 𝒂𝒃𝒐𝒖𝒕 𝒕𝒉𝒆 𝒕𝒓𝒆𝒂𝒕𝒎𝒆𝒏𝒕 𝒚𝒐𝒖 𝒈𝒆𝒕 𝒇𝒓𝒐𝒎 𝒕𝒉𝒆 𝑬𝒏𝒈𝒍𝒊𝒔𝒉 𝒑𝒓𝒆𝒔𝒔...
💬 But that's the English press, isn't it?

◾ 𝑩𝒖𝒕 𝒉𝒐𝒘 𝒅𝒐 𝒚𝒐𝒖 𝒅𝒆𝒂𝒍 𝒘𝒊𝒕𝒉 𝒕𝒉𝒊𝒔 𝒑𝒓𝒐𝒃𝒍𝒆𝒎?
💬 Well, I don't read the press anymore (laughs).

◾ 𝑫𝒐 𝒚𝒐𝒖 𝒔𝒕𝒊𝒍𝒍 𝒈𝒊𝒗𝒆 𝒕𝒉𝒆𝒎 𝒊𝒏𝒕𝒆𝒓𝒗𝒊𝒆𝒘𝒔?
💬 Yes, absolutely, you have to, but I don't read the interviews anymore. It's easier for the mind.

◾ 𝑾𝒐𝒖𝒍𝒅 𝒔𝒐𝒎𝒆𝒐𝒏𝒆 𝒍𝒊𝒌𝒆 𝑫𝒂𝒗𝒊𝒅 𝑩𝒐𝒘𝒊𝒆 𝒂𝒅𝒗𝒊𝒔𝒆 𝒚𝒐𝒖 𝒐𝒏 𝒕𝒉𝒊𝒔 𝒌𝒊𝒏𝒅 𝒐𝒇 𝒕𝒉𝒊𝒏𝒈?
💬 Absolutely. The best advice he ever gave us was not to lose our spontaneity. That's a huge amount of wisdom. Spending time with Bowie, Michael Stipe, Bono, it teaches you a lot of things, including how to be (he hesitates) a "better star". These people are legends: the best thing you learn is that you can be a legend, but you don't have to be a pain in the ass !

◾ 𝑴𝒂𝒓𝒚𝒍𝒊𝒏 𝑴𝒂𝒏𝒔𝒐𝒏 𝒉𝒂𝒔 𝒂 𝒉𝒂𝒓𝒅 𝒕𝒊𝒎𝒆 𝒂𝒔𝒔𝒖𝒎𝒊𝒏𝒈 𝒉𝒊𝒔 𝒊𝒎𝒂𝒈𝒆, 𝒊𝒕 𝒔𝒆𝒆𝒎𝒔...
💬 He shaved his head, it's true: I saw the pictures ! And he only communicates with people on the internet. The interesting thing about managing your image is to do what Bowie did: to be a chameleon, to go through processes of reinvention: it's entertaining, it's fun, you have this freedom to be, why not explore it ? Being in a band is a way of remaining a teenager all your life.

Photo credit: Jamie Beeden

 

◾ 𝑻𝒉𝒆𝒓𝒆 𝒘𝒂𝒔 𝒂 𝒓𝒖𝒎𝒐𝒖𝒓 𝒊𝒏 𝒕𝒉𝒆 𝑩𝒓𝒊𝒕𝒊𝒔𝒉 𝒑𝒓𝒆𝒔𝒔 𝒂𝒃𝒐𝒖𝒕 𝑷𝒍𝒂𝒄𝒆𝒃𝒐, 𝒕𝒉𝒂𝒕 𝒚𝒐𝒖 𝒏𝒆𝒆𝒅𝒆𝒅 𝒂 𝒎𝒖𝒔𝒊𝒄𝒊𝒂𝒏 𝒃𝒂𝒄𝒌𝒔𝒕𝒂𝒈𝒆 𝒕𝒐 𝒃𝒂𝒄𝒌 𝒚𝒐𝒖 𝒖𝒑 𝒐𝒏 𝒔𝒕𝒂𝒈𝒆?
💬 Backstage? When we're in the studio, we play everything ourselves, we respect the "equilateral" triangle, we're a musical, financial democracy, everything has to be done unanimously. But our sound has become more and more complex. We don't have enough arms, we're not octopuses. So on tour we have an extra person on samples and keyboards, but on stage he's not backstage. For the rest, the trio is respected.

◾ 𝒀𝒐𝒖 𝒂𝒓𝒆 𝒗𝒆𝒓𝒚 𝒂𝒕𝒕𝒂𝒄𝒉𝒆𝒅 𝒕𝒐 𝒕𝒉𝒊𝒔 𝒏𝒐𝒕𝒊𝒐𝒏 𝒐𝒇 𝒕𝒓𝒊𝒐...
💬 I was in Japan, near a Shinto temple, and the translator explained to me that everything starts with the number three. When you enter a Shinto temple, you have to clap three times. It's very interesting for us: in a trio, you have to be one, it's a bit like the Trinity, it brought us together. In fact, we're just a little gang that protects itself.

◾ 𝑾𝒉𝒂𝒕 𝒊𝒔 𝒕𝒉𝒆 𝒘𝒐𝒓𝒔𝒕 𝒕𝒉𝒊𝒏𝒈 𝒕𝒉𝒂𝒕 𝒄𝒐𝒖𝒍𝒅 𝒉𝒂𝒑𝒑𝒆𝒏 𝒕𝒐 𝑷𝒍𝒂𝒄𝒆𝒃𝒐?
💬 Plane crash (laughter). Planes scare me: I have a confrontation with my mortality every time I get on a plane, I don't like them at all, but I can't do without. I don't get on a plane without having a couple of vodkas (laughs).

◾ 𝑪𝒂𝒏 𝒘𝒆 𝒊𝒎𝒂𝒈𝒊𝒏𝒆 𝒂𝒏 𝒂𝒄𝒐𝒖𝒔𝒕𝒊𝒄 𝑷𝒍𝒂𝒄𝒆𝒃𝒐 𝒂𝒍𝒃𝒖𝒎?
💬 I can't predict the future. With our music, we have a very instinctive and emotional approach, we're not very calculating. We don't have a definitive idea of what Placebo should sound like. We never censor ourselves: anyone can play any instrument in the studio.

◾ 𝑳𝒆𝒕'𝒔 𝒕𝒂𝒍𝒌 𝒂𝒃𝒐𝒖𝒕 𝑵𝒂𝒑𝒔𝒕𝒆𝒓: 𝒘𝒐𝒖𝒍𝒅 𝒚𝒐𝒖 𝒃𝒆 𝒇𝒓𝒊𝒆𝒏𝒅𝒔 𝒘𝒊𝒕𝒉 𝑴𝒆𝒕𝒂𝒍𝒍𝒊𝒄𝒂, 𝒐𝒓 𝒓𝒂𝒕𝒉𝒆𝒓 𝒘𝒊𝒕𝒉 𝑳𝒊𝒎𝒑 𝑩𝒊𝒛𝒌𝒊𝒕, 𝒘𝒉𝒐𝒔𝒆 𝒑𝒂𝒓𝒕𝒏𝒆𝒓 𝒐𝒏 𝒕𝒉𝒆 𝑨𝒎𝒆𝒓𝒊𝒄𝒂𝒏 𝒕𝒐𝒖𝒓 𝒊𝒔 𝒏𝒐𝒏𝒆 𝒐𝒕𝒉𝒆𝒓 𝒕𝒉𝒂𝒏 𝑵𝒂𝒑𝒔𝒕𝒆𝒓?
💬 (𝘴𝘮𝘪𝘭𝘦𝘴) What you don't know about Limp Bizkit is that they're getting paid two million dollars for their fucking tour by Napster, so it's not free concerts. It's marketing, hypocrisy... Limp Bizkit, fuck you ! I have no problem with people who want to sell their music without a record company, it's very cool to have this freedom on the internet. But imagine: you take ten CDs, you go out without paying, it's theft. This romantic idea, that musicians and artists have to be poor and live in the gutter, and die like Van Gogh before they become successful, for me, is not realistic. You're a journalist, you love what you do, but you have responsibilities: you have to eat, you have to pay the rent, you might have children... Why, because we are artists, should we be the only people in the world to work for free ? At the moment, I don't think that the technology is sufficient for it to be very dangerous.

◾ 𝒀𝒐𝒖𝒓 𝒇𝒂𝒗𝒐𝒖𝒓𝒊𝒕𝒆 𝒂𝒍𝒃𝒖𝒎𝒔?
💬 At the moment I'm listening a lot to the Queen Of The Stone Age album, Gainsbourg's Histoire De Melody Nelson, which is one of the great works of all music, and the third Velvet album.

◾ 𝒀𝒐𝒖 𝒉𝒂𝒗𝒆 𝒂 𝒎𝒂𝒈𝒊𝒄 𝒘𝒂𝒏𝒅 𝒇𝒐𝒓 𝒂 𝒅𝒂𝒚, 𝒘𝒉𝒂𝒕 𝒅𝒐 𝒚𝒐𝒖 𝒅𝒐?
💬 I stop racism, homophobia, and like Bono, I cancel the debt of the third world...

📍 𝙸𝚗𝚝𝚎𝚛𝚟𝚒𝚎𝚠 𝚋𝚢 𝙾𝚕𝚒𝚟𝚒𝚎𝚛 𝚁𝚘𝚞𝚋𝚒𝚗 𝚏𝚘𝚛 𝙶𝚞𝚒𝚝𝚊𝚛 𝙿𝚊𝚛𝚝 𝚗°𝟾0 - 𝙽𝚘𝚟𝚎𝚖𝚋𝚎𝚛 𝟸000
🔹 🔷 🔹

🔹 This Guitar Part magazine included a CD with a very special and original musical interview with Brian, who admitted that he "had never done this before" ... 😄

𝘽𝙧𝙞𝙖𝙣 𝙈𝙤𝙡𝙠𝙤 '𝙜𝙪𝙞𝙩𝙖𝙧 𝙞𝙣𝙩𝙚𝙧𝙫𝙞𝙚𝙬'
🎸 https://bit.ly/3OXCuRF 🎸

Translation by Laetitia
Post by Laetitia

🔸𝗔 𝗛𝗜𝗦𝗧𝗢𝗥𝗬 𝗢𝗙 𝗦𝗢𝗟𝗜𝗗𝗔𝗥𝗜𝗧𝗬 𝗪𝗜𝗧𝗛 𝗔 𝗛𝗔𝗣𝗣𝗬 𝗘𝗡𝗗𝗜𝗡𝗚 𝗗𝗨𝗥𝗜𝗡𝗚 𝗛𝗔𝗥𝗗 𝗧𝗜𝗠𝗘𝗦🔸

Happy Sunday dear Soulmates! It's still winter, it is still cold and the days are still short here. Unfortunately, during the last two years, this period has been associated with dreaded words like pandemic, increased infections and new restrictions.

I guess this is not a happy start to my first post 😉 but today I'd like to talk to you about a topic I feel very close to my heart and on which we should never “turn off the spotlight”, for love of music and of all those who make this magic possible: both the ones on stage and the ones behind the scenes.

Photo Credit: Crowdfunder UK (2), PSA Welfare and Benevolent Fund, edit by Emanuela

T̳H̳E̳ C̳R̳E̳W̳ M̳E̳M̳B̳E̳R̳S̳ T̳H̳E̳ P̳A̳N̳D̳E̳M̳I̳C̳ L̳E̳F̳T̳ B̳E̳H̳I̳N̳D̳.̳.̳.̳
The impact of the pandemic has been devastating for the whole music industry but particularly for the stage techs, sound engineers, guitar techs, keyboard techs, drum techs, stage managers, production managers, tour managers and other live support personnel who make shows possible.
In the UK -but the situation is almost the same in many other countries- at least 75 per cent live-events crew and technicians are self-employed, or work zero-hours contracts, so when tours are off, they are not paid and over 20% of all crew have discovered that they didn’t qualify for any government support at all.

The impact of Omicron (just to mention the most recent) caused high rates of isolation among staff and musicians, accordingly many events have been cancelled, and since the advice has been to the public to reduce social contact, audiences are not showing up, seeking refunds or no longer buying tickets in advance.

 
That has caused a fresh crisis for performers and backstage workers who were only just getting back on their feet after the arts and entertainment industry was shut down for long periods over the past two years.

Situations experienced by these people are sometimes especially touching: some have had to survive on small payouts, others with children have had to sell their houses because the mortgage holiday had ended, and others had to sell lots of their belongings on eBay just to buy food, horrified to find no more money in their bank account.

But the impact of losing one’s career isn’t only financial...
𝐉𝐨𝐚𝐧𝐧𝐞 𝐂𝐫𝐨𝐱𝐟𝐨𝐫𝐝, a services officer from Music Support, a UK charity devoted to supporting the mental health of anyone working in the music industry, said: “We are seeing people come to us who are facing new challenges around more severe ill mental health and addiction. The relapse rate has heightened, and we are doing our best to support them to navigate the current uncharted waters.”

T̳I̳M̳E̳ T̳O̳ H̳E̳L̳P̳ O̳U̳T̳
It was when artist manager and promoter 𝐃𝐚𝐯𝐢𝐝 𝐒𝐭𝐨𝐩𝐩𝐬 heard about the 10th suicide among stage crew in late August 2020 that he decided to raise funds. Inspired by Alex Turner’s donated guitar raising £128,000 for the Music Venue Trust’s support of grass-roots venues, by the end of 2020, Stopps organised the #𝗜𝗟𝗼𝘃𝗲𝗟𝗶𝘃𝗲 campaign.
The campaign was spearheaded by David Stopps himself with 𝐀𝐧𝐝𝐲 𝐋𝐞𝐧𝐭𝐡𝐚𝐥𝐥 and 𝐌𝐢𝐤𝐞 𝐋𝐨𝐰𝐞 at 𝐒𝐭𝐚𝐠𝐞𝐡𝐚𝐧𝐝.

Photo credit: Selin Alendar 

𝑨𝒃𝒐𝒖𝒕 𝑺𝒕𝒂𝒈𝒆𝒉𝒂𝒏𝒅 𝒂𝒏𝒅 𝑻𝒉𝒆 𝑷𝑺𝑨
𝘍𝘰𝘶𝘯𝘥𝘦𝘥 𝘪𝘯 1996, 𝘵𝘩𝘦 𝘗𝘚𝘈 𝘪𝘴 𝘵𝘩𝘦 𝘜𝘒 𝘵𝘳𝘢𝘥𝘦 𝘢𝘴𝘴𝘰𝘤𝘪𝘢𝘵𝘪𝘰𝘯 𝘧𝘰𝘳 𝘪𝘯𝘥𝘪𝘷𝘪𝘥𝘶𝘢𝘭𝘴 𝘢𝘯𝘥 𝘣𝘶𝘴𝘪𝘯𝘦𝘴𝘴𝘦𝘴 𝘱𝘳𝘰𝘷𝘪𝘥𝘪𝘯𝘨 𝘵𝘦𝘤𝘩𝘯𝘪𝘤𝘢𝘭 𝘱𝘳𝘰𝘥𝘶𝘤𝘵𝘪𝘰𝘯 𝘴𝘦𝘳𝘷𝘪𝘤𝘦𝘴 𝘵𝘰 𝘭𝘪𝘷𝘦 𝘦𝘷𝘦𝘯𝘵𝘴. 𝘈 𝘮𝘦𝘮𝘣𝘦𝘳 𝘧𝘶𝘯𝘥𝘦𝘥, 𝘮𝘦𝘮𝘣𝘦𝘳 𝘧𝘰𝘤𝘶𝘴𝘴𝘦𝘥, 𝘰𝘳𝘨𝘢𝘯𝘪𝘴𝘢𝘵𝘪𝘰𝘯, 𝘵𝘩𝘦 𝘗𝘚𝘈 𝘮𝘦𝘮𝘣𝘦𝘳𝘴𝘩𝘪𝘱 𝘤𝘰𝘯𝘴𝘪𝘴𝘵𝘴 𝘰𝘧 𝘢𝘳𝘰𝘶𝘯𝘥 2000 𝘴𝘦𝘭𝘧 𝘦𝘮𝘱𝘭𝘰𝘺𝘦𝘥 𝘵𝘦𝘤𝘩𝘯𝘪𝘤𝘪𝘢𝘯𝘴 𝘢𝘯𝘥 300 𝘮𝘦𝘮𝘣𝘦𝘳𝘴𝘩𝘪𝘱𝘴 𝘪𝘯 𝘵𝘦𝘤𝘩𝘯𝘪𝘤𝘢𝘭 𝘴𝘶𝘱𝘱𝘭𝘺 𝘣𝘶𝘴𝘪𝘯𝘦𝘴𝘴𝘦𝘴.
𝘚𝘵𝘢𝘨𝘦𝘩𝘢𝘯𝘥 𝘪𝘴 𝘵𝘩𝘦 𝘱𝘶𝘣𝘭𝘪𝘤 𝘧𝘢𝘤𝘪𝘯𝘨 𝘯𝘢𝘮𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘗𝘚𝘈 𝘞𝘦𝘭𝘧𝘢𝘳𝘦 𝘢𝘯𝘥 𝘉𝘦𝘯𝘦𝘷𝘰𝘭𝘦𝘯𝘵 𝘍𝘶𝘯𝘥; 𝘢 𝘳𝘦𝘨𝘪𝘴𝘵𝘦𝘳𝘦𝘥 𝘤𝘩𝘢𝘳𝘪𝘵𝘺 𝘭𝘢𝘶𝘯𝘤𝘩𝘦𝘥 𝘰𝘷𝘦𝘳 2 𝘥𝘦𝘤𝘢𝘥𝘦𝘴 𝘢𝘨𝘰 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦 𝘢𝘪𝘮 𝘰𝘧 𝘳𝘢𝘪𝘴𝘪𝘯𝘨 𝘢𝘯𝘥 𝘥𝘪𝘴𝘵𝘳𝘪𝘣𝘶𝘵𝘪𝘯𝘨 𝘧𝘶𝘯𝘥𝘴 𝘧𝘰𝘳 𝘮𝘦𝘮𝘣𝘦𝘳𝘴, 𝘧𝘰𝘳𝘮𝘦𝘳 𝘮𝘦𝘮𝘣𝘦𝘳𝘴 𝘢𝘯𝘥 𝘵𝘩𝘦𝘪𝘳 𝘧𝘢𝘮𝘪𝘭𝘪𝘦𝘴 𝘸𝘩𝘰 𝘧𝘢𝘭𝘭 𝘰𝘯 𝘩𝘢𝘳𝘥 𝘵𝘪𝘮𝘦𝘴 𝘵𝘩𝘳𝘰𝘶𝘨𝘩 𝘪𝘭𝘭𝘯𝘦𝘴𝘴 𝘰𝘳 𝘪𝘯𝘫𝘶𝘳𝘺. 𝘔𝘰𝘳𝘦 𝘳𝘦𝘤𝘦𝘯𝘵𝘭𝘺, 𝘵𝘩𝘦 𝘵𝘳𝘶𝘴𝘵𝘦𝘦𝘴 𝘭𝘢𝘶𝘯𝘤𝘩𝘦𝘥 𝘢 𝘳𝘪𝘯𝘨-𝘧𝘦𝘯𝘤𝘦𝘥 𝘧𝘶𝘯𝘥 𝘵𝘰 𝘴𝘶𝘣𝘴𝘪𝘥𝘪𝘴𝘦 𝘔𝘦𝘯𝘵𝘢𝘭 𝘏𝘦𝘢𝘭𝘵𝘩 𝘍𝘪𝘳𝘴𝘵 𝘈𝘪𝘥 𝘵𝘳𝘢𝘪𝘯𝘪𝘯𝘨 𝘧𝘰𝘳 𝘴𝘦𝘭𝘧 𝘦𝘮𝘱𝘭𝘰𝘺𝘦𝘥 𝘮𝘦𝘮𝘣𝘦𝘳𝘴, 𝘢𝘴 𝘱𝘢𝘳𝘵 𝘰𝘧 𝘵𝘩𝘦𝘪𝘳 𝘮𝘪𝘴𝘴𝘪𝘰𝘯 𝘵𝘰 𝘪𝘮𝘱𝘳𝘰𝘷𝘦 𝘵𝘩𝘦 𝘴𝘦𝘤𝘵𝘰𝘳’𝘴 𝘢𝘱𝘱𝘳𝘰𝘢𝘤𝘩 𝘵𝘰 𝘮𝘦𝘯𝘵𝘢𝘭 𝘩𝘦𝘢𝘭𝘵𝘩.

Stopps, Lenthall and Lowe appealed to ​​​PPL​​​, the BPI (British Phonographic Industry) major record labels and artist management companies, and raised £280,000 – most of which went to the 300 crew members in the most desperate need.
David Stopps and 𝐈𝐚𝐧 𝐌𝐜𝐀𝐧𝐝𝐫𝐞𝐰 (at Wildlife Entertainment), together with booking agent 𝐓𝐨𝐦 𝐒𝐜𝐡𝐫𝐨𝐞𝐝𝐞𝐫, subsequently reached out to the music community and received a rapturous response: to help out, many rock and pop stars helped their teams, donating money-can’t-buy music memorabilia for the #𝑰𝑳𝒐𝒗𝒆𝑳𝒊𝒗𝒆 𝑺𝒕𝒂𝒈𝒆𝒉𝒂𝒏𝒅 𝑷𝒓𝒊𝒛𝒆 𝑫𝒓𝒂𝒘 𝑪𝒂𝒎𝒑𝒂𝒊𝒈𝒏, which sent all proceeds directly to crew.

On November 27th 2020 Stagehand in partnership with 𝐂𝐫𝐨𝐰𝐝𝐟𝐮𝐧𝐝𝐞𝐫 (who have waived their platform fees), launched #𝐈𝐥𝐨𝐯𝐞𝐋𝐢𝐯𝐞.
The campaign featured a list of all the artists who had contributed prizes by donating their instruments and other memorabilia to the cause: signed guitars by Cure, Radiohead, Liam Gallagher, Eric Clapton, Muse, Nick Cave, Mark Knopfler and many others, handwritten lyrics, VIP experiences, as well as tickets and signed box sets.

Fans around the world were allowed to purchase a £5 ticket for each artist's item of their choice, and could increase their chances of winning by purchasing multiple tickets. The draw remained open until December 17th, the winners were chosen on December 23rd (such a stunning Christmas present, don’t you think?) and prizes were sent out in January 2021.
Thanks to the generosity of thousands of fans, the campaign exceeded its expectations. They raised a total of £535,840 which went directly to Stagehand Charity who distributed the funds to stage crew impacted by the pandemic.
So far, thanks to this and other fundraising campaigns, #𝐈𝐥𝐨𝐯𝐞𝐋𝐢𝐯𝐞 has raised over £900,000 thanks to the generosity of 50,230 total supporters.

Photo credit unknown

𝑩𝑼𝑻...𝑾𝑬𝑹𝑬𝑵❜𝑻 𝑾𝑬 𝑺𝑼𝑷𝑷𝑶𝑺𝑬𝑫 𝑻𝑶 𝑻𝑨𝑳𝑲 𝑨𝑩𝑶𝑼𝑻 𝑷𝑳𝑨𝑪𝑬𝑩𝑶 𝑻𝑶𝑫𝑨𝒀 💓
We are well aware that Placebo, for many years now, have cared deeply about several different social issues, and have supported many causes, giving their precious contribution and helping organizations all over the world that take care of people facing difficult times, both financially and mentally.
Just to name a few: °the very unique auction of rare pieces of memorabilia raising an amazing £27,500 for the 𝐂𝐚𝐦𝐩𝐚𝐢𝐠𝐧 𝐀𝐠𝐚𝐢𝐧𝐬𝐭 𝐋𝐢𝐯𝐢𝐧𝐠 𝐌𝐢𝐬𝐞𝐫𝐚𝐛𝐥𝐲 (𝐂𝐀𝐋𝐌), ° the auctioning in support of 𝐌𝐲 𝐁𝐥𝐚𝐜𝐤 𝐃𝐨𝐠, the mental health charity. ° special gigs to raise money for both 𝐓𝐡𝐞 𝐊𝐚𝐠𝐲𝐮 𝐒𝐚𝐦𝐲𝐞 𝐋𝐢𝐧𝐠 𝐓𝐢𝐛𝐞𝐭𝐚𝐧 𝐁𝐮𝐝𝐝𝐡𝐢𝐬𝐭 𝐂𝐞𝐧𝐭𝐫𝐞 (Scotland), the first Tibetan Buddhist Centre in the West and the 𝐌𝐞𝐫𝐜𝐲 𝐂𝐞𝐧𝐭𝐫𝐞 (𝐁𝐚𝐧𝐤𝐨𝐤) a huge facility built in a former Buddhist temple in Bangkok, which provides support for street children, orphans and mothers and children living with Hiv/Aids.
𝐖𝐞 𝐚𝐥𝐥 𝐤𝐧𝐨𝐰 𝐏𝐥𝐚𝐜𝐞𝐛𝐨 𝐡𝐚𝐯𝐞 𝐧𝐞𝐯𝐞𝐫 𝐛𝐚𝐜𝐤𝐞𝐝 𝐝𝐨𝐰𝐧 – 𝐧𝐨𝐭 𝐞𝐯𝐞𝐧 𝐭𝐡𝐢𝐬 𝐭𝐢𝐦𝐞!

𝔸𝔹𝕆𝕌𝕋 ℙ𝕃𝔸ℂ𝔼𝔹𝕆 𝕒𝕟𝕕 #𝕀𝕃𝕆𝕍𝔼𝕃𝕀𝕍𝔼
In a short post on December 4th, 2020 Placebo announced:
Brian Molko’s 1972 𝐅𝐄𝐍𝐃𝐄𝐑 𝐃𝐈𝐒𝐆𝐔𝐒𝐓𝐀𝐍𝐆. Looks awful - sounds better! Used during the Loud Like Love LP sessions & can be heard on “I.K.W.Y.L” from the B3 EP.
Yours to win as part of the prize draw for our #𝐈𝐋𝐨𝐯𝐞𝐋𝐢𝐯𝐞 month of fundraising for Stagehand and our own crew.
Placebo fans immediately took the appeal and this was the result we read on Crowdfunder web site:
𝗪𝗲 𝗱𝗶𝗱 𝗶𝘁!
On 17th December 2020 we successfully raised £9,891 with 600 supporters in 13 days

🅐🅝🅓 🅣🅗🅔 🅦🅘🅝🅝🅔🅡 🅘🅢...
...Many congratulations to 𝐙𝐡𝐚𝐧𝐧𝐚 𝐟𝐫𝐨𝐦 𝐑𝐞𝐲𝐤𝐣𝐚𝐯𝐢𝐤, Iceland who won the prize draw. Thanks again and we hope to see you all again very soon.
As a Placebo fan I tried to picture how I could have felt at a time like this, but I couldn't at all...too much excitement!!!
So I asked her directly! Our dear Soulmate Zhanna told us how she knew she was the luckiest one and some funny anecdotes about that amazing experience. Let's read below 😍

Hi Zhanna!
Did you get in touch with the band management on that occasion or were you only contacted by Stagehand? Or probably did you get any message from the band enclosed with the Disgustang 😉?
𝘐 𝘥𝘪𝘥𝘯’𝘵 𝘩𝘢𝘷𝘦 𝘢 𝘥𝘪𝘳𝘦𝘤𝘵 𝘤𝘰𝘯𝘵𝘢𝘤𝘵 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦 𝘣𝘢𝘯𝘥. 𝘐 𝘸𝘢𝘴 𝘪𝘯 𝘵𝘰𝘶𝘤𝘩 𝘸𝘪𝘵𝘩 𝘢 𝘱𝘦𝘳𝘴𝘰𝘯 𝘧𝘳𝘰𝘮 𝘚𝘵𝘢𝘨𝘦𝘩𝘢𝘯𝘥 𝘢𝘯𝘥 𝘩𝘦 𝘸𝘢𝘴 𝘱𝘢𝘴𝘴𝘪𝘯𝘨 𝘮𝘺 𝘥𝘦𝘵𝘢𝘪𝘭𝘴 𝘵𝘰 𝘗𝘭𝘢𝘤𝘦𝘣𝘰’𝘴 𝘮𝘢𝘯𝘢𝘨𝘦𝘮𝘦𝘯𝘵.

I remember you writing that you would give that precious prize another name, what's its name now?
𝘐 𝘳𝘦𝘮𝘦𝘮𝘣𝘦𝘳 𝘐 𝘸𝘢𝘴 𝘶𝘯𝘱𝘢𝘤𝘬𝘪𝘯𝘨 𝘵𝘩𝘦 𝘨𝘶𝘪𝘵𝘢𝘳 𝘸𝘪𝘵𝘩 𝘮𝘺 𝘧𝘳𝘪𝘦𝘯𝘥 𝘢𝘯𝘥 𝘢𝘧𝘵𝘦𝘳 𝘢𝘳𝘰𝘶𝘯𝘥 30 𝘮𝘪𝘯𝘴 𝘰𝘧 𝘴𝘵𝘳𝘶𝘨𝘨𝘭𝘪𝘯𝘨 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦 𝘱𝘢𝘤𝘬𝘢𝘨𝘦, 𝘐 𝘧𝘪𝘯𝘢𝘭𝘭𝘺 𝘩𝘢𝘥 𝘪𝘵 𝘪𝘯 𝘮𝘺 𝘩𝘢𝘯𝘥𝘴 𝘢𝘯𝘥 𝘮𝘺 𝘧𝘪𝘳𝘴𝘵 𝘸𝘰𝘳𝘥𝘴 𝘸𝘦𝘳𝘦 “𝘞𝘰𝘸, 𝘸𝘩𝘢𝘵 𝘢 𝘣𝘦𝘢𝘶𝘵𝘪𝘧𝘶𝘭 𝘉𝘢𝘣𝘺!” 𝘚𝘰, 𝘪𝘵’𝘴 𝘣𝘦𝘦𝘯 𝘉𝘢𝘣𝘺 𝘴𝘪𝘯𝘤𝘦 𝘵𝘩𝘦𝘯. 𝘐𝘵’𝘴 𝘪𝘵𝘴 𝘯𝘦𝘸 𝘯𝘢𝘮𝘦.
You know Brian loves to give his guitar that name "baby", so you remained loyal to its former owner.
𝘖𝘩 𝘺𝘦𝘴, 𝘦𝘹𝘢𝘤𝘵𝘭𝘺! 𝘛𝘩𝘪𝘴 𝘪𝘴 𝘸𝘩𝘢𝘵 𝘐 𝘵𝘩𝘰𝘶𝘨𝘩𝘵, 𝘵𝘰𝘰

I look forward to knowing from you some detail about that experience, some anecdotes, if you have any.
𝘈𝘣𝘰𝘶𝘵 𝘵𝘩𝘦 𝘧𝘶𝘯𝘯𝘺 𝘴𝘵𝘰𝘳𝘪𝘦𝘴, 𝘐 𝘢𝘭𝘴𝘰 𝘩𝘢𝘷𝘦 𝘢 𝘤𝘰𝘶𝘱𝘭𝘦 
𝘐’𝘷𝘦 𝘣𝘦𝘦𝘯 𝘯𝘰𝘵𝘪𝘧𝘪𝘦𝘥 𝘢𝘣𝘰𝘶𝘵 𝘸𝘪𝘯𝘯𝘪𝘯𝘨 𝘵𝘩𝘦 𝘱𝘳𝘪𝘻𝘦 𝘷𝘪𝘢 𝘦𝘮𝘢𝘪𝘭 - 𝘵𝘩𝘪𝘴 𝘱𝘦𝘳𝘴𝘰𝘯 𝘧𝘳𝘰𝘮 𝘚𝘵𝘢𝘨𝘦𝘩𝘢𝘯𝘥 𝘩𝘢𝘥 𝘵𝘰 𝘶𝘴𝘦 𝘩𝘪𝘴 𝘱𝘦𝘳𝘴𝘰𝘯𝘢𝘭 𝘦𝘮𝘢𝘪𝘭 𝘢𝘥𝘥𝘳𝘦𝘴𝘴 𝘢𝘴 𝘐 𝘸𝘢𝘴 𝘯𝘰𝘵 𝘳𝘦𝘱𝘭𝘺𝘪𝘯𝘨 𝘵𝘰 𝘵𝘩𝘦 𝘮𝘦𝘴𝘴𝘢𝘨𝘦𝘴 𝘴𝘦𝘯𝘵 𝘧𝘳𝘰𝘮 𝘚𝘵𝘢𝘨𝘦𝘩𝘢𝘯𝘥 𝘵𝘦𝘢𝘮. 𝘛𝘩𝘦𝘺 𝘸𝘦𝘳𝘦 𝘤𝘭𝘢𝘴𝘴𝘪𝘧𝘪𝘦𝘥 𝘢𝘴 𝘴𝘱𝘢𝘮 𝘢𝘯𝘥 𝘐 𝘴𝘪𝘮𝘱𝘭𝘺 𝘥𝘪𝘥𝘯’𝘵 𝘴𝘦𝘦 𝘵𝘩𝘦𝘮. 𝘚𝘰 𝘵𝘩𝘦 𝘮𝘦𝘴𝘴𝘢𝘨𝘦 𝘐 𝘧𝘪𝘯𝘢𝘭𝘭𝘺 𝘨𝘰𝘵 𝘸𝘢𝘴 𝘵𝘩𝘢𝘵 𝘪𝘵 𝘸𝘢𝘴 𝘵𝘩𝘦 3𝘳𝘥 𝘢𝘯𝘥 𝘭𝘢𝘴𝘵 𝘯𝘰𝘵𝘪𝘧𝘪𝘤𝘢𝘵𝘪𝘰𝘯. 𝘐𝘧 𝘐 𝘩𝘢𝘥𝘯'𝘵 𝘳𝘦𝘱𝘭𝘪𝘦𝘥, 𝘵𝘩𝘦𝘺 𝘸𝘰𝘶𝘭𝘥 𝘩𝘢𝘷𝘦 𝘩𝘢𝘥 𝘵𝘰 𝘤𝘩𝘰𝘰𝘴𝘦 𝘢𝘯𝘰𝘵𝘩𝘦𝘳 𝘸𝘪𝘯𝘯𝘦𝘳. 𝘞𝘩𝘢𝘵 𝘢 𝘵𝘦𝘳𝘳𝘪𝘧𝘺𝘪𝘯𝘨 𝘮𝘦𝘴𝘴𝘢𝘨𝘦 𝘪𝘵 𝘸𝘢𝘴!
𝘐 𝘩𝘢𝘷𝘦 𝘯𝘦𝘷𝘦𝘳 𝘵𝘺𝘱𝘦𝘥 𝘢 𝘳𝘦𝘱𝘭𝘺 𝘴𝘰 𝘲𝘶𝘪𝘤𝘬𝘭𝘺!

Photo credit: pictures taken from Zhanna's IG page, edit by Silke

Sure! I can't believe it! You were almost missing your life's most precious prize!!!
𝘈𝘯𝘰𝘵𝘩𝘦𝘳 𝘨𝘳𝘦𝘢𝘵 𝘥𝘢𝘺 𝘢𝘳𝘳𝘪𝘷𝘦𝘥 𝘸𝘩𝘦𝘯 𝘵𝘩𝘦𝘺 𝘢𝘯𝘯𝘰𝘶𝘯𝘤𝘦𝘥 𝘵𝘩𝘢𝘵 𝘰𝘯 𝘵𝘩𝘦𝘪𝘳 𝘐𝘎 𝘱𝘳𝘰𝘧𝘪𝘭𝘦. 𝘐 𝘭𝘪𝘷𝘦 𝘪𝘯 𝘐𝘤𝘦𝘭𝘢𝘯𝘥 𝘢𝘯𝘥 𝘪𝘯 𝘍𝘦𝘣𝘳𝘶𝘢𝘳𝘺 2021 𝘸𝘦 𝘩𝘢𝘥 𝘢 𝘴𝘦𝘳𝘪𝘦𝘴 𝘰𝘧 𝘲𝘶𝘪𝘵𝘦 𝘱𝘰𝘸𝘦𝘳𝘧𝘶𝘭 𝘦𝘢𝘳𝘵𝘩𝘲𝘶𝘢𝘬𝘦𝘴 𝘣𝘦𝘧𝘰𝘳𝘦 𝘰𝘯𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘷𝘰𝘭𝘤𝘢𝘯𝘰𝘦𝘴 𝘦𝘳𝘶𝘱𝘵𝘦𝘥. 𝘚𝘰 𝘪𝘵 𝘸𝘢𝘴 𝘰𝘯𝘦 𝘰𝘧 𝘵𝘩𝘰𝘴𝘦 𝘯𝘪𝘨𝘩𝘵𝘴 𝘐 𝘸𝘢𝘴𝘯’𝘵 𝘢𝘣𝘭𝘦 𝘵𝘰 𝘴𝘭𝘦𝘦𝘱, 𝘣𝘦𝘪𝘯𝘨 𝘳𝘦𝘢𝘥𝘺 𝘵𝘰 𝘳𝘶𝘯 𝘢𝘸𝘢𝘺 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘩𝘰𝘶𝘴𝘦.
𝘐 𝘧𝘦𝘭𝘭 𝘢𝘴𝘭𝘦𝘦𝘱 𝘪𝘯 𝘵𝘩𝘦 𝘮𝘰𝘳𝘯𝘪𝘯𝘨 𝘢𝘯𝘥 𝘢𝘧𝘵𝘦𝘳 𝘢𝘳𝘰𝘶𝘯𝘥 2𝘩 𝘐 𝘸𝘢𝘴 𝘢𝘸𝘢𝘬𝘦𝘯𝘦𝘥 𝘣𝘺 𝘮𝘺 𝘱𝘩𝘰𝘯𝘦 𝘷𝘪𝘣𝘳𝘢𝘵𝘪𝘯𝘨 𝘭𝘪𝘬𝘦 𝘢 𝘤𝘳𝘢𝘻𝘺. 𝘔𝘺 1𝘴𝘵 𝘵𝘩𝘰𝘶𝘨𝘩𝘵 𝘸𝘢𝘴 - 𝘪𝘵’𝘴 𝘢𝘯 𝘦𝘷𝘢𝘤𝘶𝘢𝘵𝘪𝘰𝘯 𝘢𝘯𝘥 𝘐’𝘮 𝘣𝘦𝘪𝘯𝘨 𝘯𝘰𝘵𝘪𝘧𝘪𝘦𝘥 𝘣𝘺 𝘵𝘩𝘦 𝘨𝘰𝘷𝘦𝘳𝘯𝘮𝘦𝘯𝘵.
𝘛𝘩𝘦𝘯 𝘐 𝘴𝘢𝘸 𝘢𝘭𝘭 𝘵𝘩𝘰𝘴𝘦 𝘩𝘢𝘱𝘱𝘺 𝘮𝘦𝘴𝘴𝘢𝘨𝘦𝘴, 𝘐 𝘴𝘵𝘪𝘭𝘭 𝘤𝘰𝘶𝘭𝘥𝘯'𝘵 𝘶𝘯𝘥𝘦𝘳𝘴𝘵𝘢𝘯𝘥 𝘸𝘩𝘢𝘵 𝘸𝘢𝘴 𝘨𝘰𝘪𝘯𝘨 𝘰𝘯 (𝘮𝘢𝘺𝘣𝘦 𝘪𝘵’𝘴 𝘮𝘺 𝘣𝘥𝘢𝘺, 𝘢𝘯𝘥 𝘐 𝘧𝘰𝘳𝘨𝘰𝘵?)
𝘞𝘩𝘦𝘯 𝘐 𝘧𝘪𝘯𝘢𝘭𝘭𝘺 𝘸𝘰𝘬𝘦 𝘶𝘱, 𝘐 𝘶𝘯𝘥𝘦𝘳𝘴𝘵𝘰𝘰𝘥. 𝘗𝘦𝘰𝘱𝘭𝘦 𝘫𝘶𝘴𝘵 𝘴𝘢𝘸 𝘢 𝘱𝘰𝘴𝘵 𝘰𝘯 𝘐𝘎 𝘢𝘯𝘥 𝘐 𝘣𝘦𝘤𝘢𝘮𝘦 “𝘧𝘢𝘮𝘰𝘶𝘴”

Great! Your day as a celebrity!
𝘏𝘢𝘩𝘢, 𝘪𝘯𝘥𝘦𝘦𝘥!
𝘈𝘯𝘥 𝘢 𝘧𝘶𝘯𝘯𝘺 𝘧𝘢𝘤𝘵 𝘸𝘢𝘴 𝘵𝘩𝘢𝘵 𝘐 𝘸𝘢𝘴 𝘨𝘦𝘵𝘵𝘪𝘯𝘨 𝘲𝘶𝘪𝘵𝘦 𝘢 𝘭𝘰𝘵 𝘰𝘧 𝘮𝘦𝘴𝘴𝘢𝘨𝘦𝘴 𝘸𝘩𝘦𝘳𝘦 𝘱𝘦𝘰𝘱𝘭𝘦 𝘸𝘦𝘳𝘦 𝘢𝘴𝘬𝘪𝘯𝘨 𝘧𝘰𝘳 𝘉𝘳𝘪𝘢𝘯’𝘴 𝘢𝘥𝘥𝘳𝘦𝘴𝘴. 𝘐 𝘧𝘪𝘯𝘥 𝘪𝘵 𝘧𝘶𝘯𝘯𝘺 𝘵𝘩𝘢𝘵 𝘴𝘰𝘮𝘦 𝘰𝘧 𝘵𝘩𝘦𝘮 𝘸𝘦𝘳𝘦 𝘵𝘩𝘪𝘯𝘬𝘪𝘯𝘨 𝘩𝘦 𝘸𝘢𝘴 𝘴𝘦𝘯𝘥𝘪𝘯𝘨 𝘪𝘵 𝘧𝘳𝘰𝘮 𝘩𝘪𝘴 𝘩𝘰𝘮𝘦 𝘸𝘳𝘪𝘵𝘪𝘯𝘨 𝘩𝘪𝘴 𝘢𝘥𝘥𝘳𝘦𝘴𝘴 𝘰𝘯 𝘪𝘵 𝘸𝘪𝘵𝘩 𝘣𝘦𝘢𝘶𝘵𝘪𝘧𝘶𝘭 𝘭𝘦𝘵𝘵𝘦𝘳𝘴.
𝘛𝘩𝘪𝘴 𝘪𝘴 𝘧𝘶𝘯𝘯𝘺 𝘣𝘶𝘵 𝘢𝘭𝘴𝘰 𝘪𝘯𝘵𝘪𝘮𝘪𝘥𝘢𝘵𝘪𝘯𝘨. 𝘐 𝘧𝘦𝘦𝘭 𝘴𝘰𝘳𝘳𝘺 𝘧𝘰𝘳 𝘧𝘢𝘮𝘰𝘶𝘴 𝘱𝘦𝘰𝘱𝘭𝘦 𝘴𝘰𝘮𝘦𝘵𝘪𝘮𝘦𝘴.
𝘈𝘯𝘥 𝘢𝘣𝘰𝘶𝘵 𝘵𝘩𝘦𝘪𝘳 𝘱𝘢𝘳𝘵𝘪𝘤𝘪𝘱𝘢𝘵𝘪𝘰𝘯 𝘪𝘯 𝘵𝘩𝘦 𝘚𝘵𝘢𝘨𝘦𝘩𝘢𝘯𝘥 𝘤𝘢𝘮𝘱𝘢𝘪𝘨𝘯, 𝘐 𝘥𝘰 𝘳𝘦𝘴𝘱𝘦𝘤𝘵 𝘵𝘩𝘦 𝘣𝘢𝘯𝘥 𝘧𝘰𝘳 𝘴𝘶𝘤𝘩 𝘵𝘩𝘦𝘪𝘳 𝘢𝘤𝘵𝘪𝘷𝘪𝘵𝘺. 𝘐 𝘥𝘰𝘯'𝘵 𝘣𝘦𝘭𝘰𝘯𝘨 𝘵𝘰 𝘵𝘩𝘦 𝘮𝘶𝘴𝘪𝘤 𝘪𝘯𝘥𝘶𝘴𝘵𝘳𝘺 𝘣𝘶𝘵 𝘐 𝘩𝘢𝘷𝘦 𝘢 𝘤𝘰𝘶𝘱𝘭𝘦 𝘰𝘧 𝘨𝘰𝘰𝘥 𝘧𝘳𝘪𝘦𝘯𝘥𝘴 𝘸𝘩𝘰 𝘥𝘰. 𝘈𝘯𝘥 𝘐 𝘴𝘢𝘸 𝘸𝘩𝘢𝘵 2020 𝘥𝘪𝘥 𝘵𝘰 𝘵𝘩𝘦𝘮, 𝘭𝘦𝘢𝘷𝘪𝘯𝘨 𝘵𝘩𝘦𝘮 𝘸𝘪𝘵𝘩𝘰𝘶𝘵 𝘫𝘰𝘣𝘴 𝘵𝘩𝘦𝘺 𝘭𝘰𝘷𝘦, 𝘵𝘰𝘵𝘢𝘭𝘭𝘺 𝘥𝘦𝘱𝘳𝘦𝘴𝘴𝘦𝘥. 𝘛𝘢𝘭𝘦𝘯𝘵𝘦𝘥 𝘱𝘦𝘰𝘱𝘭𝘦 𝘣𝘦𝘪𝘯𝘨 𝘶𝘯𝘦𝘮𝘱𝘭𝘰𝘺𝘦𝘥 𝘰𝘳 𝘱𝘦𝘳𝘧𝘰𝘳𝘮𝘪𝘯𝘨 𝘪𝘯 𝘴𝘰𝘮𝘦 𝘭𝘰𝘸 𝘲𝘶𝘢𝘭𝘪𝘧𝘪𝘦𝘥 𝘫𝘰𝘣𝘴. 𝘛𝘩𝘪𝘴 𝘪𝘴 𝘱𝘢𝘪𝘯𝘧𝘶𝘭. 𝘛𝘩𝘢𝘵’𝘴 𝘸𝘩𝘺 𝘐 𝘥𝘪𝘥𝘯’𝘵 𝘵𝘩𝘪𝘯𝘬 𝘵𝘸𝘪𝘤𝘦 𝘣𝘦𝘧𝘰𝘳𝘦 𝘱𝘢𝘳𝘵𝘪𝘤𝘪𝘱𝘢𝘵𝘪𝘯𝘨. 𝘗𝘭𝘶𝘴, 𝘵𝘩𝘦 𝘱𝘳𝘪𝘻𝘦 𝘸𝘢𝘴 𝘳𝘦𝘢𝘭𝘭𝘺 𝘢𝘸𝘦𝘴𝘰𝘮𝘦!

Dear soulmates, I know I raised a theme that probably touched some of you up close, so I would be grateful if someone would like to share here their personal experience about that.
I'd like to end this post with a hopeful thought wishing that we all could finally enjoy the concerts and live shows scheduled this year, for Placebo, for the fans, but even more 𝐟𝐨𝐫 𝐩𝐞𝐨𝐩𝐥𝐞 𝐟𝐨𝐫 𝐰𝐡𝐨𝐦 𝐭𝐡𝐞𝐢𝐫 𝐰𝐨𝐫𝐤 𝐡𝐚𝐝 𝐣𝐮𝐬𝐭 𝐝𝐢𝐬𝐚𝐩𝐩𝐞𝐚𝐫𝐞𝐝 💓

Post by Emanuela