Annie Clark (St. Vincent)
speaker
53 appearances
1 recordings
1 series
first heard Dec 2024
last heard Dec 2024
Annie Clark (St. Vincent)’s voice in public audio — every appearance, attributed to the second.
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Appearances
Um, I want it to be like, like a perverse tornado or like, I want it to be, um, a lot of times really uncomfortable. I want it to be the one thing that comes in and disrupts the scene completely.
Yeah. My uncle taught me that.
Man. Do you ever feel like you have been coasting on the books you read in high school? Mm-hmm. because that's the time when you are just the most absorbent. In some ways, I feel like I've been coasting on the things I learned when I kind of first started playing guitar, when I was watching my uncle play.
Oh, yeah. Tuck Andrus, he's one of the greats, one of the jazz finger style master. I mean, it's unbelievable. I forgot your question.
Yeah, I think I'm not that interested in guitar being a means of poorly covered up pride.
Some songs are hard labor. And I mean, every word, every note is just like deeply labored over until it finally gets to the right spot.
Sometimes. Sometimes, yeah. Super hard. And then some songs feel like... They're floating around in the ether and they could have gone to your next door neighbor, but like you were the lucky recipient of them somehow. And New York was one of those songs that the melody and everything, it kind of came rather quickly.
And it was one of those songs that I was, it felt like I just sort of pulled out of the ether more or less fully formed and was like, thank you. Thanks for that. Yeah.
Deeply.
Black Like Me. I read that when I was 13.
This was not assigned in school.
Yes. And he does. And he's, um, brutalized and that something like that. Um, all of these things are empathy exercises. Um, and at its best, that's what, that's what art is. And I really, really, really firmly believe, and I wouldn't be doing what I do if I didn't, um,
that art, music, theater, film, I believe that those things change people's minds and make them more human and remind them of their humanity and thus the humanity of others.
Yeah. I mean, children have... They might not have the lexicon to describe the emotions that they feel and the things they're intuiting, but they have all of the same emotions just in this tiny body. And I had... a lot of the anxiety emotion. I have a lot of fear. Um, and so hearing the kind of purge of that fear through Kurt Cobain and nevermind and, um, was liberating.
It said to me, you're not alone. It said to me, um, we're all in this, like you have a tribe is what it said to me.
That's fucking mootly.
Sorry. Absolutely. You just, you go, okay, okay, I'm not alone in this.
I don't know. That's one that I don't know. I don't know where to put that experience. Because everyone wishes that Kurt was there doing that. And I wish that too. So I don't know where to put that experience. It feels very strange to be joyful about it.
There's something in the structure of and building a really solid structure and foundation architecture of a show that to me feels safe. And what I mean by safe is that... Yeah, what is safe? What I mean by safe is that it means that I know that the show is always going to be at a certain level of quality because I've beta tested it, you know, extensively.
And then so that I have this platform on top of that, just like baseline level of quality to experiment with exactly how emotional... it can be. And the thing about it is that performing night after night, it's a little bit like being an actor in that you need to be able to say your lines. You need to remember them. You need to stand in your light.
Showing 21–40 of 53 · page 2 of 3
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