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prostituée au maroc — “Purple 76 Index” S/S 2018 issue 29

Spooner casey

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rencontres s ete The new FISCHERSPOONER album ‘SIR,’ produced by Michael Stipe and Boots will be released in February 2018.

rencontre mariage en ligne rencontre femmes poissy FISCHERSPOONER AT BROOKLYN STEEL, BROOKLYN, OCTOBER 27, 2017

rencontres jazz blois OLIVIER ZAHM — What about the new Fischerspooner show? Are you still together with your partner?

prostituée israelienne CASEY SPOONER — Mm-hmm. I’ve been working with Warren Fischer since the summer of ’98. Almost 20 years. Michael Stipe is the producer of our latest album. He was my first love, when I was 18. He was my first boyfriend.

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club rencontre laval CASEY SPOONER — Yeah. [Laughter] And my first gay lover. He was 28. I was 18. We met in Georgia on the dance floor. He was just about to release encontre aqui org receita bolo cenoura Green [R.E.M.’s sixth studio album]. I was with him just as he was about to go into arena rock. And now, 30 years later, he’s my producer.

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rencontre avec joe black megaupload telecharger OLIVIER ZAHM — So, you ran away to develop a different career, because you’re a performer and also a musician, or?

site de rencontre pour pompier CASEY SPOONER — I make images, and sometimes I’m in them, and sometimes I’m not.

rencontre sans lendemain dakar OLIVIER ZAHM — You’re a photographer, too.

rencontre avec le mal spoiler CASEY SPOONER — Yeah. I make images. Sometimes they move, sometimes they’re still, sometimes I’m in them, sometimes I’m not. There’s a performance component that came later. Music came after acting. So, first it was visual, then the visual started to move, and then the visual started to sing.

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sites de rencontres togo OLIVIER ZAHM — It’s like you’re your own canvas, and your own object of desire.

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rencontre serieuse a chateaubriant CASEY SPOONER — I don’t know. I grew up in the ’80s, so I loved Grace Jones — I worshipped her. It was, like, Grace Jones, Madonna, Laurie Anderson, and Warhol. The crazy, eccentric, and very glamorous performance Pop that happened in the ’80s.

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rencontre femmes le robert CASEY SPOONER — Absolutely. It’s all part of the communication — each part is a tool to communicate the message.

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rencontre avec turc OLIVIER ZAHM — Sometimes it’s complicated who’s gay, and who’s straight.

smack site de rencontre CASEY SPOONER — I think it’s always been messy at the top. It’s getting more that way now.

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rencontre peillac OLIVIER ZAHM — Tell me your story. Why did you stop performing for a while? I feel that you never really did, but that you always created a kind of distance. 

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soeurs prostituées CASEY SPOONER — You know, the music industry is very difficult to work in, and it’s gone through a lot of changes. It was never really where I wanted to be or planned to be. I was always planning on a career in art, gallery art. Even when we were doing Fischerspooner, it was more of an entertainment project for the art world. It was not very much about music, but created a kind of mise-en-scène atmosphere to create images and a theater setting.

prostituée sakakini OLIVIER ZAHM — An entire art situation?

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site de rencontre avis gratuit CASEY SPOONER — The music business started chasing us. But at first we turned everyone down. We were doing shows, and performed at the Jack Tilton gallery, then at Gavin Brown’s gallery. When we were with Gavin, a lot of people came to the shows. They all told us we should release our music. So we started burning CDs and selling them at the gallery. That grew so much I was delivering boxes to local record stores. That continued, so then we released a thousand copies of orme rencontre Emerge on vinyl with a very small label called Serotonin… It was the most ridiculous record deal because it was a license deal for six months. It was all they could offer.

gironde rencontre OLIVIER ZAHM — [Laughs] 

site de rencontre pour personne de plus de 40 ans CASEY SPOONER — Then DJ Hell heard the vinyl and invited us to Berlin to do a performance. That was the first time we performed outside of New York City. He was, like, “Oh shit, let’s release the record.” Then it just kept growing. Then Ministry of Sound chased us, and we said, “No.” Then they offered us a ton of money and flew me in the Concorde, and then I was, like, “Well…”

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rencontres eco-citoyennes européennes OLIVIER ZAHM — In the Concorde?

comment faire l amour avec une prostituée CASEY SPOONER — Yeah, I went on the Concorde. Yeah, it was fun.

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chanson rencontre d CASEY SPOONER — From there, Capitol Records… then EMI picked up the first record. So we went all the way from DIY, to indie, to a little bit bigger indie, to independent, to major labels — all the way up the scale. Which was not the best system for us. Not because of anyone’s fault really, but we have an unusual process where we work on music, photography, film, and performance simultaneously. One influences the other so that the whole thing becomes more clear.

prostituée gueret OLIVIER ZAHM — Were you able to adapt to the music business?

site de rencontre bar le duc CASEY SPOONER — The problem with working in traditional entertainment is that — and this is why I’ve never really been upset that the music business fell apart — it wasn’t a system for us. Because first you had to make the music, which can take years. Then, after you make the music, you hire a photographer, they take a picture, and you hire a stylist, and they pick out an outfit, and then you make a music video, and then you hire the people and go on tour. And that doesn’t really work for us. What really works for us is to do everything at the same time: work on some music, then I work on photography and kind of create a character… In the middle of the recording, we made a book that served as a style guide, which helped to define the context for everyone, including the music.

cleopatre rencontre cesar comment OLIVIER ZAHM — Let’s speak about gay culture. When you met Michael Stipe, did you already identify as gay?

casa annonce rencontre CASEY SPOONER — I was so young. And I was in love with a girl in high school, but we could not figure out what we were doing with each other. I adored her, but I think maybe I wasn’t aggressive enough sexually. I was so intimidated. So she would hook up with another guy, Donnie. Which broke my heart because we were spending all our time together, dating and doing the things you do when you date. And then she’d go fuck another guy!

rencontres jeunes et handicap OLIVIER ZAHM — Oh la la.

dating femmes conflans sainte honorine CASEY SPOONER — And it made me crazy. And of course she would hide it from me… I was sexually timid, which didn’t open the door to that relationship. But she was the one I called when Michael first hit on me. I was confused by it — confused and excited. So I called her, saying, “I don’t know what to do. This guy is flirting with me.” And she was, like, “You know, I think you should explore it.”

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je voudrais rencontrer fille OLIVIER ZAHM — Did she help you? 

rencontre ado tours CASEY SPOONER — Yeah. The girl I was in love with set me free, encouraged me to be with a man. But there’s been a handful of times when I’ve met women, and for whatever reason, I didn’t follow through with them. My biggest regret was the time Helena Christensen was all over me.

rencontres amities seniors OLIVIER ZAHM — A missed opportunity?

rencontre bnat agadir CASEY SPOONER — I was at a party, and in a monogamous relationship, and she was so flirtatious. Then, when I got home and I told my boyfriend, “Baby, I almost cheated on you tonight with Helena Christensen,” he said, “You idiot!” He was, like, “If that ever happens again, do it.”

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rencontre de pacquiao hutton CASEY SPOONER — I’ve had experiences with women, but I’m drawn to men.

rencontre femme riche site OLIVIER ZAHM — Did AIDS frighten you?

rencontre femme sexe chelles CASEY SPOONER — Yeah, it was the ’80s. I was born in the ’70s. So, ’84, ’86… I’m 14, 15, 16, reading about the AIDS hysteria in the media and having my first real inkling about death.

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prostituees gometz OLIVIER ZAHM — No.

site rencontre ado reunion CASEY SPOONER — It’s a drug you can take that prevents HIV. It’s a also a drug you take if you become HIV positive. Most gay men I know are now on it. So you don’t need to use a condom. You don’t have to have safe sex. So, there’s a renewed feeling of sexual liberation that’s happening.

prostituée vilnius OLIVIER ZAHM — Is it expensive?

club de rencontre extra CASEY SPOONER — Very expensive. Fortunately, New York city has incredible programs to make it very inexpensive. I only pay $3 a month for it. Because if you don’t have insurance coverage or if you aren’t part of an insurance program, it costs $1,500 a month. Also, it’s not available worldwide… I started taking it in April of 2016. This drug, Truvada, has completely changed behavior in New York City. There’s a boom in sex parties, sex clubs, group sex, and open relationships. So, in general, New York has become a hyper-sexualized environment.

rencontres haute corse OLIVIER ZAHM — Because of this drug.

celibataire.ch - rencontres en suisse romande - chat CASEY SPOONER — I mean, it’s been growing. At first, I was very resistant because I didn’t like the idea of big pharma, corporate America, owning my sexuality. I felt they were profiting from queerness. Conservatives were both undermining the civil rights of gay people and profiting from them. Because it can prevent HIV, and so many people take it, they’re making money off you whether you’re HIV positive or negative. I felt a lot of resistance. Then I went through a big breakup and started dating a younger man who was maybe 32, super-sexy, super-hot. It was a very sexual relationship. And he was on a drug called PrEP — that’s an acronym for pre-exposure prophylaxis. There’s a city program that provides PrEP for people who can’t afford it or don’t have insurance coverage.

rencontres chatellerault OLIVIER ZAHM — And he didn’t have insurance?

calendrier rencontres ligue 2 CASEY SPOONER — Yeah. You know, health insurance in America is a disaster. I’m an artist… I can’t afford health insurance. Well, now I have health insurance through Obamacare. These other programs provide the drug PrEP.

site de rencontre urbeez OLIVIER ZAHM — So these new medicines have transformed gay culture in New York?

boite rencontre bordeaux CASEY SPOONER — Absolutely. That’s why I’ve sort of adopted the ’70s image. It’s because there is this golden age of gay life that’s happening again, where you can have sex without fear.

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rencontres musicales de l est tourangeau CASEY SPOONER — I am, I know. It’s so funny, I just had a Halloween party where I dressed like a total whore. My friend was, like, “You know you’re really not a slut.” And I was, like, “I know!” In fact, I’d rather dance and hang out with my friends and talk and hold hands and kiss and spend time with someone. I’m not really deep into the gay bang thing. Whenever there’s a gangbang, I’m probably going to be upstairs having a cocktail.

quel meilleur site de rencontre gratuit OLIVIER ZAHM — But you always have great style. How do you explain that? Is it a gift?

atomix rencontre mendeleiev CASEY SPOONER — I think I got it from my mother. My mother’s very stylish. So it feels like it’s genetic,

reno prostitutes OLIVIER ZAHM — I’ve noticed that you regularly change your style. 

site de rencontre algerien non payant CASEY SPOONER — Yeah. I like to change it. Although for this album, I’ve stuck to one image a little bit longer than normal.

album rencontre tintin capitaine haddock OLIVIER ZAHM — Do you feel like a figure in New York’s art and gay scene — a representative? Do you feel like you can teach something to the younger generations?

lieu de rencontre ain CASEY SPOONER — I do actually. It’s interesting because when I was younger, I didn’t know a lot of older gay men because they all died. And now I’m in this situation where I’m a mentor, but I never had one myself. So, I don’t really know how to mentor. I get confused because I treat young guys as if we’re the same, and then I realize we’re not.

rencontres sosies OLIVIER ZAHM — Because you’re older?

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poeme pour une belle rencontre CASEY SPOONER — Yeah, and so it’s been a little confusing. Because age is real and not real. I don’t get too caught up in it. I remember when I was younger and people would talk about their age, and I’d say, “The thing that makes people seem old is when they talk about their age.”

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rencontre des vieux bateau CASEY SPOONER — Well, when I was younger, I didn’t care. I just wanted to be around cool and interesting people who knew something.

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rencontres musicales a versailles dvd CASEY SPOONER — And you have to fight the rights of people who don’t have the privilege of a being a cis-white-male. So, from the queer community, I’m the one with the most privilege. Now I feel I have to not simply take care of myself, but to take care of others, the weaker ones.

rencontre avec dragon wiki OLIVIER ZAHM — It’s a crazy period.

site de rencontre avec femme CASEY SPOONER — It’s fucked up. But, weirdly, I feel good about it because everyone feels alive, invigorated, focused, and conscious. Everyone has a purpose, drive, perspective.

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site rencontre catholique suisse CASEY SPOONER — There’s a great community in anonymous sex. I don’t think it needs to be diminished. It’s like a ritualistic energy exchange.

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rencontre de pediatrie pratique 2013 CASEY SPOONER — No, it’s brought people together because it’s broken down socioeconomic boundaries. I’m meeting people whom I wouldn’t meet because they’re not in my circle, or where I hang out. So, I’m connecting with people in all kinds of different ways.

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site de rencontre marche vraiment CASEY SPOONER — Yes. It is. And I meet a lot of people online, and then I end up working with them. I met Juan Pablo, who stars in the l ange la prostituée et autres clins dieu Togetherness video, on Grindr. He’s an incredible dancer. But social media is also an environment where people segregate. They can segregate sex from their real life or their professional life. So that makes it a great way to meet people and connect and share something.

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quartier prostituée agadir CASEY SPOONER — You can have sex again or not. You can just meet. It’s like a greeting.

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affection rencontre CASEY SPOONER — The problem with digital sex is that … a photograph is not always representative of a person. And so, sometimes people can look amazing or they can have the right stats, but their energy, their smell — these very real things don’t always connect. So, you take a risk. In general, it’s like a multi-platformed set of clues. So the online picture can only be used as a tool.

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site rencontre elite CASEY SPOONER — Everyone’s become so savvy with photography. Like everyone knows their angle and their light. I heard that when you look at pictures of someone online, and there’s one picture where they don’t look the best, that’s probably what they look like. So, just stick to the worst one and be prepared for that. But I’ve also had magical experiences. The song I did, “Top Brazil,” when I was in Rome. I was traveling with my sister, and we were sharing a room, and I snuck out of the hotel and met this beautiful Roman college student, who snuck me into his parents’ house — while they were sleeping. We had the most incredible, beautiful, amazing, sexual experience, like a top five. His profile name was Top Brazil. And the next night, I wanted it again, and it was awful. It was terrible. The energy was wrong, and the whole thing felt so weird.

rencontre amis clermont ferrand OLIVIER ZAHM — It’s incredible that 30 years later, Michael Stipe is still with you. 

rencontre dial 60 CASEY SPOONER — Yeah. It’s crazy and cool to make an album about gayness with the man who started it all for me. We worked a lot at his home, which was the same place I had sex with a man for the first time.

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prostituée villeneuve le roi CASEY SPOONER — And not fully recognized or appreciated for his perspective on visual art and culture as well as music.

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vlan rencontres CASEY SPOONER — Oh my god! Just last week he basically became my show director. He sat outside during the production and gave me notes. It was so intense and incredible to have him help me basically write the script. The thing that was most different on this record was that, since he’s so experienced with performance, he knew how to write and record for the stage. So, the voice is more natural.

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rencontres culinaires CASEY SPOONER — Well, once we would write and record a song, he would say, “Okay, now go through and sing that song from start to finish three times.” This was to see if it was performable live. For instance, in the past when we would make songs, because I never considered myself a singer, I felt I didn’t have anything to prove musically. So I would just show up, and I would let Warren [Fischer] do whatever and sing.

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rencontre une chinoise CASEY SPOONER — Yeah, Improvisation is part of the writing process, but, in terms of finishing and performing, I wouldn’t worry about how or even if it would be performed. I didn’t care. I just wanted it to sound cool. Warren has a great ear, and he has this icy quality that is interesting to me. He likes to get to emotion through an extreme formal quality. Michael goes in another direction. His way of connecting is more human. For example, in the second verse of “Never Win,” I can’t sing it all the way through because the vocals are edited in such a way that there’s nowhere for me to take a breath. So, when I’m doing that song, I have to be so focused, and I take teeny breaths. The last tour, I was wearing a corset, so I was trying to breathe and get all the words in and…

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poeme rencontre amoureuse internet CASEY SPOONER — Yeah, constantly. So Michael was very good at helping me build a script that I could actually sing naturally, with my voice. That’s opened up my performance in a way like never before.

rencontre a cote de chez soi OLIVIER ZAHM — Great! When do I get to see one?

festival rencontre a la campagne CASEY SPOONER — It’s coming. Yeah… It’s been tough but it’s good to be here.

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prostituees in mexico ook in bars [Table of contents]

“Purple 76 Index” S/S 2018 issue 29

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Table of contents

Purple Index 76

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