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  1. 2 points
    Buckle up, this is going to be a long one. After the New York show I told everyone I'd be happy with just that -- the show was amazing, the songs were fresh and creative, Mika was beautiful. It was lucky that I could see him a couple more times on this tour, but just that one show would have been enough for me. I was so, so wrong. San Francisco (my 12th time seeing Mika) may very well have been the best concert ever. I was jetlagged. We queued for a while—starting at 1:30pm or so. No one saw Mika go into the venue, even though we watched the band trickle in and saw them unloading equipment. A couple jaunts by the open venue door let us hear soundcheck, but we weren’t sure: is it just Max in there, singing Tiny Love? Is that why no one’s singing the ‘my name is Michael Holbrook’ line? Or is Mika inside and somehow escaped notice of the dozen of us who had been there all afternoon? Getting into the venue was smooth. Though the queue line wrapped all the way down the block and around a parking lot, they loaded people in slowly, in an orderly fashion (nothing like New York!). 77red and I found ourselves on the piano side of the stage, at the barrier. Venue had a much smaller stage than Brooklyn Steel, and was overall more compact. They had chandeliers hanging I enjoyed the Kiesza set more tonight. She seemed more at ease than in New York, and noticed some of the front row French fans who had been to all the shows – she called them “the groupies”! We sang along to her songs which she seemed to get a kick out of, and the crowd was enthusiastic about her performance of Hideaway. Listen: it was all great up to this point, but something was different when the band came out and the intro was playing. The venue was electric. And it just exploded when Mika skipped out to Ice Cream. He was smiling very visibly, so happy and energetic. Jealousy was fantastic tonight. He intro’d with the jealous bastard line then launched into it. Something I noticed especially tonight was the harmonizing with the band. Relax was a good way to loosen up the crowd. Max cracked me up—this was the only song where he came to the front of the stage to accompany Mika and he strutted up like he was a little bird. He and Mika synced up for the Relax jump (you can see this in the photo above!) which was awesome. After TOOL, Mika told us about his day which seemed to explain his good mood. It was actually pretty funny, the keyboardist was playing some accompaniment and Mika told him to stop because the story was so incredibly stupid. He said he woke up in an absolutely rotten mood (like his mother and grandmother and great-grandmothers) and tried to use his phone but was out of data! He walked out to get a coffee, and asked the barista how to get to the Fillmore. Barista said “that’s an area” and walked away. Mika tried again – asked someone if he could catch a cab on the street. They said “catch a Lyft?” – obviously, not possible, no data! So finally Mika walked up to someone who looked like a nice lady, and asked her how to get to the Fillmore, the venue. She said she wasn’t sure, then walked over to a friend, ostensibly to ask for directions. Mika said he stood there for about four minutes, fully expecting her to come back and tell him how to get to the venue, only to finally realize…she just went and had another conversation. He was extremely pissed off and ended up walking an hour and twenty minutes to the venue! Here’s our explanation for why no one saw him walk in! Rather than pulling up in a car, he just walked right in, before everyone! He said he arrived before the band, and had one of his “best ever dancing moments” on the empty Fillmore floor. And he had to do it again …. That’s when Big Girl started and Mika with his long legs just stepped over the barrier and into the crowd. He walked all the way to the middle of the floor and the entire place went nuts. He had taken his jacket off but put it back on before Big Girl, and before he told this whole story. Said something along the lines of, “some songs deserve a jacket.” Just cracked me up that the song that deserved a jacket… was Big Girl. Blue is an amazing song. Even tonight, Mika’s voice broke a bit (he mentioned after the show he is getting a cold) but being so close I was in awe of the vocal performance. He is doing things on this song that I’ve never heard him do. Blue absolutely quiets the venue—this happened in Brooklyn too—it’s a short, tender song but everyone shuts up and listens to it in awe. We’re so lucky to see it on this tour. It’s slow, and very challenging. I don’t know how many subsequent tours he will perform it. Feeling blessed. The transition from Blue to Underwater is brilliant—it’s a slow song to a slow song, but the crowd reacted so well to Underwater. I love that song but didn’t expect that it would get such a loud cheer from everyone. Next up was Lollipop. Mika told us a story about how the Fillmore venue creates a poster for any artist that sells the venue out. Back in 2007, they created him a poster for selling out … that was a hand holding a huge lollipop. And for tonight’s show, they created him a poster … that was a huge banana split with dolloped cherries and big ice cream bars. He talked about being a grumpy old man, sitting in his grumpy old chair, looking at these posters hanging on his wall with his grandchildren … and having to say that his crowning achievements were all documented by penis imagery. The whole crowd was in stitches at this point – and Mika added on that society will probably be in a place by then that his grandkid probably wouldn’t care at all. Tonight even more than New York it was fun to watch the band chemistry. Mika had a ton of energy and was playing piano longer, or breaking off a song to monologue, and it was fun to watch the band make eye contact with each other to stay in sync. This was especially apparent in Lollipop – they started off with the piano battle as usual and then Mika just stopped playing and started talking. The band were looking around and trying to guess when to actually start the song. I don’t think I’ve ever enjoyed a performance of Popular Song more than this. The whole crowd was belting out the “la-la’s” even before the first verse, and that blew Mika away. He kept having the crowd take it over because we were so loud. Tomorrow had no intro as he did in New York. He just launched right into it. Indy and I have been looking forward to this song since we heard it Friday. I was trying not to expect that he would play it (since he skipped it in Montreal) but when it started we just went gaga. The verses. The chorus. The crowd was actually tentative at first but by the second verse the spell was cast. This song is one for the ages. Indy and I were jumping and yelling IN THE BACKSET OF MY VINTAGE BENZ at every chorus, it was perfect. Happy Ending. No mic. NO MIC. Nuff said. During Love Today, he laid his whole body down on the stage and as the band started playing, yelled out “Can you hear that?? That’s my big heart beating.” I cannot stress enough how jubilant Mika seemed at this show. He had us all close our eyes and “dance like no one is watching, and,” if I heard right, “scream like it’s your last shower on earth.” And the crowd did, we did we did! This whole venue seemed to know all his songs, up and down the albums. Much more than New York this was noticeable. Also noticeable – Mika never went offstage to change into a T-shirt. Did he forget! Did he not need to? After the encore, he and the band came back on. He had put the tee on at that point, but forgot to tuck it in, so he made a big show of doing it on stage. In the Grace Kelly intro, he did his knock bit, and then identified an audience member who he thought had a sexy voice. He kept trying to get this one guy to answer his knocking, the audience totally didn’t get it, and everyone kept screaming when he knocked. And we screamed even more when he finally gave up and said “I want to talk to you …” Unlike in New York, Mika didn’t cuddle or grind on his band mates during any of the songs, but he did introduce everyone during the bows. He just yelled everyone’s names – they all left the stage, and he stayed out smiling and waving for a while. Just overcome. Such a beautiful moment. After the show, they gave out posters and apples to everyone who was leaving. A big crowd of use congregated, and the venue set up some barricades for folks to wait behind. Mika’s manager came out and said “we’re going to bring Mika out” (so funny – like he’s an animal!) and said no selfies, just autographs. Mika walked out with his dorky backpack and his dimples looking like an absolute doll. He probably spent 30 minutes making sure to speak with every single person, sign every poster, and answer every question. So, so gracious and patient. Indy and I got to thank him for tonight. I tried to ask if he thought it was the best gig ever, and he looked me in the eye and said “I loved it.” He apologized for having been away for so long—I know he doesn’t remember that we saw him in this same city 10 years ago, but it kind of felt like it. He also told us he noticed us going wild during Tomorrow. We said, of course! It’s an amazing song. So thankful for our kind-hearted and infinitely talented pop star. This show left me so empty and so, so full. Mike4life13! I'll upload some photos/videos in a bit.
  2. 1 point
    *rubs eyes* Is that THE @violet_sky ???!!! Wow! Good to see you here! I guess I can sort of see that, if you're just talking about the lyrics. Musically, it reminds me of Promiseland. Just something about it gives me that Promiseland vibe. In a totally good way. I love both songs.
  3. 1 point
    Very cute song
  4. 1 point
  5. 1 point
    My friend said this song is just like Touches You lyrically. I guess I can see some similarities if I really think about it, but what do you guys think?
  6. 1 point
    Haha. OMG. I like it. 🥰
  7. 1 point
    Well...I haven't posted on MFC for a very long time 😊 but these gigs were so special to me that I just had to...When I heard that he was coming back to Canada and that my Canadian friends were going to be there (the Toronto and Calgary gang going over) I figured that -since I've been to most of his Canadian gigs over the years and see it as my second 'local' gig 😋- I simply had to!!! Any excuse to see the gang and get up to some of our usual shenanigans, and also see the Montreal girls who I haven't seen since 2009! 😄 The two shows were fantastic and I thoroughly enjoyed them. Mika was in great form, and especially during the second night I thought that he was in a great mood and had a fun, playful vibe to him. He seemed happy and relaxed. I've noticed this time round that he has grown a lot as a performer and seems so relaxed and comfortable on the stage, it's like he feels a lot better in his own skin and even though he was always great, I found him even better this time. I don't know how to explain it but for me it was a very real and clear feeling. Like he's matured as an artist and performer. I got a standing ticket for the first gig and a balcony front row seat for the second gig, and loved them both even though they were different. The advantage of the first night was that I had a great spot, 3-4th row in the center depending on how the crowd moved, etc, which -with the lack of barrier- meant that I was very close and had a great view of Mika. He came into the crowd for Big Girl as you know and then he was very close again, about 2 people far or so, which was good fun since he was going all out and so was everyone else around him. It was great to see that everyone was really respectful and nobody (that I saw anyway) tried to grab him, etc, which is what I would have feared if I'd known that he was going to do that! He seemed to enjoy his little stint right there in the middle of it all. The gig was absolutely fantastic, but I was a bit annoyed that he didn't do San Remo, since I've loved all the new songs that he's released (a first for me in a few years!!) and I was really looking forward to hearing them live...but the ones he did, I loved. Dear Jealousy is probably my favourite for now, I love the way his voice sounds in that one, but I also really like how he sounds in the San Remo recording which is why I wanted to hear it live. When he left the stage for the last time I kept saying: " He'll be back in a moment, he hasn't done San Remo" but I stood there like a lemming and Mika did not come back out 😅😅 He didn't come out after the gig which was disappointing, as it's been years now since I saw him last and during the last few London shows it was impossible to talk to him, so I was really hoping that he'd come out, but it was not to be. The second night I didn't want to go through the whole queuing/stress of a standing ticket and wanted to have time to spend with my friends during the day so I got a balcony seat, which was front row center so also great views. Of course this time the view was more distant, but as a trade-off his mood seemed sillier and this gave a good chance to see the full picture and watch everything properly without missing out on the details and things going on in the sidelines...which is also nice. The gig was great, he killed the new songs, and once again I was disappointed at the lack of San Remo...but I guess I'll have to wait until next time! I did wish he'd do all the new ones instead of some old ones which I don't particularly care for such as Popular or Lollipop. On a slightly critical note (sorry Mika, it wouldn't be me if I didn't dish it out 😅) I preferred the way he did Happy Ending in the older/earlier days. I'm not that keen on the way he does it now, especially the end, as I preferred the old tune that he followed then..even if this is one of my favourites live! It was nice that he could do the last bit a capella though and that we could hear it, since the venue was so small. I love small venues and simple stripped back shows, they are definitely always my favourite Mika shows! After the second night he did come out and we had the chance to have a little chat, which was lovely as it had been years!!! He said it himself, that he hadn't seen some of us for so long, but that it was 'heartwarming' to see us again and that really made me feel all warm. I think that I'm in fangurl mode again big time after these gigs, hahaha!!! Unbelievable 😜 It was SO lovely to see the Montreal girls again after so long, although they look exactly the same as 10 years ago!!! All in all it was just an amazing few days which I will be revisiting and remembering for a long time now, as we had so much fun and such a great time as always. Until the next time! 😍 I didn't take any photos, and only took a few videos. but here are the ones that I did take: 15 September Happy Ending TOOL Dear Jealousy Stay High 16 Sept Dear Jealousy TOOL
  8. 1 point
    Yes, I heard from Kira and Indy (@superstar and @77red) and they said the show was, of course, fantastic. I'm not sure if they got to see him after the show, I couldn't stay up past 3 a.m., which was midnight their time. I hope they'll check in here later to file a report. They said he went into the audience for Big Girl and sang the ending of Happy Ending off-mic again. I think he can do both of those things in the smaller venues -- this was about 1300. The Brooklyn venue was larger, about 1800.
  9. 1 point
    MIKA The creative crisis The farewell to the TV The weight of family ties «With the new album I start again from me» Vanity Editorial of SIMONE MARCHETTI Flight like this Malpensa airport. I'm waiting for my flight to New York, a short business trip. A hand caresses my shoulder. I turn around and he is there, Mika. He greets me, he's about to leave on my own plane. Last time we met in Hydra, a Greek island, during the holidays. Let's chat, I'll show you the latest version of the cover you see in this issue. He likes it, he is happy. On the flight we talk about projects, ideas. Then everyone in his place. Michael Holbrook, this is Mika's real name, he is 36, he said goodbye to television, he was away from music for four years and now comes back with a new album. After 12 years of success, the crisis has arrived for him. Strong, intense, disorienting. The notes, disappear. Inspiration, gone. The motivation is absent. The future, very nebulous. Clearly, there was only one question: what should I do now? New York, the evening after the flight. Paola Turci is the surprise guest of fashion designer Michael Kors at the party after the show. The public is mostly international, a little distracted and quite noisy. Paola takes the stage and is alone with her guitar. Attack with a cover of Mina, Still again. Then another song. And finally, with one of his most famous pieces, Volo thus. The public suddenly shuts up even if he doesn't understand a single word of Italian. I seem to fly, even though I am still here / And I take my dreams back hopes the illusions all you know about me / And I fly like this, with open arms in the clouds / Flight in the clear air without limits / Flight in the soul of these tender nights / Volo so because that's how I have to live / Volo in the heart of those who want to make a mistake / Flight in the sun because I want to burn / Flight like this Manhattan, Feroce, a club / restaurant above the thousand lights of skyscrapers. After the concert, Paola dances like a child, standing on the sofa next to me. It is free, like water that slides between the hands: in the same way, it caresses everything as if it flew away a moment later, light, weightless. Fragile and powerful. As soon as midnight passes, a small cake arrives with a candle: the singer turns 55 today. He closes his eyes, blows on the flame and then returns to dance and sing at the top of his lungs. This issue of Vanity Fair talks about the weight and lightness of crises. Of that difficult and very important moment in which one says: and now what do I do? In the interview, Mika, indeed Michael, claims to have found the wings of inspiration in a cemetery. On New York night, Paola shows how for her wings are a constant, a little madness to always carry with her, like a lucky charm that hides in a pocket. And you? Where did your wings go? Enjoy the reading PS: keep writing to me thoughts, advice and thoughts at smarchetti@condenast.it MIKA I made peace with myself 36 years old, photographed by Jasper Abels. Dior pinstripe suit with satin band. Grooming Anna Maria Negri @ W-MManagement using Womo / Bullfrog. Hair Geraldine Fougerat Gay using Ever Bio Cosmetics, Huile de graine de figue de barbarie. I HAVE MADE PEACE WITH MIKA The crisis came after 12 years of international success. So, before writing his new album, the pop star wondered: why do I do it? The answer is in a cemetery, in the history of his family and in a project of his mother by VALENTINA COLOSIMO photo JASPER ABELS RAMONA TABITA service THE FIFTH TIME Mika, 36 years old. After 4 years of recording silence, October 4 returns with My Name Is Michael Holbrook, the fifth studio album of his career, 12 years after debut Life in Cartoon Motion. My mother accepted jobs for me even though they didn't pay us for travel and hotel, so we ended up sleeping in the car Two years ago, at Bonaventure Cemetery in Savannah, Georgia, in the southern United States, Mika had a revelation. On the graves of the ancestors there was his surname, Penniman, in some cases even his two first names, Michael Holbrook, and so, perhaps a little macabre but "funny, to Tim Burton", as he says, those tombstones reminded him of who he is and where he came from, and they revealed something about his father's family, until then almost ignored. In that cemetery - a bizarre gift of inspiration - the first verses of Tiny Love were born, the song that opens the new album, My Name Is Michael Holbrook, four years after No Place in Heaven: «I didn't know where to start, I was in full creative crisis, in the sense that I had nothing to say. So, as always in these situations, I told myself that I had to throw myself into the unknown, and for me the unknown is my father's family. Seeing my name on all those graves has exalted me, it was nice to know that piece of my identity still unexplored. I felt the need to defend my roots and started writing: My Name is Michael Holbrook, I was born in 1983. My name is Michael Holbrook, I was born in 1983 ». Sitting barefoot and cross-legged on a sofa, Mika speaks quickly, there are many things to say and he has already waited too long. He has just turned 36, the last 12 - from the lucky and colorful debut of Life in Cartoon Motion - he has gone on to do the things necessary to be an international pop star: records, concerts, collaborations. To that were added the talent shows - in Italy X Factor, in France The Voice - that gave him the mass popularity typical of TV. Now he has decided to focus only on music and the change of perspective has also coincided with the change in the look, which has gone from a camp style to the less decorated style of today. Why did you put your legal name in the album title? "I wanted to forget the person I had been in the last few years to go back to being that boy who was in front of his white s**tty piano, in the family home, writing songs for Life in Cartoon Motion." Do you want to distance yourself from Mika? "Yes". What made you tired of Mika? "It's a question that requires a complex answer, to answer I have to go back to my family history, the same one I started four years ago when I went into crisis. Using the name of the registry office allowed me to review reports with my family with a different look, more adult and courageous ». Where do you start? "Since I was seven years old. My father, a financial advisor, had been taken hostage in Kuwait at the US embassy. He returned seven months later, completely changed. First it was Dad, then it was Mike: we could no longer call him Dad, that thin man with a beard, who had lived very strong things, we children didn't recognize him anymore ». What do you call him today? "" Pa "is the way I found it, after calling him Mike for 15 years. "Daddy" I can't ". After his father's return, what happened? "An economic collapse, we lost the house, with creditors coming to foreclose on the furniture. So we moved to London where we lived in a bed and breakfast for two years. We had to rebuild our lives from scratch. It is at that moment that all my problems explode, above all dyslexia, and then the violent teacher and expulsion from school ». And then he starts singing. «My mother comes to me and tells me: ok, now you go to work; "You will either be a total failure or a great success; if you fail, someone like you can only end up in prison." In prison? Even? "I don't know why she said it, today it may seem like a funny phrase, but it was the obsession of my life. The bugbear of failure has begun to haunt me since I was a child. " Have you always lived with the fear of failure? "Always". Then what happens? "My mother puts me down with singing: four hours of exercise a day. After five months of this exhausting training, I am already singing at the Royal Opera House in London. And so, everything changes: they treat me well, they pay me, I have responsibilities. Another world compared to the school nightmare ". Was studying singing an obligation? «Yes, I detested the discipline. Every day my mother trained me and twice a week this Russian teacher arrived from Moscow, who dressed like a Russian lady of the Twenties, hardly spoke English and screamed at me in Russian. In the morning, before classes, I cried. " Did his mother want to find him a job as a singer or raise a pop star? "She didn't want the pop star, even today she hates that part of my job: for me she wanted success, which for her means cultivating a creative talent, finding satisfaction in artistic expression, which is like a super power that nobody can take away from you and that gives you true freedom ". Which was the hardest part? "My new life of constant training has pushed me further away from my father. Because at that point I had become a project: my mother's project ». What did the "Mika project" involve? "My mother accepted jobs all over Europe, even when the trip and hotel were not paid for. And so I, she and my sisters Jasmine and Paloma found ourselves sleeping in our old Toyota Previa, outside the theater where I was supposed to perform. The Mika project was a collective effort of the whole family ». Have you ever felt exploited? "No, because I knew that was my future. My mom had recognized the talent in me. " The whole family pointed to her. A heavy responsibility? "Yes, a very strong pressure, which I still feel today, every day of my life". Does it make you feel bad? "Sometimes yes. But then I recognize that having such a complex family is an incredible wealth. This is life, this is love. It is not something that is experienced between two people in a hotel in the Maldives ». How did your four siblings experience the "Mika project"? "Partly well, partly bad. They have never been envious, because our house is a kind of municipality. But my sister Paloma, for example, always wanted to be an actress, but she never could do it because she was born with a semi paralysis on the left side of her body. For her I am a point of pride but also a cause for sadness. Her life has become my own, she's my stylist. My sister Jasmine, on the other hand, does all my graphics ". Family and career are one. «The problem is that when you become an adult, how do you get rid of all this family history to find the lightness necessary to create? You start singing and writing songs as a child, you did it for life, then at a certain point you ask yourself: why? ». What answer did you give? "I went to the Savannah cemetery and saw the part of my life that had nothing to do with my mother, with my career, with the Toyota Previa. A way out at last. In the hotel I started writing Tiny Love, then came the phone call that changed everything ». "It is my father who says: you have to come here to Dubai, your mother is very sick, she has a heart problem, she has to make an operation and risk her life. As a punishment, when I tried to emancipate myself from my mother and my family, that phone call brought me home ». How did the surgery go? "So and so. She has had serious complications for two years, back and forth from the hospital in France. Paloma and I take care of her ». Did you put all these experiences into the new album? "If life throws you such a challenge, I said to myself, raise the temperature, offer your heart, write melodies. It does not mean making tearful songs, as if I were crying on the couch of a s**tty Sunday afternoon TV program. These new songs have strong colors and an intimate message ». Her mother and her sister Paloma also sing in Tiny Love Reprise. "It is a message to the future: we make peace with the past, even with fear. This is life and we have our tiny love, our little little love ». In the midst of these shocks he stopped making TV. "It was my choice." Why did he want to distance himself? «Because the TV does not belong to me. TV is not art in itself, you always have to think about what you will do next, and above all after a while you can't be yourself anymore, you play a character, you're just a mechanism of the show ». Is he repented? "No. I am also happy with so many things - for example, having made certain political speeches in prime time at Rai. But I wouldn't do X Factor or Casa Mika again tonight. It's enough. Enough of having people tell you what you can do and what you can't do. Enough of those who say yes, but then they hinder you by taking away your budget ». Did TV hurt you? "TV can interfere with music, but it depends on what you do next. The proof is the concert tickets: people can love you on TV, but if they don't like your music then they don't buy tickets ». But have you never had the feeling of being identified more as a TV personality than as a musician? «It went well for me, but the risk is there. This is why I decided to focus only on music ». In this album we talk about sex and sensuality, starting with the single Ice Cream, a song full of allusions. "Pop has been de-sexualized, but if you take away sex, what's left? I think of Prince, George Michael, Michael Hutchence, David Bowie. Why not talk about sex when it's always there and it's a lot of fun? " You have been engaged to Andreas for 12 years. Do you believe in monogamy? "I believe it because I'm a jealous bastard. But it is only a personal choice, it is not a moralistic stance ". Six years ago you told Vanity Fair that you wanted so many children. You haven't had a single one. "It would be a selfish gesture, today, to have a child, I could not devote myself to it". How do you think you have them? "All options are good: adoption or surrogate mother. And I say it immediately: I defend the subrogation and it is absurd the idea that it is a dirty practice abused by homosexuals. There are many hetero couples that resort to this method ". It is a controversial issue, there are biological links to be considered, for example. "I know a couple who had a child from a surrogate mother: she is a happy woman who helped them and is part of the child's life. It is necessary to see case by case, it cannot be generalized. Certainly, the market must be fought, it is created in certain countries, where children are trades. Today, I said, I don't feel like becoming a father, I see the commitment that Beau Regard requires, my five-year-old nephew, Paloma's son ». You have dedicated a song from the album to her. "She was shocked when she heard it, but for me it's not emotional porn. It is a way to deal with the trauma ". You never talked about it. "I'm talking about it now. Nine years ago, Paloma smoked at the window, but since she didn't have much balance due to her semi paralysis, she fell down from the fourth floor, and fell onto a railing when she fell. " Were you there? "They called me, I was the only family in London. I go into the ambulance, they tell me: go say hello to your sister, she will die, there is nothing to do. I walk over, it was a terrible scene. I tell her: hi Paloma. And her: can you tell these assholes to leave me alone, since I have to get up? So I look at the doctor: excuse me, but this one does not die. And I returned to the ambulance, while they were starting to saw the gate, since they could not simply remove it, they took it away again with the rods that pierced the body ». What did you think while you were there with her? «Practical things. I had to warn my family around the world. Our parents were in Bahrain, when my father replied - it was his birthday - he thought I went to see him by surprise. " Did the accident bind her and Paloma more? "No, on the contrary: she turned us away. But it's normal, it's a question of survival, you have to put some distance to go through the experience and you have to do it yourself. In time, then we get closer ». You started this album with a research on your identity. Now that the record comes out, at what point is it on the course? «I started with the idea that the character of Mika, my music had been taken from me against my will. Then I realized that it wasn't true, that it wasn't all my mother's construction, I wanted it. I have made peace with the last 12 years. Because the only way I know how to live and express myself is to create music, write, perform. Without this I do not exist " I'm happy with the programs I did, but I realized that TV doesn't belong to me, I don't want to be a cog in the show anymore Reading time: 12 minutes On this page, from left: complete tartan, VIVIENNE WESTWOOD. Shirt, COMEFORBREAKFAST. Sneakers, LANVIN. Silk shirt, trousers and shoes, all LOUIS VUITTON. Pages 58-59: pinstriped suit, DIOR. Boots, HERMÈS. Pages 60-61 and 64: blazer and shirt, BERLUTI. Ankle boots, EMPORIO ARMANI. Pants, vintage. Page 63: complete, JACQUEMUS. Page 66: Silk shirt, trousers and shoes, all LOUIS VUITTON. Talent stylist Paloma Penniman. Giada Zappa has collaborated. Grooming Anna Maria Negri @ W-MManagement usingWomo / Bullfrog. Gay Hair Geraldine Fougerat using Ever Bio Cosmetics, Huile de graine de figue de barbarie. Set Designer Charlotte Mello Teggia. Thanks to Pier Bragotto.
  10. 1 point
    OK, fine tuning after hearing this live a few more times and listening to the recording about a million times more! LOL! You're totally right about "I don't need to be the richest, I know enough is enough." And there's an extra "in" in the chorus. ------------------------------------ Jealousy, bring the music back to me Dear Jealousy You know every part of me Hiding where no one can see I want you to leave Dear Jealousy Why you smiling creepily? Your fingertips keep holding on But your tricks won't work on me Oh baby, I'm jealous, I'm jealous, I'm jealous of us I'm jealous of everything that I know we could be, but never really seems enough I'm jealous, I'm jealous of everyone Jealous of the man I used to be, and the man I could become I'm jealous of your face, of your lips, of your eyes Jealous of your house and the car you drive Jealous of your truth and I'm jealous of lies I'm jealous (dear jealousy) Jealous of the ground beneath my feet Jealous of your mouth and the air we breathe Jealous of the way that you look at me I'm jealous It's coming out to get us, get us You better run away while it let us 'Cause like it or not Every day we get a little better at jealousy We got one thing in common Amen The only problem is that it's wrong and In every single person, even you, even me Is jealousy Dear Jealousy When did you move in with me? This bed wasn't made for three It's time for you to leave Oh baby, I'm jealous, I'm jealous, I'm jealous of us I'm jealous of everything that I know we could be, but never really seems enough I'm jealous, I'm jealous of everyone Jealous of the man I used to be, and the man I could become I'm jealous of your face, of your lips, of your eyes Jealous of your house and the car you drive Jealous of your truth and I'm jealous of lies I'm jealous (dear jealousy) Jealous of the ground beneath my feet Jealous of your mouth and the air we breathe Jealous of the way that you look at me I'm jealous It's coming out to get us, get us You better run away while it let us 'Cause like it or not Every day we get a little better at jealousy We got one thing in common Amen Only problem is that it's wrong and In every single person, even you, even me Is jealousy Jealousy Bring the music back to me I can't even write a song If you're standing over me (Dear Jealousy) Jealousy I'll take the good times with the rough I don't need to be the richest I know enough is enough (Dear Jealousy) Jealousy Stop confusing me I am sick of seeing everything In deeper shades of green (Dear jealousy) Jealousy It took a while for me to see I thought I was the one who's jealous But you're jealous of me (Dear jealousy) It's coming out to get us, get us You better run away while it let us 'Cause like it or not Every day we get a little better at jealousy We got one thing in common Amen Only problem is that it's wrong and In every single person, even you, even me Is jealousy It's coming out to get us, get us We better run away while it let us 'Cause like it or not Every day we get a little better at jealousy
  11. 1 point
    So, putting together what we have, I think except for the line with the leather seat we're doing pretty well. Good teamwork! Tomorrow, Tomorrow, (Tomorrow) You and I we're really really not so innocent Consequences won't be easy From here every road leads to regret But if this ain't what you wanted Then why'd you even come here, it's 2am If this isn't what you wanted Then why did you put a smiley in your message then Backseat, laid on Window open, staring So kiss me in the backseat of my vintage Benz Oh who gives a shit about tomorrow When it comes we can worry then Oh who gives a shit about tomorrow And then we're lying on a thousand stars Oh who gives a shit about tomorrow When you know how lucky we are Oh tomorrow worry about tomorrow Lying here together Stretching every second into more I know you're getting nervous But this is a mess worth fighting for If this isn't what you wanted Why'd you even come here, it's 2am If this isn't what you wanted Why'd you put a smiley in your message then T-Shirt off, breeze coming in The leather seat (...) So kiss me in the backseat of my vintage Benz Oh, who gives a shit about tomorrow When it comes we can worry then Oh who gives a shit about tomorrow And then we're lying on a thousand stars Oh who gives a shit about tomorrow When you know how lucky we are Oh tomorrow we'll worry about sorrow (If?) you'll be there tomorrow then I'll love you Tomorrow, tomorrow, tomorrow, tomorrow So kiss me in the backseat of my vintage Benz Oh, who gives a shit about tomorrow When it comes we can worry then Oh who gives a shit about tomorrow And then we're lying on a thousand stars Oh who gives a shit about tomorrow And we know how lucky we are Oh tomorrow we'll worry about tomorrow