Janette
n°17
pays magazine: Luxembourg
paru le 25 mai 2016
prix: gratuit - magazine à télécharger en ligne sur scopalto.com
contenu: article de 3 pages

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Strange Little Birds Tour

14 mai 2016
KROQ Weenie Roast (Festival)
Irvine Meadows Amphitheatre
Irvine , California
USA

Affiche

Groupe

Shirley Manson (voix)
Steeve Marker (guitare et clavier)
Duke Erikson (guitare et clavier)
Butch Vig (batterie)
Eric Avery (guitare basse)

Setlist

1. #1 Crush
2. Push It
    3. Special
    4. Empty
5. I Think I’m Paranoid
   6. Only Happy When It Rains

> 10 mai 2016 - Sur leur page facebook, Garbage écrit: "Peut pas encore croire que nous allons jouer le tout premier live de notre tournée de l'album Strange Little Birds ce prochain samedi ! C'est tellement DINGUE. Peut pas croire que nous faisons encore ça. Merci tout le monde. Pour TOUT. love love love de nous"
2016, May, 10th - On their Facebook page, Garbage writes: "Cannot believe we are getting to play the very first show of our tour in support of Strange Little Birds this coming Saturday! So CRAZY. Can't believe we still get to do this. Thanks everyone. For EVERYTHING. love love love from us"

Photos Concert

- Shirley Manson -
 
     
 
 
 
   
   
 
 
 
 
   
    
 
 
 
 
 
 
      
    
   
 
 
  
 
 
 
 
 
   
 
   
     
 
 
 
 
 
 
 
 
 
 

- Duke Erikson -
 
 
   
 
 

- Butch Vig -
 

- Steeve Marker -
 

- Eric Avery -
 

Pendant qu'elle chante "Special", Shirley Manson tombe de la scène et se rattrape sur la barrière devant les spectateurs; un cri de panique générale se fait entendre. Mais Shirley reprend aussitôt la chanson, telle une vraie professionnelle. Son mari Billy Bush, ingénieur du son qui accompagne le groupe sur la tournée, se précipite sur la scène et reste derrière Shirley tout le long de la chanson. 
While she sings "Special", Shirley Manson falls off the stage and catches up on the fence in front of the public; a general panic cry is heard. But Shirley continues to sing the song like a true professional artist. Her husband Billy Bush, sound engineer who accompanies the group on the tour, precipitates to the scene and stays behind Shirley throughout the end of the song.

> 15 mai 2016 - Le lendemain, sur leurs compte Twitter, Garbage publie ce message: "Oh yeah. Une merde élégante qui tombe @Kroq Weenie Roast ce soir. Oh yeah. Je suis tellement cool. 🔥NON."
2016, May, 15th - The next day, on their Twitter account, Garbage publishes this message: "Oh yeah. Elegant shit went DOWN @Kroq weenie roast tonight Oh yeah. I’m so cool. 🔥NOT."

> 15 mai 2016 - Sur leur page facebook, Garbage écrit: "On a donc donné le premier concert de Strange Little Birds dans notre pays hier. Ca aurait pu être pire. Ca aurait pu être mieux. Il y a toujours des monstres à chasser dans les rêves.........."
2016, May, 15th - On their Facebook page, Garbage writes: "So we got the first show of Strange Little Birds under our belt yesterday. Could have been worse. Could have been better. There are always monsters to chase in dreams.........."

> Sur leur page Instagram, Garbage écrit "Avant le show @KROQ Weenie Roast. Avant que la merde ne tombe. 💩. Peut être qu'UN jour, je réussirai à être digne. Merci à tous ceux qui sont venus et qui nous ont aimés ce soir. On vous aime. Nous espérons que vous aimez le nouvel album.💚"
Pre show @KROQ Weenie roast. Before the shit went down. 💩. Maybe ONE day I will manage to be dignified. Thanks to all who came out and loved on us tonight. Love you. We hope you love the new record. 💚"

Photos Backstage

Interview avec Ted Stryker

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

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Garbage’s Shirley Manson: ‘Be Flawed, Be Fragile, Be a Mess’
May, 17, 2016  - by Rachel Brodsky
on spin.com

The brazen-faced frontwoman advises to let go of the word "should," embrace outsider status, and stay grounded in the face of success

 Garbage frontwoman Shirley Manson is boiling eggs and hiding out in her Los Angeles home when she picks up the phone. “A policeman apparently discharged his weapon outside early this morning,” she says. “[There’s] news craziness ’round my house, it’s all cornered off. It’s like an episode of CSI… It’s so L.A., you know?” As bemused as Manson sounded a few seconds ago, she’s quickly laughing about the pandemonium taking place beyond her front door. 

Such unplanned disturbances — personal or not — rarely distract her anymore. That might be related to the fact that the cotton-candy-haired singer is turning 50 this year. “Now that I’m older, I realize my time is ticking,” she says. “I suppose I feel a sort of urgency that I didn’t feel before and some clarity about what my job is. And once I figured that out, everything has sort of fallen into place.”

One thing that’s settled is the method by which she and her band — bassist/guitarist Duke Erikson, guitarist Steve Marker, and drummer/producer Butch Vig — now release music. After distributing four razor-edged alt-pop records — 1995’s Garbage, 1998’s Version 2.0, 2001’s Beautiful Garbage, and 2005’s Bleed Like Me — via outside parties (Australia’s Mushroom Records and later its absorber, Warner Bros.), the quartet has since launched their own imprint, STUNVOLUME, through which they shared 2012’s Not Your Kind of People and, in a few weeks, will put out the follow-up, Strange Little Birds, which drops on June 10.

The switch has freed Garbage from any unnecessary record-label meddling and made it possible to refine their sound — a brooding mix of glossy rock, electronic, and pop elements — and even revisit their ’90s aesthetic on new tracks like the emotionally hollow “Empty.” Below, Manson comments on a few lessons she’s gleaned over the course her lengthy career, like learning what it means to face your mistakes, embrace your flaws, and evolve your music in the face of a “corrupt” industry.

Let go of the word “should.”
For so long, because we were under so much pressure from record labels to make money and be successful, I had this warped idea of what we should be accomplishing. This insane word, “should.” You should be doing this, I should be this, I should be that. I went to the Tate Gallery a few years ago and saw a Louise Bourgeois retrospective, and I think at the time she was 92, 93, and she started holding these salons in her New York apartment, and she had this massive body of work. It was like I had been hit over the head, “Oh, I don’t have to be young, I don’t have to be pretty, I don’t have to entertain people, I don’t have to be nice. I can just focus on doing good work.”

Once I figured that, my ambitions sort of started to bloom. [Laughs.] I know that sounds so pretentious and stupid but, at the same time, it really was a profound realization for me. So when we went to make this record, I was thinking, “Well, what if I die tomorrow? What would I like to leave behind? Some testimony, perhaps.” When I stepped up to mic on our last tour, for Not Your Kind of People, I had this sudden flash in my brain of like, “Why every time when you step up to the mic are you so defended?” I always feel like I’ve got some armor on, and I’m there to repel in a way an imaginary force.” And I determined right there and then: I was like, “Okay, you need to figure this out and be prepared to be a human being. Be flawed, be fragile, be a mess. You don’t have to put up this front of always knowing exactly it is where you’re going.”

Anyone can fake a smile.
We feel that in social media, every woman is photographing themselves from the same angle with the same head position, because that allegedly is the most attractive way of having a selfie taken or a photograph taken, and after a while everyone starts to look the same. Nobody is really admitting to any fault or reasons or mistakes they made. It’s not bragging per se, but it’s certainly a sort of posturing display of success or happiness or well-being, and it’s all started to feel a little hollow to me. Everybody’s straining to be perfect, and I just don’t think that’s what makes human beings interesting.

For me, what makes people interesting is all their flaws and all their little mistakes and their snaggletooths and their flat chests or their enormous boobs. All the things that everyone thinks should shame, to me, are the things that make people beautiful and unique and interesting.

It’s really hard to face up to mistakes.
And yet, it’s only then that you really learn not to make that same mistake again. Until you really know it was a mistake and what was at play, you’ll just keep repeating your f**king mistakes. A mistake is a moment of growth and learning if you’re listening.

It’s good for your work for you to be an outsider. 
We’ve been told for decades now that the guitar is dead and we were just like, “Oh, f**k it! Guitars are amazing! We’re gonna focus on guitars.” We were told like, “Nobody plays alternative women on radio anymore.” And we were like, “Well, f**k it! Who cares? We’re just gonna make a good record anyway.” It’s a real record of defiance, in a funny way. In being defiant, we sort of found ourselves back where we started, which was on the outside.

Don’t worry about whether you’ve made the right choice.
Anyone who doesn’t experience moments of doubt is an imbecile. You have to be brave enough to be willing to make a choice and then live with the repercussions of your actions. And there will always be negative and positive repercussions to every choice, no matter how good the choice is, there will still be some negative fallback from that. I think a lot of people get paralyzed when they have to make a choice ’cause they think there’s a right choice and actually there is no right choice, in my experience. So go ahead and make the choice that feels right for you. You might stumble, you might get some mud on your face, you might get kicked in the teeth, but you will survive.

Every band has to find its own dynamic.
What has been one of the greatest tools at our disposal is everybody in Garbage has succeeded at managing their egos. And everybody has a big ego. Even people who you’ll think [are] shy and quiet, their ego is as big as the person who walks in with the loud voice. It’s just a different kind of ego. Most of the time, all people in bands have a very strong ego, and they have to, otherwise they wouldn’t be able to exist in a group dynamic. There has to be equal ego power, otherwise people get abused in some ways — used and abused.

I think everyone in Garbage meets each other’s egos with respect. Often, we are frustrated with one another, we get tired with one another, and there’s a lot of eye-rolling on occasion. There are times when we haven’t been as kind to one another as we probably wish we had been, but there has never been anything said that nobody can recover from.

People become addicted to the attention and social power that comes with success.
We come to each record with a beginner’s mindset. We don’t identify ourselves by the success that we enjoyed in the ‘90s, and that has freed us to move forward as though it all has never happened in some ways. I think a lot of bands who have success — especially at the level that we’ve enjoyed — they really rely on it and use it as some kind of reassurance. I think what happens is you get stuck by notions of your former self and you can’t move forward freely. You’re tied — you’re chained by it, actually — and I think everyone in Garbage was able to be appreciative of the success but move through it and try and come to every record as though nobody knew who the hell we were.

We’re much more interested in our families liking us as people and spending time with us. Moving through the world with kindness — to me that’s much more important than whether I’ve got a record in the top 20 or not.

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Le 20 mai 2016, Garbage publiait sur les réseaux sociaux un message à l'attention de leurs fans:

Dates de la première tournée pour l'album "Strange Little Birds"

14 mai 2016 - KROQ, Weenie Roast, Irvine Meadows Amphitheatre, Irvine, CA, USA
17 mai 2016 - East West Studios, Los Angeles, CA, USA
18 mai 2016 - East West Studios, Los Angeles, CA, USA
19 mai 2016 - Jimmy Kimmel Live, Los Angeles, CA, USA
24 mai 2016 - La Cartonnerie, Reims, France
26 mai 2016 - Rock Im Revier, Dortmund, Allemagne
27 mai 2016 - Women of the World Festival, Alte Oper, Francfort, Allemagne
28 mai 2016 - Rockavaria Festival, Olympiapark, Munich, Allemagne
30 mai 2016 - The Paradiso, Amsterdam, Pays-Bas
31 mai 2016 - Den Atelier, Luxembourg, Luxembourg
01 juin 2016 - Caribana Festival, Nyon, Suisse
03 juin 2016 - Le Radiant, Lyon, France
04 juin 2016 - Festival Montereau, Montereau, France (ANNULE)
05 juin 2016 - La Belle Electrique, Grenoble, France (COMPLET)
07 juin 2016 - Center Urbane Kulture Kino Siska, Ljubljana, Slovenie
08 juin 2016 - Fabrique, Milan, Italie
10 juin 2016 - Nova Rock Festival Nickelsdorf, Autriche
13 juin 2016 - Troxy, Londres, Angleterre
14 juin 2016 - Rock City, Nottingham, Angleterre
16 juin 2016 - Mad Cool Festival, Madrid, Espagne
18 juin 2016 - WKQX PIQNIQ Tinley Park, Illinois, USA
06 juillet 2016 - Summerfest Milwaukee, Wisconsin, USA
07 juillet 2016 - Skyway Theatre Minneapolis, Minnesota, USA
08 juillet 2016 - SumTur Amphitheatre, Omaha, Nebraska, USA
10 juillet 2016 - Uptown Theatre, Kansas, Missouri, USA
12 juillet 2016 - The Pageant St. Louis, Missouri, USA
13 juillet 2016 - Z104.5 The Edge 21st Birthday Bash, Brady Theater Tulsa, Oklahoma, USA
15 juillet 2016 - Egyptian Room, Indianapolis, Indiana, USA
16 juillet 2016 - The Fillmore, Detroit, Michigan, USA
17 juillet 2016 - PromoWest Fest, Columbus, Ohio, USA
19 juillet 2016 - The Mill and Mine, Knoxville, Tennessee, USA
20 juillet 2016 - Ryman Auditorium Nashville, Tennesse, USA
22 juillet 2016 - Tabernacle, Atlanta, Georgie, USA
23 juillet 2016 - Fillmore Charlotte Charlotte, Caroline Nord, USA
25 juillet 2016 - The National, Richmond, Virginie, USA
27 juillet 2016 - Starland Ballroom, Sayerville, New Jersey, USA
28 juillet 2016 - House Of Blues Boston, Boston, Massachusetts, USA
30 juillet 2016 - The Fillmore Philly, Philadelphie, Philadelphie, USA
31 juillet 2016 - Rams Head Live!, Baltimore, Maryland, USA
01 août 2016 - Summerstage New York, NY, USA
03 août 2016 - The Lincoln Theater, Washington, District Columbia, USA
06 août 2016 - River Nights Rheinfelden, Suisse
08 août 2016 - Lokerse Feesten Lokeren, Belgique
10 août 2016 - A Summers Tale Luhmuhlen, Allemagne
12 août 2016 - Fêtes du Bruit Landerneau, France
14 août 2016 - Kubana Festival Riga, Lettonie

Le groupe commence par quatres dates aux Etats-Unis, des petits concerts, mais la première vraie date du "Strange Little Birds Tour" est en France, à Reims. Le groupe passe ensuite dans diverses villes d'Europe, avant de retourner aux USA pour l'été (du 18 juin au 03 août) pour revenir pour quelques dates européennes.
Eric Avery accompagne le groupe à la basse.
A noter: 5 dates en France dont 2 festivals: Reims (24/05), Lyon (03/06), Montereau (04/06 - festival), Grenoble (05/06), Landerneau (12/08 - festival).
Màj au 02/06/2016: Dû aux inondations qui sévissent actuellement dans certaines régions en France, le Festival de Montereau est annulé.

Dates of the first tour for the album "Strange Little Birds"

May, 14th, 2016 - KROQ, Weenie Roast, Irvine Meadows Amphitheatre, Irvine, CA, USA
May 17th, 2016 - East West Studios, Los Angeles, CA, USA
May 18th, 2016 - East West Studios, Los Angeles, CA, USA
May 19th, 2016 - Jimmy Kimmel Live, Los Angeles, CA, USA
May 24th, 2016 - La Cartonnerie, Reims, France
May 26th, 2016 - Rock Im Revier, Dortmund, Germany
May 27th, 2016 - Women of the World Festival, Alte Oper, Frankfurt, Germany
May, 28th, 2016 - Rockavaria Festival, Olympiapark, Munich, Germany
May, 30th, 2016 - The Paradiso Amsterdam, Netherlands
May, 31th, 2016 - Den Atelier Luxembourg, Luxembourg
June, 01st, 2016 - CARIBANA FESTIVAL Nyon, Switzerland
June, 03rd, 2016 - Le Radiant Lyon, France
June, 04th, 2016 - Festival Montereau, Montereau, France (CANCELLED)
June, 05th, 2016 - La Belle Electrique, Grenoble, France
June, 07th, 2016 - Center Urbane Kulture Kino Siska Ljubljana, Slovenia
June, 08th, 2016 - Fabrique Milan, Italy
June, 10th, 2016 - Nova Rock Festival Nickelsdorf, Austria
June, 13th, 2016 - Troxy London, United Kingdom
June, 14th, 2016 - Rock City Nottingham, United Kingdom
June, 16th, 2016 -Mad Cool Festival Madrid, Spain
June, 18th, 2016 - WKQX PIQNIQ Tinley Park, IL
July, 06th, 2016 - Summerfest Milwaukee, WI
July, 07th, 2016 - Skyway Theatre Minneapolis, MN
July, 08th, 2016 - SumTur Amphitheatre Omaha, NE
July, 10th, 2016 - Uptown Theatre Kansas City, MO
July, 12th, 2016 - The Pageant St. Louis, MO
July, 13rd, 2016 - Z104.5 The Edge 21st Birthday Bash, Brady Theater Tulsa, OK
July, 15th, 2016 - Egyptian Room Indianapolis, IN
July, 16th, 2016 - The Fillmore Detroit, MI
July, 17th, 2016 - PromoWest Fest Columbus, OH
July, 19th, 2016 - The Mill and Mine Knoxville, TN
July, 20th, 2016 - Ryman Auditorium Nashville, TN
July, 22th, 2016 - Tabernacle Atlanta, GA
July, 23rd, 2016 - Fillmore Charlotte Charlotte, NC
July, 25th, 2016 - The National Richmond, VA
July, 27th, 2016 - Starland Ballroom Sayerville, NJ
July 28th, 2016 -House Of Blues Boston Boston, MA
July, 30th, 2016 -The Fillmore Philly Philadelphia, PA
July, 31th, 2016 -Rams Head Live! Baltimore, MD
August, 01st, 2016 - Summerstage New York, NY
August, 03rd, 2016 - The Lincoln Theater Washington, DC
August, 06th, 2016 - River Nights Rheinfelden, Switzerland
August, 08, 2016 - Lokerse Feesten Lokeren, Belgium
August, 10, 2016 - A Summers Tale Luhmuhlen, Germany
August, 12, 2016 - Fêtes du Bruit Landerneau, France
August, 14, 2016 - Kubana Festival Riga, Latvia

The band starts with four dates in the US, small concerts, but the first real date of the "Strange Little Birds Tour" is in France, in Reims. The group then performs in various cities in Europe, before returning to the US for the summer (from June 18th to August 3rd) and to come back in Europe for some dates.
Eric Avery joins the band to play bass.

Répétitions / Rehearsals

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

  Billboard

édition 4 juin 2016
pays magazine: USA
article sur Shirley Manson

Shirley Manson Revisits Childhood Sexual Trauma as She Moves Forward With New Garbage Album
( source article en ligne sur billboard.com )
5/26/2016 - by Danielle Bacher

"Watch out for the killer beast!" warns Shirley Manson as she opens the door to her ivy-covered home in the Los Feliz neighborhood of Los Angeles. Veela, her beige miniature terrier (she's a rescue), is barking alongside the Garbage frontwoman's Doc Martens-covered feet. She's loud, full of frenetic energy and ­ignoring repeated pleas for quiet. "You're so ramped up right now!" yells Manson, 49. "Just zip it!"

Veela, it seems, takes after her owner. Since 1995, when Garbage -- which also includes producer-instrumentalists Steve Marker, Duke Erikson and legendary Nirvana boardsman Butch Vig -- broke through with the hit "Only Happy When It Rains," Manson has been one of rock's ­loudest and most outspoken agitators, and an inspiration to future generations of alternative stars like Lana Del Rey and Amy Lee from Evanescence. Twenty-one years later, little has changed -- both in person and in her music. Garbage's sixth studio album, Strange Little Birds (due June 10 on its own imprint Stunvolume), is led by new single "Empty," an ­exploration of Manson's career-long themes of self-doubt and ­disconnection. Harking back to the band's classic Garbage and Version 2.0 era, when singles like "Stupid Girl" (No. 24 on the Billboard Hot 100) and "#1 Crush" (No. 1 on Alternative Songs) made Manson an icon for disaffected ­Gen-Xers, the song begins: "I've been feeling so frustrated. I'll never be as great as I want to be ... What's wrong with me ?"

 
Garbage in 1998.
From left: Marker, Vig, Manson and Erikson.
Maryanne Bilham Photography/Redferns

"I'll feel really grateful for the success I've enjoyed, but then, at some point in the month, a dark Shirley returns -- and her voice gets really loud," says Manson of the song's lyrics while sitting in her ­living room, which is filled with art and travel books. "I'll feel like a f­--ing idiot because I don't have goals. I have self-doubt and ­frustrations and disappointments. I think it's part of the human condition. Even someone like Beyoncé doesn't f--ing believe in herself 24/7!"

Manson readily admits, however, that her esteem issues go deeper than most. As a child in Edinburgh, Scotland, she was bullied and ­sometimes cut herself. She says she felt like an outcast for having red hair and recalls her mother, a big-band singer who died in 2008 (her father is a retired university lecturer), giving more attention to her two sisters. "My mom was always the hardest on me because I looked the most like her," she says, twirling her now dyed-pink hair. "She would tell my two sisters they were beautiful, but tell me I had a great personality. I just thought I was an ugly bastard."

A few years ago, Manson revealed she had a relationship with a teacher in school; but even before that, she was traumatized by her first sexual experience, as a young teen. "A boy fingered me, then grabbed a knife and told me he was going to stick it up my vagina. I was 13 years old," she recalls -- the first time she has ever publicly spoken about the incident. "It frightened the shit out of me." A couple of days later, she realized that she had left her bra at his house. The boy ­threatened to mail it to her parents.

"I think that's where it all began to unravel," says Manson. "I just had this realization: Why am I distrustful all the time? It's probably because of that. I spent so long ­disgusted about myself. I would sob in the ­bathroom, because I thought I was failing."

Manson began performing just a few years after that -- first with Scottish acts Goodbye Mr. Mackenzie and Angelfish, before being recruited by her Garbage bandmates and imported to the States in 1994. She learned to push ­painful ­memories and insecurities to the side when needed; now, she says, she has learned to embrace them. Earlier in May, she fell off the stage at KROQ Los Angeles' Weenie Roast. Naturally, the footage ended up all over the Internet. "I had a flame of embarrassment, but I landed on my feet like a ninja, so I didn't give a f--," she says with a laugh. "I want people to see my fall. I don't want to make a lie that I am this perfect person. I am a hot mess! It's OK to fall."

Manson, who dipped her toe into acting in 2008 with a role on Fox's Terminator: The Sarah Connor Chronicles, long has been touted as a left-field style icon. But she has come to despise the "peddling of the beauty myth by the media," she says. "We're taught prettiness is the highest currency. Look at Vogue magazine; they put Kim Kardashian on the cover. That is a ­devastating message to send to 99.9 percent of women around the world. I don't mean to be disrespectful to her, but why aren't scientists on the cover? Or a novelist? Or other women who are achieving great things in the world ?"

Dan Monick

For a while there were whispers about Manson going solo, but Garbage is still going strong: A hiatus from 2005 to 2010 is well in the rearview mirror, and a long-gestating Manson album reportedly was shelved for good around the time that the band's last album, 2012's Not Your Kind of People, came out. "We get on each other's nerves, but we like each other," says Manson of her ­bandmates. She has been married to Billy Bush, Garbage's longtime guitar tech/­engineer, for five years, and wrote the new song "If I Lost You," whose lyrics blur the line between ­passionate love and crippling jealousy, about their ­relationship. "I know a good one when I see one," she says of Bush, although she adds that she doesn't subscribe to the idea of everyone having one ­soulmate. "If he stopped making me happy, I wouldn't think twice about leaving him. He's probably in the other room thinking, 'Jesus f--ing Christ!' "

Manson smiles awkwardly and leans forward. "I don't know why I am telling you all this," she says. Then again, speaking her mind is one of the main reasons her music has connected with so many people -- and one of the main reasons she's still doing it. "Making music makes me feel like I am here; it's recognition that I exist. I'm grasping for connection." Manson sits back and laughs. "It's really pathetic, I know!"

This article was originally in the June 4 issue of Billboard.

Séance Photo
Date: May, 18, 2016
Lieu: XIX Studios in Los Angeles
Photographies de Dan Monick

Shirley Manson: The Billboard Shoot
( source: billboard.com )

Growing Up
"My mom was always the hardest on me because I looked the most like her," says Shirley Manson, twirling her now dyed-pink hair. "She would tell my two sisters they were beautiful, but tell me I had a great personality. I just thought I was an ugly bastard."

The Peddling of the Beauty Myth
"We're taught prettiness is the highest currency. Look at Vogue magazine; they put Kim Kardashian on the cover. That is a ­devastating message to send to 99.9 percent of women around the world. I don't mean to be disrespectful to her, but why aren't scientists on the cover? Or a novelist? Or other women who are achieving great things in the world ?"

On Love
She has been married to Billy Bush, Garbage's longtime guitar tech/­engineer, for five years, and wrote the new song "If I Lost You," whose lyrics blur the line between passionate love and crippling jealousy, about their ­relationship. "I know a good one when I see one," she says of Bush, although she adds that she doesn't subscribe to the idea of everyone having one ­soulmate. "If he stopped making me happy, I wouldn't think twice about leaving him. He's probably in the other room thinking, 'Jesus f--ing Christ!' "

On Self-Doubt
"I'll feel like a f­--ing idiot because I don't have goals. I have self-doubt and ­frustrations and disappointments. I think it's part of the human condition. Even someone like Beyoncé doesn't f--ing believe in herself 24/7!"

'Flame of Embarrassment'
Earlier in May, Manson fell off the stage at KROQ Los Angeles' Weenie Roast. Naturally, the footage ended up all over the Internet. "I had a flame of embarrassment, but I landed on my feet like a ninja, so I didn't give a f--," she says with a laugh. "I want people to see my fall. I don't want to make a lie that I am this perfect person. I am a hot mess! It's OK to fall."

On the Drive to Make Music
"Making music makes me feel like I am here; it's recognition that I exist. I'm grasping for connection." Manson sits back and laughs. "It's really pathetic, I know!"

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  Rolling Stone
n°85
pays magazine: France
paru le 27 mai 2016
prix: 5,95 Euros
contenu: article de 4 pages (avec interview de Shirley) + critique de l'album.

> scan article
 
  

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Nylon
édition juin/juillet 2016
pays magazine: USA
article de 6 pages sur Shirley Manson: "Gleaning Gold from the Alt-Rock Goddess".

--Bonus Info-- Séance photo:
Lieu: Bronson Canyon, un petit canyon situé à Griffith Park, Los Angeles.
Photographies de Felisha Tolentino
Stylisme: Marjan Malakpour
Maquillage: Christian Marc

Alt-Rock Goddess Shirley Manson Gave Us Her Pearls of Wisdom
Just in time for Garbage’s sixth album release
( source article en ligne sur nylon.com )
By Jade Taylor

 
Photographed by Felisha Tolentino. Styled by Marjan Malakpour.  

The following feature appears in the June/July issue of NYLON.

I’m riding through Los Angeles with Garbage frontwoman Shirley Manson, heading north toward Griffith Park for her photo shoot—a location Manson handpicked—specifically, the caves featured in the old Batman TV series. She’s wearing a white lace Valentino dress and patent leather white boots, a look that complements her faded pastel pink hair. We park the car and she heads to the opening of the cave, posing for the photographer like a white witch plucked from a dystopian fairy tale. Rocks begin to cascade off the cliff and tumble toward her, to which Manson shouts, “She died for rock ’n’ roll!”

Before I have time to process the magnitude of this moment—sharing space with the woman who basically soundtracked my pre-tween existence, from the Garbage songs featured on Daria, The X-Files, and Goosebumps to a decade of playing Version 2.0 on repeat—I’m sitting next to Manson on a couch inside her L.A. home. Books are stacked from floor to ceiling, bundles of sage rest comfortably on her coffee table. I’m hypnotized by Manson’s brilliant takes on everything from contemporary feminism to the inspiration behind Strange Little Birds, Garbage’s excellent sixth studio album, out June 10 on Stunvolume, the band’s own label. Perhaps the thing I’m most unprepared for is Manson’s laugh. It’s loud and infectious and follows almost every sentence she utters, serving as a sweet buffer between each pearl of heavy, honest, hard-earned wisdom. She’s well aware of her own strength, intelligence, weirdness, darkness, and humor, but she’s also aware that she hasn’t always been this way. And she knows that that’s okay, too.

 
Photographed by Felisha Tolentino. Styled by Marjan Malakpour. 

What inspired you to start playing music?
I played the violin at age eight and piano shortly thereafter, and I studied clarinet in high school and sang in the school choir. My mother was a big band singer, and my sisters and I listened to musical theater—The Sound of Music, Cabaret, Oklahoma, things like that. After discovering my mom’s record collection I began listening to Billie Holiday, Nina Simone, and Sarah Vaughan. And then the hormones hit, and I was hanging out with some older boys who introduced me to the Clash, Adam and the Ants, and Siouxsie and the Banshees. That’s when the idea of rebellious music really kicked in for me.

Garbage just celebrated its 20th anniversary. Does that seem crazy to you?
I didn’t think we would ever get to this point. This last year has almost been like the beginning of the band for me because I realize how fucking lucky we are. I’m among a handful of women who have been able to enjoy a career in alternative rock music. I played in two bands before joining Garbage and I remember thinking if I could just have one single on the radio that would be amazing. If I could just have a career like Echo and the Bunnymen that would be even more amazing. To sit back and look at the career that we’ve had is fucking surreal.  

Was it hard for you being the only girl in the band?
It’s difficult sometimes to distinguish what is just a normal difficulty as a musician, because, make no mistake, to be a musician is challenging for a lot of reasons, not least of which because it’s competitive. You go up against the wall all day long, and it’s tough for everyone, men and women. But unfortunately there is an incredibly sexist patriarchal system in place in the industry. I’ve never really felt discriminated against by another musician, but I definitely have within the business, which has been difficult to stomach but not so difficult to counter. If you recognize it for what it is, you can fight it.

In light of Kesha’s recent lawsuit and the allegations against music publicist Heathcliff Berru, it seems as though women are speaking out more now, thanks in part to social media.
It’s a different climate now. The glorious thing that my peers and I enjoyed was that for a brief moment, alternative music ruled the roost. If you weren’t alternative, you weren’t getting played on radio. You weren’t getting on the front cover of magazines. It was us bitches who were. And women were taking the game to their male counterparts and expecting to be treated as equals. It was a different time, and that’s apparent when you look at all of these summer festivals—where are all the women on the bill? And it’s not because women aren’t making music. It’s not because there aren’t great bands out there. It’s because they are not being given the opportunity. In the ’90s, if anyone asked female musicians if we were feminists, we’d be like, “Yeah, we’re fucking feminists!” We all had different styles, but we were all very vocal and we pushed.

Was your generation’s feminism more aggressive?
There is a problem in equating feminism with aggression, and I think a lot of young girls as a result wanted to distance themselves from being mistaken for being man-hating women. The most important message we can impart is that feminism is about equality—nothing more and nothing less. It has nothing to do with how you interact with other women. It has nothing to do with how you interact with men. All it means is that you believe in the idea of equality between men and women. I really hope that young women understand that. It’s important for all of us to stand together and galvanize and demand equality, because without that, we’re never going to secure it.

What can young girls do now?
They should believe that they are as worthy as anybody else—they’re as smart, brilliant, creative, resourceful, and they have everything they need. I think a lot of women grow up feeling like they don’t have what they need to flourish. They’re scared to fail. And yes, you will fail. So what? You stand back up and fail again and keep trying until you get the job or the life you need. Failure is a part of life, and without it you’ll never succeed. You build your arsenal by experience, by standing back up to take another hit. I wish I had known that more in my own life. Instead, I just sat there looking at everybody else—she’s this, she’s that, she comes from money, she’s beautiful, she’s a great athlete. Eventually I did make whatever small gifts I have work for me, but I think most women feel that they are not good enough, and my point is you are. Just fucking go work it.

What advice do you have for young female musicians?
I’m wary of giving advice to other musicians because the choices I make might be right for me but aren’t necessarily right for everybody—but ultimately I believe that you have to be prepared to stand by your guns and be your messy, flawed, fucked-up authentic self. It’s taken me 20 years to figure out that the best version of myself is just me. It sounds incredibly simplistic, but it’s not. I would also tell them to have something to say. Don’t just stand up there and look pretty. It’s not enough. The media will tell you that it’s enough, but being pretty means fuck all long-term. You have to be prepared to work hard, sacrifice, be competitive, and be ambitious. There are millions of people wanting to do what we do, and somehow you have to find a way to stand out. The best way to do that is to be your authentic self, because that’s what makes you unique.  

Who do you think is doing a good job of that right now?
The one who comes right to mind is Grimes. She, to me, is the greatest example of a new generation doing something that none of my peers did. I look at her and really believe that she’s a bona fide original. She writes and produces all of her own material. She’s a force to be reckoned with. She’s not just standing up there looking cute, or knowing the right people. There’s a lot of that right now, particularly on social media. There’s a lot of posturing and “Look at my cool lifestyle!” and “Look how beautiful I am” and “Look how outrageous I am!” And that’s all very well and good, honey, but where’s your music? Produce something. Do the work.

Do you think social media is a blessing or a curse?
Social media has put a pressure on women that my generation did not have to endure. So much is made of your appearance, of your popularity, and I feel really passionate about being a voice out there that is the opposite of what we’re being told by the media—that taking our clothes off on social media is empowering. By no means is that an empowering act. Now I’m not saying that you cannot enjoy your naked body—you absolutely should! And if you want to put yourself on social media in the nude, so be it. But be aware that there will be consequences. Doors will not open for you like they have for the celebrities who’ve done it. It’s sad. I wish women could walk down the street naked and never be under threat, but it’s highly unlikely that will ever happen. A woman’s sexuality is really powerful. There’s a reason why the patriarchal system tries to manipulate that power, and right now, they’re winning. Women are objectifying themselves—they’re turning themselves into objects and believing they are empowered because they get a million likes. It’s like, of course another man or woman wants to look at a beautiful woman’s naked body. So fucking what? You’re not an object, but if society sees you as an object, they will treat you as an object.

Are you active on social media?
My management is always encouraging me to do so because they think if you don’t, you’ll drown in the deluge. I do a limited amount, which, to be honest, I find quite pleasurable. I’m a real Instagram whore. I love how you can see these incredible pieces in the Tate or in the atelier of some incredible designer. Instagram, I love. I tried Snapchat once and it’s not for me. There has to be some playground for the youth where adults don’t come in and pretend they’re super cool and spew all over it. If I was young and I saw adults using Snapchat I would be like, “I am so done with Snapchat.” [Laughs]

What were you listening to while making the new album?
We listened to a lot of old records, actually. There is a dearth of rock bands in the world right now and it’s very hard to find those “dark shadow sounds” we like. Our culture has gotten very shiny and bright. You switch on the radio and it’s happy and pop-oriented, but we’re lovers of sadness, darkness, and melancholia. We wanted to make a dark, guitar-driven record. If you’re looking to cheer yourself up with some shiny pop music, don’t come knocking on our door. But if you want to hear what it’s like to struggle as a human being in this very weird, chaotic world we’re all living in now, then you’ll hear it in our record. We always find solace in sadness.

--Bonus Photos--

> Coulisse de la séance
-Shirley et la photographe Felisha Tolentino-
 
-Shirley et le maquilleur Christian Marc-
  

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n°586
pays magazine: France
paru le 14 mai 2016
prix: 6,40 Euros.
Article de 2 pages.
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  My Rock
n°40
pays magazine: France
paru le 22 avril 2016
prix: 5,95 Euros.
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