With her bangles and her spangles and her stars

the making of "beauty and crime"

[…] “I met Philip Glass as I was walking
down the street,” she explains over the phone from, of course,
Manhattan. “I run into him fairly often. And he said, ‘How’s it going?’
I said that I was without a record deal, and he looked really happy and
said, ‘Congratulations. That means you can do what you really want and
finally have freedom.’

“I wasn’t clear how I felt about it at the time.
I wasn’t seeing it from that point of view. Two weeks after 9/11, I
found out my deal with A&M was up and asked them for another year
on the label, and they didn’t pick up the option, so I quietly went
away.”

But she began thinking about Glass’s reaction.
“I decided to hire an engineer to work with, Brit Myers, and we just
played music into the computer. I riffed around and made loops and
things, without lyrics. It was a new way for me to work, and part of
the sleekness of these songs may be that I was working on a computer,
which compresses everything and allows you to edit and alter your work
in really interesting ways. It becomes like a collage."
[…]

That's from Ted Drozdowski's "Village Folk" in The Phoenix

3 thoughts on “With her bangles and her spangles and her stars

  1. [this is good]

    love love love Suzanne Vega.

    Saw the Youtube timer clock in with 12 seconds left and said to myself “oh no, it’s almost over!”

    Thank you.

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