The Republicans are basically water-skiing behind the Titanic. And years of touring, you just end up meeting people on tour. If Trump were bright and could regulate his emotions, he would be truly terrifying. This was the mids so I had met plenty of heads of state, children of heads of state and I was also very drunk. I just thought she was very nice, this normal, soft-spoken person.
It has more depth, more nuance, more texture. It was a few things. And the fourth reason is, I have always worried and anxious and possibly taken myself too seriously and calling an album Play was a reminder to not be so dark and dour and self-involved.
Up until now, Michelle Zauner's albums as Japanese Breakfast were mired in grief. It's more than understandable: They were written in the wake of her mother's death. But while Psychopomp and Soft Sounds from Another Planet mourned her mother's cancer and passing—both depicted in harrowing detail in Zauner's new memoir, Crying in H Mart , where she also reckons with her Korean identity—her upcoming third album, Jubilee , lets some light back in.
Of course, one can't emerge from grief by discarding it entirely; Zauner sits with the darker moments, too. Why, then, does she put that track, and the similarly reimagined "Posing in Bondage," on her new, optimistic album? For Zauner, it's a "good reminder of where I've come from.
So on Jubilee, Zauner strives for joy. She said she feels "like I'm able to do things in my life now that aren't all clouded over with grief," and she wanted to explore that optimism in herself.
From the bright, horn-heavy opener "Paprika" to gothic, dancey tracks, Zauner's Jubilee hinges on possibility and hope: She reminds herself that she's allowed to feel joy after this deep, consuming sadness. I'm really curious about the timeline of working on the album and working on the memoir—did they overlap? I was working on the book pretty intensely from probably to I sent out my first draft to my editor in October or September of , so I kind of had this built-in break for three to five months where I just could not think about it, and it was in her hands, and I could go off and work on another big project.
It was really time for us to start recording a new record, so I started writing and recording largely in They are separate but, not to be cliche, they are interrelated in so many ways. Did you apportion certain ideas to one [project] or did they influence each other?
A good deal of the record has to do with my personal life in some ways, and a lot of it was the aftermath of where the book left off, [that] is actually the content of the songs. I think if anything, I wrote two albums that were largely focused on grief and then this whole book that really dove into that experience, [and then] I felt like I was actually really ready to fling myself to the other end of the spectrum and write about this other part of my life that is a bit more joyful.
That's actually what I was going to ask you about—this album is titled Jubilee, which means celebrating the passage of time. Was there a moment or catalyst, like "it's time to turn towards joy," or was it a slow realization?
I don't know if there was a catalyst, I think it was the slow processing of grief over the past six years, and it just made space for me—time has healed a gaping wound, and it's something that I will live with forever, but it's less debilitating, it's less of my primary focus. I feel like I'm able to do things in my life now that aren't all clouded over with grief. It was definitely a conscious choice to be like, "OK, I've written two very dark albums and a whole book about grief, I want to write about something else," because I feel ready to do that and I'm interested in these other parts of my life and joy in particular.
I think a lot of what I was going through was: "You're allowed to feel again, you're allowed to feel joy. I feel like "Paprika" really encapsulates everything you're trying to do on this record — it's very naturalistic, there's so much possibility.
And then there are songs on the record like "Savage Good Boy" and "Kokomo, IN" which are more narrative and use personas. Why did you decide to do that? It just happened organically.
It's something that I've done before and I've always had a lot of fun with, and I think it's just like flexing this different type of muscle. I think I read something about billion-dollar bunkers in the news, and it inspired this whole narrative about a billionaire coaxing a young woman to live with him as the world burns around them. I just followed the natural narrative that the song created for itself.
You mention in your new memoir, Crying in H Mart , about being seen as a "bad girl" when you were a kid. The song "Slide Tackle" brings that up, too. Do you still think of yourself like that? As a bad girl? My brain is very occupied, and I think a lot of my songs really boil down to "I want to be better, I want to be a better person. I always want to be a better person.
You mentioned your guitar lessons, and I know you did a lot of work as a songwriter as you were creating this album. I felt a little stuck and needed some brushing up. I've always been very willfully ignorant of music theory and thought it would hinder my natural songwriting ability, and I realized after years of touring and working professionally as a musician, I got to meet so many stunning musicians who have this incredible education that I've become quite envious of.
I feel like that really inspired me to get back in and see what it could bring out in me that was new. I really liked it, actually. I was like, "This whole time there have been this many chords? Between "Posing in Bondage" and "Posing for Cars"—this might just be me being prosaic—I thought a lot about the word "posing," like posing for art, or even posturing.
Those songs are so chilling and isolated. The song was something that we put out with Polyvinyl on a 4-track series, and it was a very, very low-fi version of it that I don't feel like did the song justice and it's always been a song that I really liked. He is just a real sonic wizard, he's a real tinkerer of tone, and he found this perfect balance of tension and these really unique sounds that give it this very fragile, vulnerable feeling.
I really was happy to get it where it needed to be, and there's this almost Enya -esque vocals at the end. That was actually a bonus song for Soft Sounds , for the Japanese deluxe edition. It was just one of those songs that stuck around and has haunted me for a very long time. I think it's a very beautiful and intense song and some of the greatest lyric writing I've done.
It's very melodic and pleasant…I just felt like it didn't deserve to die as an exclusive bonus track, I really wanted more people to hear it.
We just took permits from other film sets. We shot at Chuck E. It was that ridiculous. It took us 20 minutes to load up the elevator. I mean, there was something like 20 of us, you know? Just for two nights. We were drinkers. So when they said that, every station picked it up.
And right there, we knew something was going on. When it goes that fast off one single, and you have no other singles — we knew there was no other single. We were surprised there was even one single. So we just kind of backed out in terms of being public figures.
We had shows planned, and after 80 shows, we turned the tour bus around and went home. I went back to my house in BC and just hung out with my friends. We decided to get out of the Sony deal because we could, and we signed to DreamWorks.
And I forced myself to make another album. Stealographer meaning One who can pick a good picture on the internet - pictures that have been taken by others - and use them as their own.
Steal on you meaning Beat some one up and messed their face up. Stealoso meaning A term used to describe somebody that accidentally steals something, then others are angry because they get let off with a warning. And he would achieve such by doing whatever it is he has to do not to give in to a feeling of depression or defeat. But that conclusion, which we will call the thesis sentiment of the song, is based primarily on the first verse and first chorus.
The audio is such that one has to sort of strain to hear some of the words anyway. The presumption would be that the track blew up due to sounding cool, not because of the message contained therein.
In more recent times the moniker has been held down by frontman Marc Costanzo and his older sibling, Sharon Costanzo. Both Marc and Sharon are the two vocalists on this song. Based a few sources, one of those individuals would most likely be fully named Matt Kelly.
But there is no Chad or Tim listed as having ever been a member of the group. Another artist who was formerly a member of Len that was involved in the creation of this song is Brendan Canning.
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