Loading summary
Transcript257 lines
- [00:09]
A
Hi, come in. Welcome to Fashion Neurosis Peaches.
- [00:19]
B
Thank you. Nice to be here.
- [00:22]
A
Can you tell me what you're wearing today and why you chose these particular clothes?
- [00:28]
B
What I'm wearing today? Let's start from the top. I'm wearing Jacque Marie Mag glasses. I'm wearing an earring that my mother gave me and I lost one. So I'm wearing a little bit of a booby earring to fill the hole, sort of say that I got from a TSA agent that came to my show. I'm wearing a necklace from Johnny Valentine, which was a gift from Johnny Valentine. I'm wearing my favorite cozy long sweatshirt jacket that goes with me everywhere for comfort. And it's from a website, like online locker room. I think it's just like some two. I feel like it's an. In my mind, it's an independent person making these clothes and their partner is like this older woman just like wearing everything for the photos. And I just thought they were really cute. And it's also very cozy. My dress is from a pop up shop in Montreal from a gallery. I don't know. I don't have a name on it, unfortunately. And my boots are from. It's a collaboration between Trippin and Esther Purbandt, who is a Berlin designer. Very amazing. Probably like Berlin's answer to Rick Owens, but in their own independent way. And I'm wearing my lucky ring that was given to me by Yoko Ono. Oh, wow. Yeah.
- [02:15]
A
Gosh.
- [02:15]
B
And oh, my grills are from Alligator Jesus, who just. I was doing a photo shoot in LA and Alligator Jesus showed up and put some wax in my mouth and said, I'm making you a grill. And then showed up three days later and gave me this.
- [02:31]
A
Yeah, they're really beautiful. Yeah. I've never seen you with grills. They're very elegant and kind of dazzling. I like them a lot.
- [02:40]
B
They're really. It's great. I've learned how to sing with them. Really? Yeah. I've been doing every show with them. It just feels special.
- [02:46]
A
Yeah.
- [02:47]
B
Yeah. Gives that sort of superhero feeling.
- [02:51]
A
Yeah. It's nice to have something that catches the light on stage. When I'm designing things, I'm often thinking, how can I. How can I find things that catch the light? Cause it's. It's such a thing. If you, however ugly the material, if it can catch the light, it kind of has a third dimension. But it's great that you're so articulate and it's your mouth that catches the light.
- [03:20]
B
Yeah, that's where everything starts from the mouth.
- [03:24]
A
Language. Language is everything. Yeah.
- [03:30]
C
Support for the show comes from Amazon. There are the things you can plan for a first birthday party, a movie marathon, a renter friendly bathroom reno. And then there are the things you can never plan for. A surprise rainstorm, a Blu Ray player calling it quits. Stick on tiles that looked way better. On the package for all things planned and unplanned. Amazon has you covered. You'll find low prices on everyday essentials and last minute lifesavers. Shop Amazon and save on essentials. Save the everyday.
- [04:07]
B
What's up, y'?
- [04:08]
A
All?
- [04:08]
B
I'm Skylar Diggins, seven time WNBA all star, Olympic gold medalist and mom. And I'm Cassidy Hubbard, host and reporter
- [04:16]
A
for nearly 20 years covering the biggest names and stories in sports.
- [04:20]
B
And mom. And this is and mom. A community for athletes, game changers and moms of all kinds. Dropping May 14th. Tap in with us.
- [04:30]
A
And you're the legendary Peaches, punk rock singer and performance artist and described as a feminist queer icon. And also you're outlandishly normal in some ways and you say you thrive on misconceptions. And I wondered, what's your favorite misconception?
- [04:50]
B
That I'm just like horned up all the time and ready for sex with whoever shows up.
- [04:57]
A
Yeah,
- [04:59]
B
that's not what I'm about.
- [05:03]
A
Yeah, certainly knowing you a small amount, you don't seem at all like that. And it's.
- [05:12]
B
I want people to feel comfortable with who they need to be and you know, using sexuality and body positivity and questions around all of those things is what I'm interested in because I feel like that's what we have. We have our bodies. And if we are not given the agency, even the words that I'm saying, if we aren't given the agency, if we don't take the agency back for our own bodies, that's a problem because that's who we are and that's how we are going to come to become who we need to be over and over again.
- [05:54]
A
Well, it's really hard to have agency or it's hard to have identity. If someone's trying to take away your agency, it's very undermining. I mean, to put it mildly.
- [06:08]
B
It's sort of like we're born with that idea to have the shame and to not, you know, for various white supremacist reasons, you know, trying to push our own, to push the equality out for many reasons through, you know, just to feel, feel the margins shift, you know, which is very dangerous. Doesn't make us all feel safe Also.
- [06:40]
A
It doesn't make the instigator of that feel safe either, because it's just when someone. If people are that insecure about their kind of place in the world, undermining other people or other, you know, another gender is. It doesn't work. It doesn't stabilize at all. It just creates more tension around that.
- [07:08]
B
It's so true. It's just pulling it apart more and more.
- [07:10]
A
Yeah, yeah. And as a genuine disruptor, where do you look for stability in your life?
- [07:19]
B
I look for stability, as you said. I'm. Was it abnormally normal? Abnormally regular?
- [07:28]
A
Outrageously. Outrageously outlandishly normal?
- [07:33]
B
Unbelievably. I just try to check myself and try to, even though I want to exude and with my art, give the feeling that you can do anything and that you're fearless. I also have to check myself. Am I. You know, where am I at? And not just check yourself all the time where you're at. Not just say, this is who I am, and, you know, whatever your art is, but also really find out who you are at that moment. So I don't think I answered your question.
- [08:13]
A
It was a good answer, so it doesn't matter. And you worked at YMCA in Toronto with little kids. I did. Which was not fulfilling until you started making music with them. And you said, kids are like punks. And do you think that's because they're more abandoned in their demeanor?
- [08:37]
B
They just. Yeah, they don't have a filter. So if they're not enjoying themselves or they're not getting something out of it, they're gonna let you know. So it was a great learning experience in that way. You know, they would literally jump on me, pull my hair, you know, just be out of control. Nest, as you would see in sort of like a punk concert. And with working at the ymca, I needed a job. I was working at a daycare, and it was so boring, and the kids were so bored. And I was learning acoustic guitar at the time. So I would bring my guitar in, and I developed sort of programs to not just entertain, but have the kids feel also be themselves. It wasn't so they could act out things they wanted and enjoy themselves and have a structure so that they could be excited about, you know, becoming different characters. But if we. You know, sometimes I would go on themes or if I would go on classic stories, we would act out all the characters, but then they would get to choose. So, for instance, if we did Peter Pan and everybody wanted to be Captain Hook, and there was One Wendy. I wasn't going to be like, no, no, no, we have to have. It was just whatever. Then we'd make up a story about it because that's what they wanted. And this comes. I wanted to do it in that way because when I grew up, I felt like I wasn't given the chance to be creative in creative situations. It was always like, I would go, want to be in a school play? And they'd point to you. And I remember they were doing some. Not at my school, but like an after school program. And they turned to me and said, okay, you're gonna be a bat. And you just sit here and flap your wings. And I was like, I don't wanna be a bat. I wanna sing. I wanna. You know. So there was always, like, roles given. So it wasn't really an understanding of creativity or process. And it was always about the performance for the parents. So this program that I developed at the YMCA was. The parents were not invited. It was just about the kids developing. And I went on to work at all the YMCAs in the vicinity. So, like nine YMCAs. And then I worked at private schools because I didn't have. I didn't have a teacher's degree or anything, so. And at the same time, at night I was doing music. So I was developing in both ways.
- [11:18]
A
Yeah.
- [11:18]
B
Yeah.
- [11:19]
A
Sounds fantastic. It must have been so great for those kids.
- [11:23]
B
I was always. The kids were fantastic. Yeah.
- [11:27]
A
Because we met in 2003 and I was making a short film with John Malkovich. And we made these three short films together, me and him, fashion films. And I'd heard that you were playing at this club called Trash and you were coming on at 2 in the morning. Yeah. So I got up and went there and then heard you.
- [11:52]
B
You were.
- [11:53]
A
And you were so fantastic and asked if you'd be in the film. And then I remember I made you this PVC mini dress with a Peter Pan collar and you recited this poem in the.
- [12:09]
B
Yes. Small dying bird. Yes. Yeah.
- [12:13]
A
Do you remember, did you enjoy being directed by John?
- [12:16]
B
I did. I remember being directed. I remember also being super excited. I was really into my camcorder at that time. I remember I had it with me. And at one point my shoelace was undone and John bent down and tied my shoelace.
- [12:33]
A
Wow.
- [12:33]
B
And I recorded it and I was just like, john Malkovich tied my shoelace. Oh, my gosh.
- [12:41]
A
Have you still got that clip somewhere?
- [12:43]
B
I do somewhere, for sure. I have all archive footage from the last 26 years.
- [12:50]
A
It was such a. It was so much Fun working with him because he would disappear off to make a film and I wouldn't be able to get hold of him and I didn't know what really to do. So in the end I just invent stuff.
- [13:06]
B
Amazing.
- [13:06]
A
And then going around, you know, like, he was my calling card and everyone was so enthusiastic and it was such fun and. And I always remember that time because I came to the place where we were prepping and my son, who was. I think he was about three or two and a half, and he kept going, mommy, Mommy. And I walked in and he was just going, mommy. Like someone who'd been sort of abandoned and that's all who that their speech was left and you were like entertaining him and being really cool with him and he. And distracting him. So I always am indebted to you for taking such good care of Jimmy at that time while we were making Hideous Man.
- [14:02]
B
And I just remember meeting Anita Palmberg and we hung up and that was so super special. And I met Skin there and it was just such a cool group of women hanging around, being this sort of like this French gang of poets. It was such a cool idea.
- [14:25]
A
It was so eccentric.
- [14:27]
B
And they were the poems of Gary Sinise, his poems of his feelings of, like, failed Hollywood. I'll never be good enough. I'll never be good looking enough. So they were all really sad, depressing poems.
- [14:43]
A
I remember there was one called I Stink.
- [14:46]
B
Yeah,
- [14:50]
A
I remember John saying it was the poems before he became really successful in a TV show. And he sent John this cassette tape of all these poems and they were really bizarre and worked brilliantly, incredibly well.
- [15:07]
B
I also remember you made all these sweaters with amazing slogans on them.
- [15:13]
A
Yeah, I remember what you were wearing. These mini. These tiny little shorts as well, with knitted shorts. Stripy. And I've always felt like you embodied a kind of sense of good luck and optimism and everything that's good in the world. And you do, actually.
- [15:38]
B
Well, thank you. You also made me look hot and I really felt like hot.
- [15:44]
A
You always do. And your parents seem to have a very happy marriage and they seem to adore each other. And it defies that Philip Larkin adage of they fuck you up, your mom and dad, and did you ever find their happiness claustrophobic?
- [16:08]
B
I didn't find their happiness claustrophobic. And, no, I didn't find it claustrophobic, no. But I mean, I definitely found their happiness with each other, but it was also. There's a lot more going on all the time, you know, but my dad was definitely Always really such a beautiful, positive presence and always so welcoming to everybody. And my mom had a really intellectual intensity to her, so my friends would always gravitate to her. We were the house where the divorced parents, kids would come and hang out and sleep over and, you know, wake up and enjoy breakfast with, like, parents, you know, we had this basement, like my parents developed. The basement was for the kids. And they would rather. If the kids are gonna do some things, at least they could do it in the basement. So we know where they are. So that was what the design was.
- [17:22]
A
Yeah.
- [17:23]
B
So that's where the, you know, TV was. Cause there was no computer or anything. It didn't exist. That's where the big C couch was, you know, like an L couch with a C couc ping pong table and just like a lot of room. So make it happen down there. And that's where a lot of friends stayed when they had, you know, broken homes and nowhere to go.
- [17:48]
A
I suppose I asked about whether it was claustrophobic, their love for each other, because sometimes I've read about. Read stories where this kind of intense love between the parents excludes the children. And they don't really get a look in because the parents are so obsessed with each other, or one of them is. But it sounds like, yeah, I feel
- [18:14]
B
like maybe that's why I hesitated a little bit, because there was definitely a closeness between them. And. Yeah, I don't always feel like everything was, you know, shared or, you know, there was. My mother was quite private, to be honest. She went back to school after we, you know, were all born, and she. To get her psychology degree. So she would spend a lot of time alone in tents working on her, you know, masters or. And my dad. But I loved it because that meant Sundays, my dad would take us out. It would have to be like an activity which was so, like, the memories of, like, today we're gonna go take pictures. Like, that was such a big deal. And we went around the city, drove around the car and would stop somewhere and take pictures. It didn't happen so often, but I remember it so well because there wasn't a lot of, like, planned activities. With my mother, it was more like, we have to do this. It wasn't really like, come on, wake up, we're gonna, you know.
- [19:29]
A
Hi. We will be taking the podcast to New York's Tribeca Festival on June 9th for our first live show, what the fuck? In conversation with the artist and musician Laurie Anderson. Tickets are available from Tribeca's website or@fashionneurosislive.com what was the first garment that changed the way you felt about yourself? And what age were you when you noticed the connection between what you were wearing and what it gave you?
- [20:05]
B
I really. This is such a complicated question for me, but so bear with me. I remember when I was probably like five and I was going to be a flower girl at my cousin's wedding. So I went to a dressmaker and there was a dress made for me, a blue long dress. And I was just like fascinated that there was a dress specifically made for me. And I was just. I loved it. I wanted to wear it every day. It actually, I remember one morning I wanted to. Maybe I might have even been younger. But I remember, you know, how your parent, I don't know, my parent would come in and help you get dressed or whatever. Maybe not five. I don't know what age you are, but I remember I wore that blue dress and got back into my covers and then my mother came in and was like, okay, let's get ready for school. And I was like, I'm dressed. But unfortunately her comment was, you can't wear that. And I was like, why? I was so confused because this was my favorite outfit and I wanted to dress myself. So that's why I say it was complicated because I think that kind of like stopped me from thinking about independent dressing in a way and grew up a lot with me and my sister who, who was three years older than me, being dressed like twins in a strange way where we'd have these outfits that were twins but opposite colors.
- [21:52]
A
No.
- [21:53]
B
So like we had this. I just remember we had these long sleeve Charlie Chaplin T shirts or like long sleeve shirts. So the arms were one color and the face of Charlie Chaplin in the middle was another color. And then it was a white background. But the face of the Charlie Chaplin on mine was blue and the arms were red. But my sister had a red Charlie Chaplin face with blue arms. And that would happen a lot, especially with those colors, blue and red, where they'd be switched. And I was so confused. Like, which is better? Is one more mature. What is the color representing? And am I wearing the second choice? You know. And also my sister Suri, she hated it. She hated being, you know, and of course, cause I was younger, I'm like, what do you mean? I get to wear kind of what you're wearing? You know, so. And shopping was never joyous. It was always for like, you know, the Jewish high holidays. Oh, we have to get outfits. And we'd go to the discount Winners. I don't. I think it's a Canadian thing. Winners. And it was just like, pick something out. You know, it was never like, what are you gonna wear? You know, And I just remember it just being always an agonizing experience. And I remember wearing. I enjoyed wearing, like, ripped jeans and turtlenecks and everything, but when I got to seventh grade, the minute I got to seventh grade, somehow I immediately turned into a Jewish American princess. I was like, I need to be wearing this and that and this. And it was like, it's like overnight. I was like, I need Lacoste shirts. You know, this is the 80s. I need to wear polo button downs. And my parents were like, not really having it, so I would save my money. And so I think now I get to the answer to your question. I remember buying these Fiorucci jodhpurs that were black corduroy. And always Fiorucci had that little tag in front, and mine was bright green. And I was so proud of these Fiorucci pants. And we would have a lot of school dances, and I'd dance at bar mitzvahs or, like, you know, things like that. And I remember wearing. Always wearing my FIA Ricci corduroy joppers. And I remember being something more than I loved. And those pants were those dance contests. And I remember once I was dancing in the contest, and I ripped them. Ripped them in the butt. And I was just like, I don't care. I have to win this dance contest.
- [24:38]
A
Did you win?
- [24:40]
B
Yeah, I won every.
- [24:41]
A
Ugh.
- [24:41]
B
I was so competitive about stupid disco dance contests. I even had. There was a boy in my class in sixth grade, so that's before the free of Richie pants and everything, but Jay Obam. And we were not friends at all. But when it came, it was so funny. But when it came to dance contests, we knew we were both the best dancers. So we, like, eye each other up and let's go. Let's win this one.
- [25:09]
A
God has satisfied. It sounds so wonderful.
- [25:13]
B
It was like, you know, Saturday Night Fever era. So we'd be like, doing all those kind of like, I do the splits and then swing the, you know, kind of like those 50 jive dances meets, you know, the 70s disco dancing.
- [25:31]
A
That's my favorite dancing.
- [25:33]
B
That's so fun.
- [25:34]
A
It's so fun. And you described your first music that you considered to be yours as Kate Bush's the Kick Inside.
- [25:45]
B
Yeah.
- [25:45]
A
What did you think was possible when you first heard was just like.
- [25:51]
B
So I grew up. You know, when you're little and you hear Your parents music. And so whatever it is, you love it. So. And I'm not dissing it because I still love it forever. The Bette Midler album, the Barbra Streisand album, the Neil diamond albums, the like west side Story and Hair soundtracks, especially Hair. I love that soundtrack. And then my brother with the Ramones and the Beatles and Yes, you know, he was all this like prog rock, punk, British rock, American rock. And my sister was more like earth, wind and fire and disco. And later on like the Smiths. And then I remember this is all out of Barto Smith, obviously, later. But I remember hearing Kate Bush and I was like, this is unlike anything other than all those musics. This is mine now. I remember my friend Julia Rosenberg came over with the album and she's like, listen to this. Because I also loved singing. Like, I love singing. So for me to sing all those songs and hit those notes were such a pleasure to me. And they were so windy and emotional and had such movement to them. Yeah, yeah.
- [27:15]
A
Cause I was. What. I mean, it's incredible what an effect she's had on so many artists. And, you know, it's just watching re. Watching some of her videos and the strange faces she made.
- [27:29]
B
I love it.
- [27:30]
A
And it was really kind of outrageous, but also seemed like people you knew or someone walking down the street had just kind of become tenfold or a hundredfold. And. Could you hit her nose?
- [27:49]
B
Yeah, I still can. That's my karaoke. Go to. I'll do Wuthering Heights. And people are like, what? I don't understand what just happened. Yeah, I can pull that out anywhere. I love it so much. And what I loved about her, you know, when we first got a VCR at our house, I remember getting a VHS tape and being able to record. And the first thing I record is like PBS showing the. Is it. The Hammersmith Ball is Hammersmith. I get Hammerstein. And Hammersmith1 is in Hammersmithodian. Yes, that's in the UK. Her performance, her first performance. And it was the Kick Inside. And I just watched that over and over again because I remember hearing that after she had made her album, she said, I need to learn how to dance. And she took three years off. I might be making a myth because I haven't fact checked this, but in my mind she took three years off and learned how to dance and then developed the show. And in a way, like you were saying all her faces, in a way, it's all wrong. Like this interpretive dance, like it should be wrong, but she made it so right. Like, she. In this show, she had a mime walking by in the wind. So, like, there was a scarf that was probably attached by a coat hanger so that it would stick horizontally while, you know, the mime would walk. Do you understand the. You know what I mean?
- [29:26]
A
Like one of those masks, those shows. Like.
- [29:31]
B
No, it's like the mime would be walking and the scarf would be horizontal. So you would understand that wind is supposed to be there. And then the mime would fill in the rest. Or she did James and the Cold Gun, where she was in this hot, hot one piece, full leather onesie with guns on it. And she was strutting along. And then she gets shot, or she's shooting someone and they do all the, like, modern dance contractions to, like, show the shots.
- [30:03]
A
So amazing.
- [30:04]
B
And actually, in my show now, I have a nod to Kate Bush, really, because at the end of the show, she just waves like crazy to her audience. She just puts both hands up, one hand and then the other, and she just waves probably for like, I don't know, five minutes.
- [30:22]
A
What, with her hand above her head?
- [30:24]
B
Yeah. Like waving back and forth and jumping up and down, like, bye, bye, goodbye. You know, and so I've been doing that in my show. I'm waiting for someone to notice. Well, now someone will come up. Cause they'll see this. But I want, you know, sometimes I do little nods to, like, physicalities that I love from people. Yeah. For instance, I'm obsessed with the movie Tar.
- [30:51]
A
Oh, yes.
- [30:52]
B
I've seen it nine times. It's probably the movie I've seen the most in my life.
- [30:56]
A
God, why? How come?
- [30:58]
B
I just. I'm. Well, first of all, they play it on planes. So I'm always like, I'm just gonna watch this again and fall asleep. And I never do. And I just get totally wrapped up in it with the aesthetics, with all its complications, with its, you know, problematic ideas, with how much people have a problem with. With what it is.
- [31:23]
A
Yeah.
- [31:23]
B
And I just think it speaks to our time so clearly. And Cate Blanchett is undeniably incredible and frustrating. And this scene, you know, she's always conducting and falling into this madness. And there's this scene where she's conducting, but it's clearly not conducting at all. It's just, like making these grimace looks, and her hands are just like. Like that, like, moving around. So sometimes I make people sing along with my song Dick in the Air. And they all have to sing dick, Dick, Dick. So you know how you can direct an audience, like, put one hand. Like this part of the crowd sing louder and this part sing quieter. And then I just start mixing them up. Cause I'll do the grimmest face and just like fold my hands around and see if anybody notices that. That's from tar.
- [32:19]
A
Well, I remember you doing that in Hideous man, our short film where you did this kind of the small dying bird was having a kind of death rose and you did these kind of amazing movements with your, your hands and arms and your head. And it was brilliant.
- [32:40]
C
Support for the show comes from Amazon. There are the things you can plan for a first birthday party, a movie marathon, a renter friendly bathroom reno. And then there are the things you can never plan for. A surprise rainstorm, a Blu Ray player calling it quits. Stick on tiles that looked way better on the package for all things planned and unplanned. Amazon has you covered. You'll find low prices on everyday essentials and last minute lifesavers. Shop Amazon and save on essentials. Save the everyday
- [33:17]
B
was the biggest cybersecurity risk in America, built by software companies. Software manufacturers have been allowed to develop and deliver flawed, defective, insecure software because they've prioritized speed to market and convenience all over security. I'm John Finer. And I'm Jake Sullivan and we're the hosts of the Long Game, a weekly national security podcast. This week, Jen Easterly, former director of the Cybersecurity and Infrastructure Security Agency, joins us on the podcast. The episode's out now. Search for and follow the Long Game wherever you get your podcasts.
- [33:56]
A
Where exactly do US China relations stand?
- [33:59]
B
The Chinese side came in feeling as if they had figured out how to work both with and against Trump. He was inclined to try to create moments of crisis, and then if they stood up to him, they were almost uniquely capable of making him back down. I'm Preet Bharara and this week Evan Osnos of the New Yorker joins me
- [34:20]
A
to discuss the Trump Xi Summit, which he reported on from Beijing. The episode is out now. Search and follow. Stay tuned with Preet. Wherever you get your podcasts and you say I wasn't acting or putting on a Persona, it's just part of me that I let loose. And is that always there or does it that sort of come out and ambush you?
- [34:50]
B
It comes out ambush. Ambush me is a very interesting way of saying it. Yeah, it kind of like, it's like a little bit like, come on, you know you want to do it. Yeah. So it's kind of like a little happy devil, but not devil. Like not bad. Just like, do what you want to do. And I feel like Peach's live performances just developed that way. You know, they weren't. They were more of how. Whatever way that the audience would be reacting, I would be very curious of what they would be reacting to. And I wanted to react back and make it bolder and just go on that. So, for instance, I wore little pink shorts. Really cheap little pink shorts from. And again, Canadian reference from a place called Le Chateau, which was. I don't know what it's comparable to in the uk, but it was very cheap. But it was called Le Chateau. And I got these little pink shorts because people kept saying how aggressive I was on stage. So I. I thought, I'll wear pink. It had nothing to do with the name Peaches or anything, but I clearly found out not only were they shocked by me wearing these little pink shorts, but they could see a camel toe and were pointing at my camel toe. Like, how could she show that? So that made me want to make a bigger camel toe. And also people would be taking pictures of this area of my crotch because they could see little hairs coming out. And how crazy was that? That I was showing pubic hairs out of my shorts? And that made me want to grow more hair. It made me question hair, which has been an ongoing conversation with myself. And. Yeah. So. Or if people weren't. Were reacting in a. I could see on their face how they were reacting. I wanted to be more in their face or. And so I feel like it just organically developed and as you say, from that, like, ambushing me.
- [37:11]
A
Yeah.
- [37:11]
B
Saying, like, look at. Look at what people. Look at how this is going.
- [37:15]
A
Yeah. And your first song, Fucked the Pain Away was a huge hit. And I wondered, what were you talking about at the time? What pain did you. Was there pain that you wanted you
- [37:28]
B
to break up, really break up that whole album? The Teachers of Peaches was a breakup. Also, I had thyroid cancer. And I never really had any physical pain from the thyroid cancer. And I actually didn't even know it was cancer until they took it out. They said, oh, because I had a big lump in my throat.
- [37:53]
A
Yeah.
- [37:54]
B
Which is also the time I started to develop Peaches or develop singing my own. Like, after doing folk music and rock music and just like, getting into. Coming into my own. So it was pretty bizarre to, like, here's something that's going to block you because they also said, we're going to do an operation and if it's cancer, we're going to take out both sides of your thyroid. And if it's not, we'll just take out one side and it is possible that it'll change your voice. So that happened. Luckily, it didn't change my voice. I am happy that they did take out both sides. I didn't have any effects, but it psychologically affected me, you know, like, with, you know, immortality and instilling things that I wasn't thinking about at all. So that made me want to make music and be creative, even with more passion, you know, and also led to a breakup with a very creative person that I was with who taught me a lot about especially art movements and, you know, that I didn't know about, but just led to the breakup. And I wanted the album to not have this victim feeling like breakup victim or also I had cancer. So it was sort of like, how can I propel myself forward and encourage myself and, like, bring the power so the pain away, you know?
- [39:33]
A
It's the most fantastic song. I mean, I. I always listen to it. It's on my.
- [39:38]
B
In.
- [39:39]
A
In the shower. I have Teachers of Peaches playlist. And it starts with that. And it's. It's so witty as wearing. It's urgent. It has a sense of urgency much more than aggression. And there's that line, something about my Chrissie behind. And I only understood what that was about. And recently. And it's Chrissie Hind, who had a great. Who has a great behind. Yeah, I think she has an amazing figure, but I. Yeah. And there's that picture of her in the Vivienne Westwood shop set. Was that what you were with her in a pair of knickers, looking over her shoulder?
- [40:22]
B
You know, Chrissy Hine, I love that first Pretenders album was so important to me. Like, I just. She, to me is kind of like this. She's not a rapper, but she's not a singer. She just had her own sort of swagger that was just so cool. And she would sing really fast. Like. What's that song? Child Ways out Perfect Child like a Now hurts. You know, it's just like tongue twisting and fast. And I loved it. All the songs were just so sexy and you had to have a little, you know, swagger in your voice. I remember I was so upset that, like, the hit song was when it was like, gonna make you. Make you notice. I forget the title. Brass in Pocket. I was like, it's so funny. Cause that was my least favorite song on the album at the time. I was like, no.
- [41:15]
A
Why?
- [41:17]
B
I was so angry because I was like, that's not my favorite now. I love it because I love every song on that. But she was really important to me. And also Debbie Harry. And both of them were extra important to me at that time when I wrote Fuck the Pain Away because they had both made it in their career after three, and I was 33, so I was referencing them like, call me all the time like Blondie, Check out my Chrissy behind. Because I wanted to shout them out as older, and they're not older. Like, 30 is not old at all. But older women, not in their 20s, kind of coming into their own.
- [42:01]
A
Yeah. So, I mean, I was looking, when I was looking around, at what all the videos about that song I found. There was a one with Miss Piggy singing Fuck the Pain Away and she even did some of your moves, writhing around on the floor in a silver outfit. And was that. How did that happen?
- [42:24]
B
There was no video for that song because there was absolutely no radio play. There was no real Internet platform or anything. It was all by word of mouth. So it was funny. I never made a video for that song. But there was this student in Miami, Florida, and she was a film student and just used that song and made that clip and sent it to me. And I was like, this is fantastic. This is gonna be the official clip now. Yeah, I just thought it was so cool.
- [43:01]
A
It's so cool. And it really suits her, too. She's just got all the attitude for that song. It's magnificent.
- [43:10]
B
I don't know if you know, the recording of Fuck the Pain Away was a live recording of the first time I ever played it.
- [43:20]
A
And you never changed it after that, did you?
- [43:23]
B
No, I played it in a small club I was opening for my friend. There was probably 10 people in the audience, and I'd sang Fuck the Pain Away. I had my machine, my rolling groove box, and I had the loops ready, and I wasn't really sure, but I knew what I wanted to say, so I thought I'd play it first so that it was fresh in my mind. And then after my gig, the sound woman, Marlon, said, oh, I recorded your set. You know, here's a cassette tape. If you give me five, you know, Canadian dollars, you, I'll give you the cassette. And I took it, I listened to it, and I put that song on a demo, thinking, maybe I should find a producer for this first album. And then everybody I played it to would not comment on it musically or, you know, what needed to be done. They were just like, this is cool. So I'm like, it ain't broke. Don't fix this is it. And so I just decided I will never record that again. And that's the version. So it's not even tracked. It's just like from a cassette. And you can hear my first fan. Cause you hear someone go woo. And many people have asked me, what is that sample? I'm like, that's my first fan.
- [44:44]
A
God, how incredible. I mean, it's just immaculate. It's so perfect. It just gets in your bloodstream. It's fantastic.
- [44:53]
B
It's important though, to me that it wasn't re recorded. And I mean, I didn't know that that song would go where it went. That it would be in movies and in TV series, like many times. And that's the recording.
- [45:11]
A
That's so cool. That's great. And you spend quite a lot of time naked on stage. And I wondered how are you different when you're naked with the person that you're in love with? And are you ever shy when you're naked?
- [45:26]
B
That's such a good question. I've never actually been naked on stage. I've never really been. The only time I've been fully naked on stage is when I did cut piece for Yoko Ono. And all my clothes were cut off and I was left naked on the stage. I did that two times for Yoko. But yeah, I've never actually been naked on stage.
- [45:52]
A
I suppose you wear.
- [45:54]
B
I wear like, yeah.
- [45:55]
A
Breasts and things.
- [45:58]
B
Yeah, I do. Right now I'm very into my hairy nipples. I have that. I stick on and like hairy panties. But yeah, no, my sexuality with my partner is definitely very, very different and very private and a whole different way of exploring each other. And it's very important not to come at it as peaches on stage. And I'm very grateful that my partner also doesn't want to come at it as that. And it has, you know, really. It's really challenged me in such a beautiful way to. To be me.
- [46:42]
A
Yeah. That's so interesting.
- [46:44]
B
Yeah.
- [46:45]
A
Because on stage you sometimes have a dildo or a microphone in your hot pants. And Art Forum described you as the electro pop princess of porn. But you're graphic. But would you describe yourself as pornographic?
- [47:03]
B
I understand the graphicness. I would say that I'm sort of more of an absurdist. I'm just sort of like all the. As we talked about at the beginning, you know, all the shame that has been instilled in us and all that, like, and the way that parts of our body are so regimented. Like breasts should be augmented, hair on women should be shaped, you know, the shoulds. The shoulds. But what if the breast is in the middle of the forehead? Or what if you have 10 of them? Or what if your penis is at your hip? That is just as weird as having these roles or rules about what is supposed to be. So I feel like I'm just sort of in a sort of humoristic, Trying to reflect back on all these things we impose on ourselves or tell ourselves.
- [48:09]
A
Well, it's very. It is very full of humor and wit, and it's intelligent, you know, it thought provoking and so playful. And the whole feeling of optimism around your performance is. Is one of the. One of the things I'm really drawn to as well. I think there's a humor, and it's such a sort of cliche, but it's such a. It's a great way to learn more.
- [48:38]
B
Thank you. Yeah, I feel like I want to disarm people, but not as an escapist and disarm and say, hey, it's okay, we are in a crappy place. Or you may not be feeling good about yourself. It's not your fault. And I want to bring you in and make you feel good. And I want to be inclusive. Yeah.
- [49:02]
A
Well, it's very effective. It's very joyous. I mean it really. And so that feeling is energizing and gives you drive and kind of relax as well. You were saying that you feel anxious when you're at home relaxing because you're so touring. And are there certain clothes that make you feel better when you're feeling angsty?
- [49:33]
B
It makes me feel better not to, like, wear pajamas or, you know, like, I like to, like, even this. What I'm wearing today is literally what I wore on the plane. Like, it's my comfort clothes, but I want them to have a chicness to them. Like, if. If something would happen, I'd be ready. Like, I came here and I hope that it, you know, transfers that way.
- [49:54]
A
Yeah.
- [49:55]
B
So I. I don't want to be like, I. I just. I want to feel good in what I'm wearing, but I want it. I don't need to be overdressed or anything like that.
- [50:04]
A
Yeah.
- [50:05]
B
So, like, I have specific, you know, sweatpants, but they're like, you know, super wide leg. And they make. They're kind of fun. Cause they, like, drag on the floor. So they make you feel like you can wear them at home because you're like, draggy, but there's some sort of, like, fun feeling to them.
- [50:25]
A
Yeah. Yeah, I know. I'm always on the lookout for too anonymous. Because it's useful to have comfortable clothes when you're at home working or whatever. But if I. I feel. If I become anonymous, even for five minutes, yeah. It will just take me down like quicksand. So, yeah, my track. I've got these gigantic Balenciaga pink track pants, and they make me feel good, you know, Like, I'm not opting out of how. Of clothes and what they bring.
- [51:02]
B
Yeah. I've often, like, with sweatpants, though, I go for these big, and then they're just too heavy. I can't wear them. So I have to find the, you know, the balance. Yeah, yeah.
- [51:16]
A
And if you fancy someone and don't like what they're wearing, does it kill your attraction?
- [51:22]
B
It actually doesn't. It makes me rethink of what am I thinking about, you know? So if. If I'm like, why are you wearing that? Ooh, I would never. But it's like, it's not me. You want to wear it. So I feel like there's two. Two ways about this, because one is like, oof, that's not working for anybody. But also the other one is like, this is working for you. And actually, I need to rethink what I think about that. And I'm wrong. You know what I mean? But it's funny because I was thinking that question. Obviously, if, you know, you're coming to Fashion Neurosis, you think about that question. And I just saw this person in the airport, and they were wearing, like, jean shorts rolled up and tights underneath it. Like, black, really opaque tights underneath it and bright yellow sneakers. And I was like, actually, this might be a moment where I would not be attracted to them. I was like, ooh, this is not good. But also, I think it's. Yeah, it's a very, very interesting psychological question that I think you can only really answer when you're up against it.
- [52:39]
A
Yeah.
- [52:40]
B
Yeah.
- [52:41]
A
Because it's not a given each time. Sometimes it doesn't matter. And it makes you, like you said, think about what you're thinking. And sometimes it's spectacularly kind of, you know, alienating and it's.
- [53:00]
B
But I. I always have to think there was a time where I really didn't care or I thought I cared, and it was so wrong, you know, So I have to give a little grace for that, because I know. I know I wasn't born with the fashion gene. Like, I didn't come out, you know, being like, ooh, yes. So.
- [53:21]
A
But your look is so. And what you do with your hair as well, is, you know, you could be wearing anything and your hair is so fantastic and so kind of elegant and with attitude. And I. I love that about you.
- [53:39]
B
I would give that also credit to Charlie Lemon. Du. I don't know if you're familiar with Charlie LeMondu, who's an incredible hairstylist, but also hair fashion designer. And I met Charlie when he was 16 and he was the first person to dye my hair. And he was the first person he gave me. He's given me all my hair looks and I've trusted him with my hair all the time. And the first time he dyed my hair was during a DJ set. We had this idea I was DJing, and he sat underneath the. The deck with a bowl of water dye, some aluminum foil and a blow dryer. And at some point I played like a 10 minute song and went under the DJ booth and he dyed my hair. And I came up and then like half an hour, however long it took, I went back and people just thought I was angry and having a bad set. And then I came out with blonde hair.
- [54:41]
A
Oh, my God.
- [54:42]
B
And people were drunk and didn't understand. Like, wait, did you have brown hair at the beginning of the set? So it was, you know, he also is very obsessed with hair and he's made the costume of mine that has like the many. The silicone breasts. Yeah, yeah, like five of them that are bra and the silicone breast panties with hair coming out of them. And he's made all these hair outfits. So we have ongoing discussions about hair and, you know, and we get very inspired by each other.
- [55:23]
A
Yeah, yeah. That's wonderful. Your music is about real issues, but it's not melancholy. And the film director John Waters said about you, I like her attitude. She's tough and her music is funny. Did you learn anything special from John Waters when you toured with him?
- [55:46]
B
I learned that he's just John Waters all the time. He's just open to everybody. He walks into a room and he's just gonna say what he wants to say. It's more like, this is me. Come on in. You know, he's. He's not. He's not. He's just ready to go and. And ready to show and ready to say what he wants to say. And it's. It's so important.
- [56:12]
A
Yeah. God, he's.
- [56:14]
B
He's such an incredible speaker, such an incredible thinker.
- [56:19]
A
Yeah, I've read some of his books as well.
- [56:21]
B
Yes, me too.
- [56:22]
A
He's extraordinary. He's so. You know, his intelligence is lumin and.
- [56:28]
B
And Funny.
- [56:29]
A
Yeah, very, very funny. And. And prolific. He does so much work and. Yeah, he's marvelous. How did. Did he invite you to talk? Because he had a book tour. Was that right?
- [56:43]
B
Yeah, this was back also like in the early 2000s. And I did a few shows opening for him. I don't know if it was a specific book then or if he was just one. Was a Christmas show. He'd like to do Christmas. And yeah, he just invited me to open and I also. They had the 50th anniversary of pink Flamingos. And so he celebrated it an Easter at the Madonna Inn, this incredible hotel in San Luis Obispo in California. So there was a weekend planned and the Friday night was a Peaches concert. And Saturday night was an Edith Massey lookalike concert hosted by John and Mink Stoll. And then they also played the movie and went through, you know, like a discussion during the movie talking about it with all the incredible fans coming and staying for the weekend.
- [57:52]
A
Wow.
- [57:52]
B
It was really, really fantastic.
- [57:54]
A
I can imagine. That sounds incredible.
- [57:57]
B
Yeah, that hotel is legendary. And such a good place for John Waters and Peaches fans to, you know, come together and take over.
- [58:08]
A
I stayed there once with Jim. Jim. We went on a road trip when Jimmy was about five. Five, I think. It's so hard to decide what room to choose because they're all so bizarre and different.
- [58:21]
B
Did you know what you stayed in?
- [58:22]
A
I can't remember. I just remember it was like being in a grotto.
- [58:26]
B
Yep. Yeah. You picked one of those rooms. It's amazing. My brother got married there.
- [58:32]
A
Really?
- [58:33]
B
And so I picked the caveman room. I remember it had like this shower that was like a log. You know, water would come out. And I remember in the middle of the wedding because, you know, this is also a time when I was, you know, always obsessed with my camera. I remember I did a whole caveman, like a cave person like thing by myself. I set up a camera and would like mess up my hair and just run around the room somewhere. I have footage of that too.
- [59:04]
A
Oh God. It sounds. It's very perfect. The setting couldn't be better.
- [59:09]
B
It was so good.
- [59:10]
A
You performed a one woman show of the whole of Jesus Christ Superstar singing every part. It was absolutely amazing. I mean, I only watched it online cause I saw the original production when I was 11. You did? I did, I did. And it made a huge impression on me. And my sister and I, we made up this version of Mary Magdalene's song I don't know how to love you. And we would sing I Don't know how to hate you. Do you ever include any of that in your set?
- [59:48]
B
I don't, but I do include. I love to end my show with either with some emotional ballad so that, again, just to like, bring it to a different place. So you have this high energy, whatever, you know, absurdity and sexual liberation moment. And then at the end, you know, I've been doing, you know, on this tour, I've been doing People, the Barbra Streisand song.
- [60:19]
A
Oh, really?
- [60:20]
B
And.
- [60:22]
A
Wow.
- [60:22]
B
Yeah. And for a while, I was doing It's All Coming Back to Me, Celine Dion.
- [60:29]
A
Wow.
- [60:29]
B
But that one was a 20 minute version where I would insert my own. If you fist me like this, you know, different words and.
- [60:38]
A
Yeah.
- [60:39]
B
Sort of a take on Anti Karaoke. I wouldn't let people sing along. If they started, I would stop the song. It was. It was this. If they would wave along, I would stop. It was. I had a live band then, so I had keyboards and drums on that song. And before that I would do Private Dancer. Right. You know, when Tina Turner passed. And also Purple Rain for a while, when Prince passed.
- [61:09]
A
God, how great. I just remember the whole kind of question of morality when I went to see that, the original performance, and particularly Mary Magdalene, how it was like, oh, wow. She seems to represent the sort of ambiguity of how you might feel. Like, I don't know how to love him, but if he loved me, I'd be scared.
- [61:41]
B
And, you know, I think that's interesting how we were talking about, you know, how you said, with my partner, when I'm private and I feel like that's what Mary Magdalene's doing. Cause she was, you know, a sex worker.
- [61:53]
A
Yeah.
- [61:54]
B
So she was with so many people, but she's like, whoa, I think I actually love this person. And how do I deal with that?
- [62:02]
A
Yeah. Because Twigs was talking about how interested she was in her and how she was a herbalist and a kind of healer and all these other things. But she was more. But that's how she's remembered. Not quite sure if she. I mean, obviously, who knows? But it's. I don't know. She just represents questioning and how the nuances of loving someone and how scary how sort of alarming one's own feelings could be. And I, true. I went home from that thing at 11 thinking, right, okay, you know, there is more to this than just, I
- [62:48]
B
love, I don't love.
- [62:49]
A
Yeah. Yeah.
- [62:51]
B
It's interesting because she's the only female representation in the whole musical. So for me, that was also the point of like, let's, let's. I'm going to do all the parts. So I'm going to be pilot. I'm going to decide where religion is going. I'm going to be J. Jesus, and I'm gonna, you know, rip my heart out for you all. And I, you know, so in that way, I wanted to, you know, queer it up. And also for me, Jesus Christ Superstar is something that I did alone in my bedroom. And I feel like so many people did that, you know, whether you could sing or not, you just, like, act it out. But if you talk to rockers who love Jesus Christ Superstar, they hate musicals.
- [63:41]
A
Yeah.
- [63:41]
B
Oh, yeah. But they love this album, right? Because it was a rock album. Because, you know, Andrew Lloyd Webber wanted to be a rock star. This is his answer to wanting to be a rock star. So what I wanted to do, and I love good musicals, I love cool musicals. I think there's a place for them. I feel like what I do is a musical, a punk musical, every single time. There are musicals I really, really cannot stand and that I am really upset in, how vapid they are. But I like to take that all in and switch it around as I do. So with Jesus Christ Superstar, I wanted to do it as. Not as ostentatious, you know, Like, I wanted to bring it to that singular. You're in your bedroom singing it.
- [64:32]
A
Yeah.
- [64:32]
B
But on stage. So I wanted the rockers to understand how they could enjoy a musical that's
- [64:39]
A
so good because it's got you. Being alone has got slight Maria Callas kind of drama to it, which is. It's just.
- [64:47]
B
I love doing it. I've been performing it at, like, you know, arts festivals or wherever I can do it probably for the last 13 years.
- [64:58]
A
Wow.
- [64:59]
B
I'm ready to do it anytime that. In Wuthering Heights.
- [65:03]
A
Okay. My next birthday, I'm gonna start saving up.
- [65:08]
B
I'm there, Belle. I'll do it for you. Just have to get my piano player over.
- [65:13]
A
Oh, my God. I'm. Yeah. I'm almost speechless with the idea of how happy that would make me.
- [65:21]
B
It's so much fun. It's very interesting how different it is in different countries, too. Like, when I performed it originally in Germany, the audience is like, you could hear a pin drop the whole time. And it made me so nervous. Like, do they hate this? And then at the end they give you like eight standing ovations, you know, but then you go to America and they're like, yes.
- [65:49]
A
I don't know how to love him.
- [65:51]
B
Woo. Like, they hear Three chords. And they want to let you know that they know the song, and they scream it out like it's, you know, Rocky Horror Picture show or something. And then you go to England, and everybody just wants to sing along because they know it's their musical, you know? And then you go to Australia, and they're just laughing. They cannot believe they have such a different. Such a different relationship with religion. So they're like, oh, my God, that's so funny. And Peaches are saying it. Aha. They're just, like, laughing.
- [66:26]
A
That's brilliant.
- [66:27]
B
Yeah.
- [66:28]
A
And in the documentary about you, Peaches Goes Bananas, we see you visiting your sister Suri, who died in 2021. And from multiple.
- [66:39]
B
2020? Yeah.
- [66:41]
A
From multiple sclerosis. And you're so kind and loving to her. And did your irreverence cheer her up?
- [66:50]
B
I mean, she taught me irreverence.
- [66:52]
A
She.
- [66:53]
B
She literally taught me how to be like that.
- [66:57]
A
Wow.
- [66:57]
B
She was the cool older sister that always had time for me. And, you know, things. Like on Halloween, I remember once I went to go trick or treating. I got all dressed up, and my friends didn't show up. And she was like, come on, I'll take you. She was always taking me under her wing. And she was also full of fear in her own things. So at night, she'd come into my room. She'd be like, I'll sleep with you if you tickle my back. Because she didn't want to sleep alone. Yeah, but I tickle her back. And then she'd tell me what it was like to be three years older than her. And I learned so much. And it was just. It was really such a gift to have her as a sister.
- [67:47]
A
God, I've never heard of anyone saying that to their younger sibling, telling them what it's like.
- [67:53]
B
Yeah.
- [67:54]
A
So what a remarkable person she seemed. Just.
- [67:58]
B
She was amazing. She. So. So as I started Peaches and I was traveling around the world, that is when she lost her ability to walk. So not only could she not travel around her own home, you know, and then I was traveling around the world. So fortunately, she lived in New York, and I spent a lot of time in New York, so. But it was so fun when she would be in her motorized scooter and we'd go down the street, and she would have to say hello to every single person. It was just like, hello. Like, I'm alive. I'm in the world. And it was so great to see people's reactions, because either they'd just be like, ooh. Like, can't deal with you. And they'd walk away, or they'd be like, oh, hello. Wow, what's up? You know, and she'd make so many friends that way. And she had friends that were five years old and friends that were 90.
- [68:57]
A
God, yeah. How wonderful. And your shows are incredibly vigorous and animated. And I wondered, how do you take care of your body, which is such a useful tool.
- [69:13]
B
Yeah, that's. You know, I just try. I don't really do much, I gotta say. I don't work out much if I'm like, need a bit of yoga one day. But I'm not very consistent in that. I. I just don't do a lot. I'm not a drug person, really. I love marijuana, but I won't smoke it on tour because it'll mix up my voice. I enjoy a nice, you know, tequila or a nice whiskey, but I'm just. It's moderation, you know, And. Yeah, it's just sleeping a lot and just moderation. Just, like, give it all out on stage. But a lot of massages, too.
- [70:07]
A
Yeah.
- [70:08]
B
Massage I find so important.
- [70:11]
A
Yeah, yeah.
- [70:12]
B
Just. Even just lying there, that's the time where I just feel like I can let my mind be really free. You know how we talked about. I get anxious being alone. You know, when someone's giving me a massage. Somehow I just feel like, okay, now I'm gonna think, just let all those thoughts out. But not in a nervous way. Just like, oh, it's fine.
- [70:34]
A
Yeah. I find it's almost like it pulls your thoughts down into your body and they don't persecute you.
- [70:42]
B
Right.
- [70:42]
A
And then you kind of learn some way to balance them or regulate them a little bit to make them more useful.
- [70:52]
B
So true.
- [70:54]
A
And I've been listening. I've been watching Dan Levy's new show, Big Mistakes, and listening to the soundtrack that you wrote for it. And the soundtrack alone is incredibly entertaining. And I wondered, what were you channeling?
- [71:10]
B
Channeling. I mean, Dan wanted Peach's music, so. How to channel that without using vocals.
- [71:19]
A
Yeah.
- [71:20]
B
How to, like, bring the energy of it. And to be honest, a lot of, you know, no lube. So rude things that we were working on that didn't make it on the album, that were great ideas that we could channel into this. But, yeah, so it was just bringing what I do and fusing with what Dan does and finding that happy marriage.
- [71:53]
A
The Canadian.
- [71:55]
B
Kind of the Canadian.
- [71:57]
A
You know, it's like the two fingers in Michelangelo. You just make something so Canada.
- [72:07]
B
And then when the two fingers touch, they Say sorry.
- [72:13]
A
Canadian artists. I mean, you and Dan and David Cronenberg and Leonard Cohen and some great people. And K.D. lang as well. She's Canadian, isn't she? Yeah.
- [72:29]
B
Joni Mitchell.
- [72:30]
A
Wow. Yeah.
- [72:32]
B
I mean, Neil Young. I mean, you can go on and on. But what I think is also really interesting is all the comedians, all the Canadian comedians that are so amazing that make it in America and I feel like Canadians understand what's going on in America but never really feel American because they're not. So they have this way of looking at America. Do you know what I mean?
- [73:01]
A
Yeah. They have this sort of. They're like sort of low key, sardonic take, which is also quite generous hearted and I find it's not mean. Yeah, I mean, it's clever. Who are the comedians?
- [73:18]
B
Well, there's like, I mean, Jim Carrey. Oh, really? And I mean all the people from Second City, like Catherine o'. Hara.
- [73:28]
A
Oh my God.
- [73:29]
B
And I didn't know she was Canadian. No, she's part of the Second Second City. This. Who? Dan Levy's father. Eugene Levy was part of it too. Rick Moranis and John Candy. And I mean, I'm not even getting to half of the like ones who are, you know that you're like, oh, whoa, they're Canadian, They're Canadian. Whoever's watching this right now is yelling out all the really famous comedians. But it is true, there's a huge amount of Canadian comedians. Yeah.
- [74:06]
A
And where does the name Peaches come from?
- [74:09]
B
The name Peaches comes from a Nina Simone song called Four Women. And as Nina Simone always does with her passion and conviction and her compassion for her culture, she sings about four women's struggle. And I want to say that in no way do I feel like these are my struggles, but I was particularly drawn to the last woman, the way she describes the woman. And at the end of the description then she gives the name of the woman and she says. And it's the last line of the whole song, they call me Peaches. And the way she sings that, I wanted her to be singing it to me. So I called myself Peaches because I knew she wasn't going to be singing they Call me Meryl. And it's so funny because that name has so many implications that I did not think about the. That actually would relate to the music I did at all. Like, you know, fuzzy on the outside, juicy and all the like pornographic ways Peaches is used or cutesy or the color. I didn't think of that at all. I was just thinking of the passionate way she said Peaches. Yeah.
- [75:30]
A
God. Well, it really suits you. You're all of those things. And so, yeah, just like something to go towards, like a mirage of everything that your work embodies and that you, you know, the Teachers of Peaches is the perfect title because you're a great educator in the most subversive and respectful and endearing way. And you, your whole performance and what you do and how you do it just raises the bar in the most lovely way and we really need that now. So thank you so much for being on Fashion Neurosis, people.
- [76:20]
B
Oh, it's absolute pleasure. I'm obsessed with your show and I think it's so exciting to be here. And I know everybody who's been here is so in love with this work that you're doing and thank you.
- [76:38]
A
God, it's amazing to think of getting up and going to find you at two in the morning and here you are again. And it's. Anyway, it's wonderful. Thank you.
- [76:50]
B
Thank you,
- [76:54]
A
Sa.