miércoles, 30 de mayo de 2012

BlackBook Magazine







In our upcoming June/July issue, Fiona Apple opens up about her career and her new album The Idler Wheel is wiser than the Driver of the Screw, and Whipping Cords will serve you more than Ropes will ever do, which drops June 19. We can barely wait to share with you our profile of the enigmatic singer-songwriter, but you'll have to wait until tomorrow for the full piece. In the meantime, check out some of the interesting bits that didn't make it into the issue!

On writing the songs that make up The Idler Wheel:
I've never been a big re-writer or eraser. I don't tend to write things down until they are what is in my head. With this album, I didn't question that came out of my brain or mouth. I just decided to spit everything out and accept as it was and not go back and change anything. I don't really remember writing the songs. I don't remember them being at an in-between stage. I remember the beginning and I remember them being done.

On keeping up with the blogosphere:
There’s one person’s LiveJournal that I’ve read for the past few years. It’s really two people—they’re a couple and they live in Boston and they foster pit bulls. For some reason I clung onto them five or six years ago. I don’t know how I found them, but I check in on both of them all the time. I sent the guy a book he was saying he wanted. I hoped he'd write on his blog, "A mysterious stranger sent me the book I wanted," but he never did.

On Lana Del Rey and "trollgaze":
How can you live like that though? I don’t know anything about Lana Del Rey except that she’s been slammed a lot, and I feel bad for anyone who has that happen to them. Is she was sitting in a room and saying, "As long as I make money, you can make me out to be this way?" I can’t see that happening, but if it does I don’t understand it. I mean, yeah, I don’t think it matters much to the people that are making the money behind the artists if they’re liked or remembered or anything as long as it’s their terms as the president of such-and-such record company. They want [theirartists] to have a lot of attention. If it’s bad attention, it’s bad attention, but as long as they make money, it’s good attention.

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