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Entertainment The Many Eras of St. Vincent: Why the Artist Will Always Keep Us Guessing

13:25  12 may  2021
13:25  12 may  2021 Source:   billboard.com

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For the Daddy’s Home era , St . Vincent says she wanted to explore and tell the story of this period of time “where life was bad but the music was good, which kind of feels like now in some ways.” She started working with collaborator Jack Antonoff on the record in the winter of 2019, around the " We [all] live by the stories we tell ourselves, and we are constantly creating new stories to live by.” In many ways, that’s the fun of being -- and being adjacent to -- St . Vincent , as those new stories evolve into miniature worlds time and time again. “I’ve been sitting here having a front row seat for a long time

The Most Virtuosic of St . Vincent , According to Annie Clark. We had Wurlitzers from that era . Why does this sound and feel so good? There wasn’t any way to do it exactly as he did it without rewriting “Golden Lady,” but to [instead] sort of take some of the lessons and go under the hood and

While performing hits off her 2014 self-titled album at Chicago’s Pitchfork Music Festival that same year, St. Vincent delivered a particularly memorable stunt: she crashed her head into the kick drum time and time again, stumbling back closer toward the audience with each blow.

Adam Farrell, creative director at Loma Vista — which signed St. Vincent to a recording contract in 2013 — recounts a similar experience at Austin City Limits. “She had just fallen like, 20 feet, and banged up her leg and she hobbles up to me and I just look at her mom like, ‘We need to stage an intervention,’” he says with a laugh. “But that was part of the [mode]. That’s when she was stage-diving and climbing on the lights and stuff — that album was kind of angry and vindictive in nature.”

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Latin artists have had a strong presence on late night television recently, but that hasn’t always been the case. In 2007, Daddy Yankee took center stage at The Jay Leno Show where he performed “Impacto.” Then, in 2014, made history as the first-ever Spanish-language artist to perform on The Tonight Show Starring Jimmy Fallon, and in 2015, he was the first Latin artist on The Late Show With Stephen Colbert. The Many Eras of St . Vincent : Why the Artist Will Always Keep Us Guessing .

Annie Clark, who records as St Vincent , is one of the best rock guitarists around — but so many conversations about her music don’t mention the guitar. It’s an embarrassment of riches from just one artist . Unfortunately, it also means that her most potent superpower risks getting lost in the lights. Because if you’re going to actually refer to St . Vincent as an alt-rock goddess or indie-rock goddess or whatever type of goddess, the least you can do is credit her as one of the most innovative guitar players of our era .

That sort of on-stage demeanor defined a tightly-packaged period of time in St. Vincent’s career — one that has been defined by and composed of highly-specific eras since signing with Loma Vista. There was the high-priestess-inspired glitchy and electric St. Vincent, a rollout for which the artist sported silvery-white spring-curls (the project won a Grammy for best alternative album), and the tongue-in-cheek MASSEDUCATION, her 2017 release full of double meaning and highbrow observations identified by its intense saturation and St. Vincent’s sleek dark bob (the 2018 piano-reworking pulled a 180 with softer-neutral tones). Now, there’s the jazzy, ‘70s-inspired Daddy’s Home (out this Friday, May 14), for which the artist born Annie Clark decided to don a blonde, bobbed wig cut with bangs.

Communities across Canada raise funds for displaced families in St. Vincent after volcanic eruptions

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Vincent van Gogh completed more than 2,100 works, consisting of 860 oil paintings and more than 1,300 watercolors, drawings and sketches. Several of his paintings now rank among the most expensive in the world; "Irises" sold for a record .9 million, and his "Portrait of Dr. Gachet" sold for .5 million. Hours later, van Gogh went to the local brothel and paid for a prostitute named Rachel. With blood pouring from his hand, he offered her his ear, asking her to " keep this object carefully." The police found van Gogh in his room the next morning, and admitted him to the Hôtel-Dieu hospital.

Paul Gauguin : We do. Us , our generation. We have to change entirely the relation between painting and what you call nature. Between painting and reality because painted reality is its own reality. Vincent Van Gogh : If not, what good is an artist ? Vincent Van Gogh : [reading Gauguin's letter] The winter is always dangerous to you. [first lines]. Vincent Van Gogh : I just want to be one of them. I would like to sit down with them and have a drink and talk about anything. I'd like them to give me some tobacco, a glass of wine, or even just ask me, "How are you today?"

The music is less suited for rowdy festival crowds and more so for patrons of a dim-lit venue in New York’s West Village (St. Vincent sighs with hope at the idea of playing a residency “in a sweaty little club”). It’s why, Farrell says, her first live performance of this album’s cycle — as musical guest on Saturday Night Live – couldn’t have been a more perfect setting. He says the last time St. Vincent performed on the show, “we basically made the stage look like her [self-titled] album artwork. For this one it was like, ‘We just want to make it look like Saturday Night Live.’” The team even tried to secure set props from 1975, the year the show debuted, though it proved more challenging than anticipated. Even still, he says, “[The stage] is so New York.”

Her performance of singles “Pay Your Way in Pain” and “The Melting of the Sun” — the latter of which St. Vincent delivered while seated in stockings and a feathered coat — introduced her latest look as “this kind of sleazy, downtown New York 1971-1975’s Candy Darling character,” according to Farrell. He points to the tradition of eras, from KISS to David Bowie to The Beatles, saying “I love how Annie taps into that genealogy of rock and roll. From the label’s perspective, it’s most exciting to watch an artist develop like she has.”

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The social activist helped create the Black Lives Matter movement after spurring debate with the #blacklivesmatter hashtag in 2013 following the acquittal of George Zimmerman in the shooting death of Trayvon Martin. The movement has since become central to race debates in the US and across the world, with protests popping up in major cities highlighting the controversial deaths of black Americans such as George Floyd. “Under Marxism, the people in charge always live well. This is an excellent example of why knowing history is important,” Townhall contributor Mike LaChance wrote.

For the Daddy’s Home era, St. Vincent says she wanted to explore and tell the story of this period of time “where life was bad but the music was good, which kind of feels like now in some ways.” She started working with collaborator Jack Antonoff on the record in the winter of 2019, around the time her father was released from prison after nearly 10 years for his involvement in a stock-manipulation scheme. As a result, she found herself revisiting memories of her childhood, from vinyl her father had played to seeing the 1977 film Opening Night starring Gena Rowlands.

“It wasn’t like I went back and studied and rewatched it, it was just the feeling,” St. Vincent says. “Half the time I find the creative process is your impression of a memory of something that you loved, and then trying to get at that memory: ‘How do I capture this?’ And then, of course, ironically, every time we access a memory we’re changing it.”

It’s precisely why, she says, it’s important to remember that while she’s the authority on her story, it’s exactly that: hers. “I’m not the authority on anyone else’s,” she says. “We [all] live by the stories we tell ourselves, and we are constantly creating new stories to live by.”

Koh-Lanta, Secret Weapons: Furious Internet users after the elimination of Vincent

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In many ways, that’s the fun of being — and being adjacent to — St. Vincent, as those new stories evolve into miniature worlds time and time again. “I’ve been sitting here having a front row seat for a long time and am used to being blown away and surprised by what she comes up with for every single project,” says Farrell. “She’s everything a rockstar should be.”

St. Vincent says she plans to never stop throwing such change-ups. “I hope I go out like a jazz musician, I hope I just die on stage,” she says. “I don’t see an end to making things. I only want to get better.”

At the same time, she’s well aware that with longevity comes a sort of responsibility — and it’s one she doesn’t take lightly. “I think [there’s] a tacit agreement from artist to fan,” she says. “I will never make you feel stupid for loving me.”

Perhaps St. Vincent’s most important character of all, though — the one that, by design, fans likely know least — is the role of Annie Clark, a 38-year-old from Tulsa, Oklahoma. While in lockdown last year due to the pandemic, she says it was the first time in her adult life that she was in one place for more than two weeks. When asked if she got to know herself any better, she recalled a quote from Veep, which she had rewatched while stuck at home: “[It’s] reminding me of Selina Meyer doing an interview after she loses the presidency and she’s like, ‘I just got to know a little lady named Selina, and I like her.’”

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