Garbage Album Tour

01 avril 1996
Metropol
Berlin
Allemagne

Groupe

Shirley Manson (chant, guitare)
Steeve Marker (guitare et clavier)
Duke Erikson (guitare et clavier)
Butch Vig (batterie)
Daniel Shulman (guitare basse)

- Première partie: Bis ou The Rentals ? -

Setlist

-?-

© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.

> source: picslyrics.net

Garbage Album

1996 
Stupid Girl
quatrième single
chanson n°8 de l'album

Enregistrement: La première démo de la chanson est enregistrée en janvier 1994 pendant une session de studio informelle avec les "gars" (Butch, Duke et Steeve) dans le studio du sous-sol de la maison de Steve Marker à Madison, dans le Wisconsin. Shirley ne fait alors pas encore partie du groupe. Steeve a créé les lignes de basse, et Duke les riffs de guitares. La chanson se finalise par l'initiative de Butch d'utiliser un sample de batterie du titre "Train in Vain" du groupe The Clash. Les percussions ont été enregistrées par un musicien de Madison, Pauli Ryan, et la guitare basse par un musicien de Milwaukee, le bassiste Mike Kashou. Le résultat donne une chanson de rock rapide, avec des touches de sons électroniques.

- The Clash "Train in Vain"
(l'intro avec la reprise de la batterie à l'identique):

Composition: Quand Shirley rejoint le groupe, elle retravaille plusieurs titres composés du groupe: "Queer", "Vow" et "Stupid Girl". En travaillant sur les paroles, Shirley explique que la chanson devient "un hymne pour une fille qui ne se contentera pas du minimum par rapport à ce qu'elle veut". Elle ajoutera plus tard que "[Stupid Girl] est vraiment sur un potentiel gaspillage, c'est notre version d'«Express Yourself» de Madonna, mais en un peu plus subversive". Shirley vise la chanson comme un reproche à un comportement stupide d'un ami: "Beaucoup de femmes ont encore du mal à trouver leur propre voix dans la société. C'est juste que les femmes ont un ensemble de problèmes différents des hommes... de tirer le meilleur parti de votre potentiel." Elle dit que "Stupid Girl" était "une chanson de reproche à beaucoup de gens que nous connaissons", autant hommes que femmes, et que "nous aurions pu l'appeler "Stupid Guy" mais cela aurait été fastidieux".
En 2002, réfléchissant au succès de la chanson, Butch Vig racontera que "les gens nous demandent encore qui est la 'Stupid Girl' ('fille stupide') et c'est impossible de leur répondre. La chanson est en quelque sorte déstinée à être un appel d'éveil. Cela peut être une ex petite amie. Cela peut être une diva du rock que nous connaissons tous, cela peut être votre soeur. Cela pourrait aussi s'appeler 'Stupid Boy' ('mec stupide')". Rétrospectivement, il ajoute aussi que "c'est impossible de prédire ce qui sera un succès. Mais inconsciemment, je savais que la chanson était bonne quand je continuais à jouer le même mélange rude encore et encore sur mon autoradio pendant des mois".

Paroles
You pretend you're high
You pretend you're bored
You pretend you're anything
Just to be adored
And what you need
Is what you get

Don't believe in fear
Don't believe in faith
Don't believe in anything
That you can't break

You stupid girl
You stupid girl
All you had you wasted
All you had you wasted

What drives you on (What drives you on)
Can drive you mad (Can drive you mad)
A million lies to sell yourself
Is all you ever had

Don't believe in love
Don't believe in hate
Don't believe in anything
That you can't waste

You stupid girl
You stupid girl
Can't believe you fake it
Can't believe you fake it

Don't believe in fear
Don't believe in pain
Don't believe in anyone
That you can't tame

You stupid girl
You stupid girl
All you had you wasted
All you had you wasted

You stupid girl
You stupid girl
Can't believe you fake it
Can't believe you fake it

You stupid girl
You stupid girl
Can't believe you fake it
Can't believe you fake it

You stupid girl.

Traduction
Tu prétends être tout et n'importe quoi
Tu prétends t'ennuyer
Tu prétends ne rien être
Seulement pour être aimée
Et tu obtiens ce dont tu as besoin

Ne crois pas en la peur
Ne crois pas en la foi
Ne crois en rien
Que tu ne puisses détruire

Toi, fille stupide
Toi, fille stupide
Tu as gaspillé tout ce que tu as eu
Tu as gaspillé tout ce que tu as eu

Ce qui semble te mettre sur le bon chemin (Ce qui semble te
mettre sur le bon chemin)
Peut te rendre folle (Peut te rendre folle)
Un million de mensonges pour te vendre
C'est tout ce que tu
n'as jamais eu

Ne crois pas en l'amour
Ne crois pas en la haine
Ne crois en rien
Que tu ne peux gaspiller

Toi, fille stupide
Toi, fille stupide
Je ne peux pas le prétendre
Je ne peux pas le prétendre

Ne crois pas en la peur
Ne crois pas à la peine
Ne crois en personne
Que tu ne puisses maîtriser

Toi, fille stupide
Toi, fille stupide
Tu as gaspillé tout ce que tu as eu
Tu as gaspillé tout ce que tu as eu

Toi, fille stupide
Toi, fille stupide
Je ne peux pas le prétendre
Je ne peux pas le prétendre

Toi, fille stupide
Toi, fille stupide
Je ne peux pas le prétendre
Je ne peux pas le prétendre

Toi, fille stupide

Le single: Le single sort le 22 janvier 1996 en Australie et le 28 février 1996 en Europe; sous le label Almo Sounds aux USA et sous Mushroom Records dans le reste du monde. Mushroom Records distribue la chanson aux stations de radios en Angleterre un mois avant sa sortie officielle. Le single est sorti en CD, en vinyl et en K7 audio.
Le label Mushroom sort le 11 mars 1996 au Royaume-Uni une édition limitée en vinyl avec 2 couleurs différentes. Sur le 1er, on y trouve les titres "Driving Lesson", une version alternative de "Dog New Tricks" et un remixe de "Stupid Girl" de Red Snapper; sur le 2ème, figurent "Alien Sex Fiend" et deux versions remixées de "Stupid Girl" par Dreadzone. Le vinyl contient un remix de "Dog New Tricks:

 
>-> Pochettes des vinyles UK<-<

Le label Almo sort le single avec un remix de la chanson par Todd Terry. Le 9 juillet, Almo resort le titre en CD et cassette, avec les titres "Driving Lesson" et le remix de Todd Terry. Le 6 août, Almo sort en format vinyl le titre avec les titres "Driving Lesson" et des remixes de "Stupid Girl" par Todd Terry, Danny Saber, Rabbit In the Moon et Jason Bentley.

 
>-> Pochettes des singles de Stupid Girl: France / USA / Danemark <-<

CD Single - Europe
    "Stupid Girl" – 4:19
    "Butterfly Collector" – 3:41
    "Trip My Wire" – 4:29

   CD / Cassette - Australie - 1
    "Stupid Girl" – 4:19
    "Trip My Wire" – 4:29
    "Queer (The Very Queer Dub Bin)" – 5:12
    "Queer (The Most Beautiful Woman in Town Mix)" – 5:36

   CD / Cassette - Australie - 2
    "Stupid Girl" – 4:19
    "Butterfly Collector" – 3:41
    "Queer (F.T.F.O.I. Mix)" – 7:17
    "Queer (Danny Saber Mix)" – 5:39

   CD Grande-Bretagne - 1
    "Stupid Girl" – 4:19
    "Driving Lesson" – 3:48
    "Dog New Tricks (The Pal mix)" – 4:02
    "Stupid Girl (Red Snapper mix)" – 7:37

      CD Grande-Bretagne - 2
    "Stupid Girl" – 4:19
    "Alien Sex Fiend" – 4:37
    "Stupid Girl (Dreadzone dub version)" – 6:08
    "Stupid Girl (Dreadzone vocal mix)" – 6:34

      CD Single - Grande-Bretagne
    "Stupid Girl" – 4:19
    "Dog New Tricks (The Pal mix)" – 4:02

      CD Single / Cassette - USA
    "Stupid Girl" – 4:19
    "Stupid Girl (Tee's radio edit)" – 3:49
    "Driving Lesson" – 3:48

      CD Single - USA
    "Stupid Girl (Todd Terry Freeze Club)" – 5:53
    "Stupid Girl (Todd Terry In House Dub)" – 6:11
    "Stupid Girl (Future Retro Mix)" – 5:20
    "Stupid Girl (Danny Saber Mix)" – 4:23
    "Stupid Girl (Shoegazer Mix)" – 5:53
    "Driving Lesson" – 3:48

   CD Single - France
    "Stupid Girl" – 4:19
    "Stupid Girl (Dreadzone dub version)" – 6:08
    "Dog New Tricks (The Pal mix)" – 4:02

     CD Single - Allemagne
    "Stupid Girl (Radio edit)" – 3:44
    "Stupid Girl" – 4:19

     CD Single "The Remixes" - Australie
    "Stupid Girl (Dreadzone vocal mix)" – 6:34
    "Stupid Girl (Dreadzone dub version)" – 6:08
    "Stupid Girl (Red Snapper mix)" – 7:37
    "Stupid Girl" – 4:19
    "Alien Sex Fiend" – 4:37

      CD Remixes Stupid Girl - Grande-Bretagne
    "Stupid Girl (Todd Terry Freeze Club)" – 5:53
    "Stupid Girl (Todd Terry Bonus Beats)" – 3:11
    "Stupid Girl (Todd Terry In House Dub)" – 6:11
    "Stupid Girl (Todd Terry Capella)" – 3:34

C'est la chanson du groupe qui a connu le plus grand succès aux USA et en Angleterre, et qui a été beaucoup remixée; elle a été nommé aux Grammy Awards (USA) dans deux catégories ('Best Rock Song' remporté par Tracy Chapman et 'Best Rock Performance by a Duo or Group' gagné par Dave Matthews Band), aux Danish Grammy (pour Meilleure chanson Rock), aux MTV Video Music Award (pour 'Best New Artist') et aux MTV Europe Music Award (pour la Meilleure Chanson).
La chanson atteint la 38ème place dans les charts français et permet de rebooster la vente de l'album, qui va atteindre la 16ème place des ventes d'album en France. Dans les tops des charts: le titre atteint la 4ème place en Angleterre, la 2ème place au Canada.

En janvier 1996, pendant que Garbage répète pour leur tournée, ils enregistrent à nouveau quelques titres destinés à figurer en Face-B: ils remixent le titre "Dog New Tricks" qui figure sur l'album, et enregistrent "Driving Lesson", "Alien Sex Fiend" et "Kick My Ass" (une reprise de Vic Chesnutt destinée à figurer sur l'album de charité Sweet Relief II: gravity of the Situation). Daniel Shulman joue de la basse sur chacun de ces 4 titres. 

Les titres Face-B:
- Driving Lesson
-  Alien Sex Fiend
-  Butterfly Collector
-  Trip My Wire

Le clip vidéo: Le clip a été tourné le 16 janvier 1996 à Los Angeles (en même temps que le clip de "Ony happy when it rains") et réalisé aussi par Samuel Bayer. La vidéo, tournée en à peine quatre heures dans un entrepôt, bénéficie d'un petit budget (tandis que "Only Happy", sur lequel la compagnie Almo Sounds misait sur la réussite, avait le budget le plus important). La première diffusion a lieu le 1er février 1996 (et le 5 mai aux USA), et le clip rencontre un vif succès sur les chaînes MTV et VH1.

Les images de la vidéo se présentent sous l'aspect d'une vieille bobine abîmée, inspirée du générique de Seven de David Fincher (sorti en salles l'année précédente). Pour donner cet aspect usé à la bobine, le réalisateur l'a coupée en morceau, a mis ses empreintes digitales et l'a écorchée, puis l'a trempée dans un bain, avant de la réassembler.
La vidéo a été nommée dans la catégorie de "Best New Artist in a Video" aux MTV Video Music Awards de 1996 (mais c'est le clip d'"Ironic" d'Alanis Morissette, réalisé par Stephane Sednaoui qui remporte le prix).

> vidéo

> captures
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Samuel Bayer a plus tard réalisé une deuxième version de la vidéo, avec des images supplémentaires à la vidéo originale, pour une version remixée de "Stupid Girl" par Todd Terry:

> captures des images / plans ajoutés:
 
 
 
 
 
 
 
 

> vidéo clip du remix de Todd Terry

La vidéo figure sur la K7 VHS Garbage Video (1996), contenant un making-of:

> Sur le tournage - captures
 
 
 
 
 
  

> Sur le tournage - captures
 documentaire "Thanks For Your Uhh, Support" (DVD Absolute Garbage)
 

> video Making-Of

Dans la vidéo, Shirley Manson porte une petite robe courte noire avec une grande bande blanche d'un "V" à l'envers et de grandes bottes; robe qu'elle avait achetée à petit prix (à l'époque, on trouvait la robe en vente dans les boutiques "La City" en France).

> 1995 - photographies de Stephen Sweet
  
 

> captures du documentaire "Thanks For Your Uhh, Support" (DVD Absolute Garbage)
 

> 1996 - dans les coulisses - Shirley et Duke
captures du documentaire "Thanks For Your Uhh, Support" (DVD Absolute Garbage)
 
 

La promo- Performances télés - Le groupe a interprété le titre en live dans diverses émissions TV à travers le monde (rdv dans la catégorie 1995-1996 Promo album Garbage ):

> TOP OF THE POPS - 20 mars 1996
> TFI FRIDAY - 29 mars 1996
> LATE SHOW OF DAVID LETTERMAN - 11 juillet 1996
> VH1 FASHION AWARDS - 24 octobre 1996

> Sur le web:
article Stupid Girl wikipedia 
les singles de Stupid Girl sur garbage-discography 

© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.

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Shirley Manson of Garbage on Brexit, Taylor Swift, and How the Scots Have ‘Disowned’ Trump
June 26, 2016 - By Marlow Stern - The Daily Beast

The singer/songwriter opens up about her band’s impressive sixth studio album, Strange Little Birds, and much more over beers with senior entertainment editor Marlow Stern.

“I’m kind of a monster, in a way,” offers Shirley Manson, cradling a pint of lager. “I enjoy the grind. I think I’ve missed one show in my entire career. I’m just a maniac. I don’t know if that’s a good thing or a bad thing…”

Manson has been the lead singer of the alt-rock group Garbage since 1993, snarling, kicking, and wailing her way to 17 million records sold and even a Bond theme. Now, the band she formed with legendary Nirvana producer Butch Vig and Co. is back with their sixth studio album, Strange Little Birds—a melancholic and cinematic sonic journey that’s garnering some of the best reviews of the Madison, Wisconsin, group’s career.

The outspoken and affable Scot, whose striking red hair is now pink, sat down with me at a hotel bar in downtown Manhattan to discuss her thorny path from the bullied daughter of a Sunday school teacher in her native country to one of rock ‘n’ roll’s most badass leading ladies.

Well, this is exciting. Your group’s sixth album is receiving some of the best reviews of the band’s career.

It’s really exciting. I have to say, it’s sort of nuts. I never expected it, you know? I’m a Scottish fatalist, so I always expect we’re going to meet a cruel, hard, icy, cold wall. So it was spectacularly shocking. In the ‘90s, it felt like it was easier to release a record and get some attention, and now it seems very difficult. There’s so much noise.

There is so much noise. It seems like the music industry has become a lot less democratic—that a handful of acts seem to control so much of the conversation. It’s the 99 percent versus the 1 percent.

That’s exactly what it feels like to me. And they get bigger and bigger and bigger. It’s like a hot air balloon where they just get pumped up ever more in our face, and it’s getting harder and harder for subcultures to have a voice. That’s not how I grew up. I grew up in the ‘70s, essentially, and there were so many subcultures that had powerful voices, and now I feel that’s impossible. It’s all becoming very Orwellian and homogenized. We’re all listening to the same records, dressing the same. It’s troubling. At the same time, I think we’re getting more and more divisive as a society, whereas in music, funnily enough, everything’s getting more centralized. I guess it’s about trying to survive, so media outlets just want to cover the big acts to get the clicks. They also have to answer to corporate interests. It’s all about money. People are so obsessed with labeling things as “successful” and “unsuccessful,” and that’s just not how I look at the world. There are so many records I’m obsessed by that influenced me and changed my life that nobody’s ever heard of. To me, they are heroes.

What are some of those bands, or records?

I’m thinking of the Scottish bands I grew up with, like The Shop Assistants, The Fire Engines, Hey! Elastica—all these underground bands that nobody’s ever heard of but they made records that changed my life. So are they successful or unsuccessful? To me, they’re successful because they made records that touched people’s lives. Now, it seems things are being put up against a ridiculous measuring stick.

On Strange Little Birds, the title comes up on one of the album’s best tracks, “Even Though Our Love Is Doomed.” To me, the titular “strange little birds” seemed like that scene you paint on the song “Empty” where you’re wandering down streets and see a sea of smiling, vacant faces.

Well, you’re bang-on. I think it’s pretty much humanity, really—how we all look at each other, we’re all judging each other, and we’re all thinking, “Oh, that person’s a freak because they don’t do things the way I do.” Our feelings towards one another in the world are becoming more and more exacerbated by that sense. I felt it was a general headline for our record. I think everybody’s weird other than myself, and I don’t think I’m alone in feeling that way.

As far as weirdness goes, there was a lot of tension in the band after Bleed Like Me and a fairly lengthy hiatus before your 2012 album Not Your Kind of People. How did the group overcome that?

Fuck knows! Just put one foot in front of the other and hope for the best. I think there are a lot of reasons for it, though. We have discovered, as people, that we do not do well under a major label because we’re not willing to make the compromises that major labels require. I get it—they have corporate interests and are trying to make money—but we have realized that we’re not their Huckleberrys. We’re polite, but defiant, and we did not want to be told what to do or make the compromises they wanted us to make.

What sort of suggestions was your label making?

They had suggestions of us working with different artists—in particular hip-hop artists, and we love hip-hop but it had nothing to do where we were coming from musically. It just seemed so phony and calculated, and people were already suspicious of us being a calculated band during the best of times. It felt so forced and silly. This was around 2005.

Ah, so in the wake of the Jay Z/Linkin Park album.

Yeah, around then. And I get it—there were a lot of bands that did it, and were successful at it. But it just felt wrong. So, we had problems with our company and then that caused problems amongst ourselves, because everybody’s blaming themselves—and each other—for the perceived failure of the band. It causes a lot of tension. Everybody had their own idea of how to “save” the band, but I think when we went our separate ways, we all just got frustrated with not being able to make music together.

It seems like you gave a different part of yourself to Strange Little Birds. There is a softness and vulnerability in your voice that I think was more masked on past albums.

I think I just got to the point where I felt I had nothing to lose. No fucks given. It’s come to that point where I can only be what I am, and I have to focus on what I can do. Once I figured that out—I don’t have to be young, I don’t have to be pretty, I don’t have to be sexy, I don’t have to be wearing a bikini in a video shoot—when I really came to terms with all that and realized that all I had to do was do good work, then yeah, no fucks were given. What do I have to lose? I’m here for such a short time that I might as well tell the truth.

With frontwomen in bands, there can be—and a lot of this is the media’s fault—a lot of focus and objectification of the frontwoman, and then it becomes less about music and more about image. Did you feel like that happened to you? That the powers that be were digging their talons into you in that respect?

Yeah. A lot was made of how I looked, and I have a big personality—the rest of my band are quiet and they’re not like me. So I became the focus because I’m the one who’s willing to communicate, and then it began to fuck with my head because I got all this attention. I thought, “I’m not pretty enough, I’m not young enough, I’m not this enough, I’m not that enough, I’m not as cool as she is, I’m not as hard as he is.” It began to really fuck with me. Luckily for me I fell in love with amazing frontwomen. I’ve followed Patti Smith from day one, Chrissie Hynde, Marianne Faithfull—all of these women who continue to be active in music and have managed to escape the cage of objectification. I was taught by them, and so once I figured that out I realized I could remove myself from those expectations, because how people choose to objectify me is one thing, but I don’t have to take on that mantle. Once I figured that out, I was free.

Are there any moments you remember vividly where you thought, “This has gone too far.”

Oh, there are countless amounts of moments, including post photo shoots my hair’s been colored a different color at the request of some fucking dude. Somebody thought it was OK to tamper with my image because I’m just an object. But the moment that changed things for me was I went to a Louise Bourgeois exhibition at the Tate in London. It was a retrospective and I’d never heard of her because I’m uneducated in fine art, but I saw this work by this woman who at the time was 93 years old and still working and holding artistic salons at her apartment in New York. She was this wrinkled, wizened old lady and I thought, “I can do that. I can keep making music until I’m dead, and who’s to tell me otherwise? I can release myself from all the expectations of the record industry and people’s fucked up ideas of what success is. I can make those measuring sticks disappear.” That was a really empowering moment for me.

There was a point though, around 2008, when you almost turned your back on music.

I thought I had to because I was no longer young. I was no longer the hot, zeitgeist girl, or the girl who was getting put on the front cover of every magazine. I genuinely thought, “Oh, I’m done.” I remember telling people, “I’m done,” and they’d say, “You’re not done! You still have so much to say,” and I’d go, “No, people don’t care if I have something to say. They just want somebody young and pretty. They want the newest thing.” In some regards I’m right, but there’s a whole other side to the equation where I’m completely wrong. I go back to that Louise Bourgeois exhibition where I realized I could design my own career outside of the mainstream’s idea of what a successful career in music is.

There was also I read a moment where you performed Bowie’s “Life on Mars?” at the funeral for a friend’s child that changed your outlook on music.

Their child’s memorial, yes. Friends of mine lost their 6-year-old son, Pablo, and I was invited to sing Pablo’s favorite song at the funeral. Butch [Vig] was there and we hadn’t spoken or seen each other in a while, and that was the catalyst for getting the band back to the same place. Death changes everything. Losing my Mom changed everything. Divorcing my first husband changed everything. Loss is the most profound change.

Bowie, man. It’s been a crazy year in music.

It’s been an awful year, and it just seems to continue. I don’t know what the hell is going on.

Crazy year in general. You’ve lived in L.A. for about a decade now. How has the American life changed your perspective on things?

It has completely changed my view on world affairs, one being the historical generosity of America towards immigrants, and it’s sad to see somebody [Trump] who’s trying their damnedest to eradicate that.

It’s happening in the UK too, though. Brexit was very much about xenophobia and anti-immigration.

Absolutely. And it’s strange to me because it speaks to an incredible arrogance on people’s behalf. Throughout history, we’ve had massive moves of people across continents, so why do we think we’ll be immune to that? I understand the idea of people that have no money, and they’re frightened, and they are being fed really hysterical rhetoric about immigrants, and the newspapers blow up the one incident where an immigrant does something outrageous and violent and scary, I understand why the people respond the way that they do. But I really think we need to look at history to learn from the mistakes we have made in the past, and also the great benefits of immigrants to each country in the world. It’s lack of tolerance.

In America too, it seems like Donald Trump has manipulated many poor, angry white people into getting hysterical about immigrants. And he’s got Scottish roots!

Don’t say that! Fuck. He’s been disowned by the Scots. He has been disowned by Scotland. They think it’s disgusting. The Scots stripped him of all kinds of things. They’re horrified by him—and rightfully so. I can deal with assholes, and people who have different opinions than me, but what bothers me about this man, who shall remain nameless, is he’s put himself up for one of the most important statesmen in the world, and he’s not taking his task seriously. He thinks he’s playing a game with the media, but in fact he’s playing with people’s lives. In L.A., you drive through Silver Lake, a relatively posh, affluent neighborhood, and people are living under the bridges in cardboard boxes. It’s those people he’s disrespecting in not taking his mantle seriously. When you’re disrespecting people across the board and clearly hate humanity… he’s very dangerous.

In the song “Even Though Our Love Is Doomed,” you mention that you’re ready for a revolution. What would that revolution look like?

I don’t know, but I was very excited when the Pope said we need a new world order. I think we’ve gotten to the absolute apex of worshipping money, and in my lifetime, never has there been a more chaotic, frightening time than right now.

Let’s talk about the halcyon days, then. I read that you grew up as a bit of an outcast.

I was a redhead, Jesus Christ. You don’t get much more despised than that. It’s terrible in the UK. There’s now Julianne Moore, Jessica Chastain, and Lindsay Lohan—god bless her. There weren’t any red-haired icons when I was growing up besides I Love Lucy, so you just grew up thinking you’re ugly as sin.

What was it like growing up in Scotland?

It was awesome. I had an incredible school—both my schools were incredible. I was a pretty good student until I went to high school, and then I got bullied for a year and kind of went off the rails. I got bullied for being pale, a redhead, and coming from a nice middle-class family. My bully came from a very hard background, so she took it out on me. It got pretty bad. She got on my case to the point where I lost my temper one day when she was threatening to beat me up and said, “Alright, outside at 3:30 we’ll fuckin’ square off,” and she never turned up and that was the end of it. But it went on for the longest time. This is the saddest thing ever, but I had these pink beads and a weird crucifix—because I grew up in a religious household—and used to tie the beads to the crucifix and put a little not in it that said, “Please God! Please do something about Louise!”

But in a way perhaps it was a blessing, because great art is born from pain and suffering.

Everything great is born from pain. All truths come from pain. But I fell in with a crowd who loved music, and rolled for a while with a group of proper punk rockers, then I fell in with boys who had more sophisticated taste, and they introduced me to Patti Smith, The Clash, Bauhaus, and Adam and the Ants, and my whole world exploded at that point.

As far as contemporary female artists go, what are your thoughts on Taylor Swift?

Oh, I love Taylor Swift. She’s an accomplished musician—she can play, she can write—she’s smart, and she’s never fallen back on anything other than her musical talent to progress. And as she’s grown up, she literally looks like a supermodel. To me, she’s more beautiful than half of the models in the magazines. She’s like a Terminator to me. It’s so perfect that it induces a lot of anger and resentment in lots of women towards her. I’m fascinated by how much people loathe her. I feel like I read a lot of shit talked about her by her contemporaries, and if I was her contemporary I’d feel very grateful that here’s a girl doing it pretty much on her own terms, she’s not got a man behind her, she’s done it really cleanly, and she’s done it with intelligence. My 6-year-old niece is looking at her versus a lot of the other sloppy girls that are not putting on a good show.

Speaking of Taylor Swift, you’re not a fan of Kanye, though. After he blasted Beck’s Album of the Year Grammy win you torched him online, claiming he was “disrespecting artistry” and making himself look like a “complete twat.”

I do like Kanye! I just happened to disagree with the message he was sending out, and I wanted to be a musician because it was free of all these cliché measuring sticks. I just don’t believe music should be judged in those terms. So what if you’re the most popular artist in the world? It doesn’t mean you’re doing the best work in the world. That’s what I objected to. But I think he’s a phenomenal musician. He’s a lightning rod and that’s exciting, but it doesn’t mean he’s always right.

I’m curious how you feel about female musicians today. I recently got into a conversation with a friend where we were discussing how we felt the crop of young female musicians were perhaps more badass in the early ‘90s, from En Vogue to Lilith Fair, than they are today.

And yet we have Rihanna, Beyoncé, and Lady Gaga. To me, they’re phenomenal, exciting, and doing something very new. To me, Lemonade is a fuckin’ masterpiece. Oh my god, don’t get me started. I feel in some ways we’ve evolved in that we’re seeing these great female pop stars in ways we’ve never seen before, like Rihanna, the way she’s presented her sexuality is balls to the wall, unapologetic, and has her on completely equal footing as her male counterparts. Even Madonna, it came from playing with the idea of female sexuality rather than the reality of it.

I feel Madonna is treated very unfairly in the press. There doesn’t seem to be proper reverence for Madonna, and every time she does something they pounce on her. Madonna is treading unfamiliar terrain in that she’s the first boundary-pushing sexual pop star to reach this time in her career, and the media has acted very ageist towards her.

It’s horrific, the way she’s treated. People are almost disappointed that she’s aged; she got caught being a human being. It has a lot to do with society’s expectations of women and also highlights the inequality between male and female artists to this day. There are very few women willing to fight against the idea that beauty is the highest currency. That’s the problem: that women are scared to fight against that currency, to fight against that idea of, “Does a woman have any worth past youth and beauty?” I believe they do, and I will fight that idea until I die, but I think a lot of women feel they have to give up. I had that moment myself, where I felt “I’m done” and that nobody was gonna give me a chance, but then I realized that you can use your brain and use your songwriting and be a good communicator and connect with people, and that’s your fuckin’ job at the end of the day—not to be beautiful, or pretty, or have people want to fuck you. Who cares?  

Strange Little Birds Promo

 16 juin 2016
Radio M 80 - Madrid, Espagne
Interview Garbage
Shirley Manson, Steve Marker, Duke Erikson
> m80radio

> 16 juin 2016 - Publication sur Instagram
 
 

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Garbage Album Promo

  02 avril 1996 - en direct
Télévision Nulle Part Ailleurs - Canal +
Paris, France
Live "Queer"

 Groupe
Shirley Manson (voix)
Butch Vig (batterie)
Steeve Marker (guitare)
Duke Erikson (guitare)
Daniel Shulman (guitare basse)

Première prestation live TV en France.
First live TV performance in France.

 Captures & Video

- En backstage -
Photographies de Gerard Roussel
   
 
 

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copyright text by GinieLand.

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Garbage Album Tour

30 mars 1996
Vooruit
Gand
Belgique

Groupe

Shirley Manson (chant, guitare)
Steeve Marker (guitare et clavier)
Duke Erikson (guitare et clavier)
Butch Vig (batterie)
Daniel Shulman (guitare basse)

- Première partie: Bis ou The Rentals ? -

Setlist

1. Queer
2. Fix Me Now
    3. Not My Idea
   4. Dog New Tricks
5. My Lover's Box
6. Milk
7. Supervixen
8. Stupid Girl
9. Trip My Wire
10. Only Happy When It Rains
11. Vow

Rappel / Encore
12. Kick My Ass
13. Subhuman
14. Girl Don't Come

Review

GARBAGE EN PROMENADE GANTOISE AVANT T/W, SHIRLEY N’EST PAS UNE “STUPID GIRL”
le 01er avril 1996 - par THIERRY COLJON - en ligne sur lesoir
Ceux qui avaient découvert Garbage au VK en décembre dernier s’étaient tous donné rendez-vous samedi soir au Vooruit, emportant avec eux copains et copines, histoire de leur montrer que, non, ils n’avaient pas rêvé, que ce qu’ils avaient dégusté était bien historique, que le groupe qui avait livré un des meilleurs albums de l’année, nous lui étions aussi redevables d’un des meilleurs concerts de l’année. Butch Vig lui-même semble encore étonné (et évidemment enchanté) de la tournure que prend ce qui au départ n’était qu’un amusement, un passe-temps défoulant entre deux productions épuisantes. Mais pouvait-on dignement s’attendre de la part de l’artisan du son US des années 90 (du «Nevermind» de Nirvana aux deux premiers Smashing Pumpkins pour ne citer que le plus marquant) à de la demi-mesure ? Non. Garbage est bien plus qu’un groupe du dimanche. Le succès emporté par le disque (dix mille vendus rien qu’en Belgique) et par les concerts pousse Garbage à jouer les prolongations en festivals d’été avant de retourner en studio pour un deuxième album : l’affaire devient sérieuse et qu’on ait là entre les mains un des groupes phares de la décennie ne nous étonnerait guère.
Le meilleur argument à l’appui d’une telle certitude est l’évolution du groupe en trois mois de temps. Le son a pris une puissance entraînée par les deux guitares aux sonorités plus «trash» que jamais, ce qui n’est finalement pas étonnant de la part d’un groupe dont le nom signifie ordures. Et Butch n’est pas le seul responsable de cet état de fait. La petite Shirley Manson a elle aussi pris une sacrée assurance, imposant de façon fort convaincante et séduisante son rôle de Lolita des «nineties», de Kate Moss du rock qui n’oublie pas de sourire et de faire chavirer les caeurs adolescents par son style à la fois innocent et dominateur. Shirley sait maintenant bouger et tenir la dragée haute aux baroudeurs qui l’entourent.
Ouvrant par «Queer», Garbage ne laisse pas passer l’air, on a rarement entendu une telle densité, été soufflé par une telle intensité. Les inédits prometteurs (rien que «Kick My Ass»), l’enchaîné «Stupid Girl» (nouveau simple revu et remixé par Dreadzone) avec «Supervixen»… tout cela suffit à une heure de concert. Pas un temps mort, pas de petite faiblesse. Même le light-show était parfait. Des concerts comme ça, on n’en vit pas 5 sur l’an. Et dire qu’on va pouvoir revivre ça sous le soleil de Torhout-Werchter. Avec Shirley en petite tenue, on peut déjà prévenir les infirmiers réanimateurs qu’ils auront du boulot. Le plus triste dans l’histoire, c’est que ce groupe jusqu’ici célébré essentiellement dans la partie francophone du pays, il va falloir dorénavant le partager. Le monde entier va nous le ravir mais Garbage restera à tout jamais enfoui dans nos meilleurs souvenirs…

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copyright text by GinieLand. 

Garbage Album Tour

 27 mars 1996
Rock City
Nottingham
Angleterre

Groupe

Shirley Manson (chant, guitare)
Steeve Marker (guitare et clavier)
Duke Erikson (guitare et clavier)
Butch Vig (batterie)
Daniel Shulman (guitare basse)

- Première partie: Bis ou The Rentals ? -

Setlist

1. Queer
2. Fix Me Now
    3. Not My Idea
   4. My Lover's Box
5. Dog New Tricks
6. Milk
7. Supervixen
8. Stupid Girl
9. Trip My Wire
10. Only Happy When It Rains
11. Vow

Rappel / Encore
12. Subhuman
13. Kick My Ass
14. Girl Don't Come

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copyright text by GinieLand.  

Garbage Album Tour

26 mars 1996
 Town and Country Club
Leeds
Angleterre

Groupe

Shirley Manson (chant, guitare)
Steeve Marker (guitare et clavier)
Duke Erikson (guitare et clavier)
Butch Vig (batterie)
Daniel Shulman (guitare basse)

- Première partie: The Rentals -

Setlist

-?-

 Concert

> Ticket d'entrée
   

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