A Quote by Christine and the Queens

That's pretty much how I feel on stage, like I can let go of all kinds of baggage, or even disappear and change outfits. I want to remind people that they can grant themselves the license to do the same.
You still love me - even if there's one expression of it that you will always feel and want, but will not give me no longer. I'm still what I was, and you'll always see it, and you'll always grant me the same response, even if there's a greater one that you grant another man. No matter what you feel for him, it will not change what you feel for me, and it won't treason to either, because it comes from the same root, it's the same payment in answer to the same values.
Even though I've been doing it for so long, I still feel fresh. Even when I walk out on stage, I still feel pretty much the same as I've always felt.
I really feel like people who want to change things need to go out and change it themselves and not look to politicians to do that.
Scientists who dissent from the alarmism have seen their grant funds disappear, their work derided, and themselves libeled as industry stooges, scientific hacks or worse. Consequently, lies about climate change gain credence even when they fly in the face of the science that supposedly is their basis.
I love fashion. I like dressing how I feel, and my music shows how I feel - they go hand in hand. My performance style is pretty much the same as my everyday style.
So you can have your program, but you also have to be ready to change it immediately because there are certain kinds of people who like certain kinds of songs and they like - some people want to dance when you come out, some people just want to be intimate with you. So you kind of feel your way through a show.
If I had an author superpower, I would like to have the ability to stop time for everyone else. I feel like I have to disappear into myself to write books. I go away, into my head, for hours and weeks at a time, and I hate that I miss everything. It's pretty selfish to want to pause other people, isn't it?
We get older, and we get more wrinkles, but fundamentally, we stay the same... You have the same fears and doubts and concerns and dreams and passions and all those kinds of things, so I feel like you don't change as much as you think you do.
The white music was melodic and pretty, and you had beautiful women's voices like Gogi Grant and even the Andrews Sisters. Then I went directly to rhythm and blues, which had beautiful voices but not much melody in particular and pretty much the same chord pattern. I loved it, I was entrenched in it, but then folk music came in the middle of that for me, and made its own path. And it was part of the rebellion against bubblegum music, or music that is pretty but doesn't say anything.
Everyone wants to be Cary Grant. Even I want to be Cary Grant. Let me expand a bit. I sense that you may feel that I am free of problems. Let me assure you that I have the same anxieties and insecurities as anyone in this auditorium - maybe more.
You feel the camaraderie that you're all driving around in vans, you know, engaged in musical enterprise. It's pretty much the same for everybody except for the 40 minutes that you're on the stage. Other than that, I do feel like we're off on our own path. It's sort of exciting.
I feel like, when the audience connects with something, they enjoy the experience so much that they want other people to go have it. They're like, "Don't talk about it. Don't tell. Just go!" It's a nice feeling to have people coming around it that way, protecting the ideas in it, so that everyone can see it for themselves.
When I have an exhibition, I usually arrange it so that if people want to, they can spend two hours there. That way, people who like it don't feel cheated when they go. I want them to walk into the exhibition space and look low and at other levels and angles. The same with emotions. I want them to be emotionally manipulated, to come out feeling something. I want them to laugh, smile, feel sad. Even if they feel angry, that's okay.
I pretty much use the same stuff live that I use in the studio. I don't like the feel to change too much.
And if I'm ahead, I can sometimes tell. It might mean I'm having a good swim, but pretty much, I'm just focused on how fast I'm going, how fast I'm feeling, and pretty much block everything out, the sounds, the sights, just kind of listen to the rhythm of the water, and just maintaining the same stroke, the same rhythm, the same tempo, and thinking about how I want to get my hand to the wall.
I feel like people have a lot of the same good times and the same interests pretty much anywhere.
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