True artistry runs deep. It is a story as unprecedented as the artist who made it
happen. Nearly 4 years ago, she released her acclaimed Grammy-nominated
album Fumbling Towards Ecstasy. The album quickly went Gold, then beyond
Platinum on the strength of such extraordinary songs as "Good Enough," "Hold On"
and "Possession" as well as her growing fanbase. Earlier this year, purely by
word-of-mouth, radio stations rediscovered the track "Possession" and made the
song a hit all over again, ultimately reaching a Hot 100 audience of over 10 million.
Fumbling Towards Ecstasy soared past Double Platinum. This past summer, her
Lilith Fair tour, an all-female festival of music's biggest performers including Jewel,
Sheryl Crow, The Cardigans, Paula Cole, Tracy Chapman, Fiona Apple, Abra
Moore, Indigo Girls, Lisa Loeb and more, became the most successful and
acclaimed tour of the year. Now, her new album Surfacing is the next
unprecedented chapter in the extraordinary career of Sarah McLachlan. Time
Magazine called Surfacing "an elegant album with standout songs" and
Entertainment Weekly raved, "Never have McLachlan's recordings sounded so
alive." Already past Platinum, Surfacing exploded with the smash "Building A
Mystery." It's the first powerful single from a deep, rich album. Sarah McLachlan is
a once-in-a-lifetime artist. And Surfacing is her once-in-a-lifetime album.
From: Jump; July 1998
The fair-est of them all. Sarah McLachlan is a muse with a message.
Sure, her voice could make a grown man cry like a baby and her sweet face has
been on the cover of practically every magazine in the universe, but Sarah
McLachlan didn't always have it so good. Before she was folk-rock goddess and
the brain behind the mother of all music festivals (that would be Lilith Fair), she was
an awkward, frizzy-headed, crooked-toothed kid struggling with her own growing
pains. Through it all, she found the courage and confidence to stay true to herself
and her music, which is totally obvious if you've given the Grammy-winning songs
on here latest album, Surfacing (Arista), a listen. Find out what else this Lilith flower
is all about.
A lot of women look up to you because your music inspires them. Who's your
inspiration? "I admire anybody who has a lot of respect for themselves, a lot of
humility and the power to basically do good things. On a personal level, the person I
look up to most is my mom. She gave up her career for us kids. It was a different
world back then. Women weren't expected to have careers; they were expected to
stay home.
Some people think creating the all-female Lilith Fair was sort of an "up yours" to
guy-dominated festivals like Lollapalooza. What's the real story? "I would hate to
say I organized Lilith Fair for reactionary reasons [like because other festivals
excluded women artists], although it certainly did come into play. Mostly it stemmed
from a desire to put on a great music festival, and there are so many women out
there making great music. I wanted to celebrate that the music world is finally
opening up to women."
Finally is right. You've been singing and writing for 13 years. A lot of people
would've given up or burned out after such a long haul. What's your secret?
"I have a lot of confidence in who I am, because a large part of my songwriting is
figuring out who the hell I am. There are so many perceptions and expectations
placed on you in the music industry, and unless you're really strong and believe in
yourself, you can get pulled in directions that aren't necessarily true to who you
are."
That's hard to do, especially when you're growing up and everyone is trying to fit in
with what's cool. Have you always been so self-assured?
" No way. I had pretty low self-esteem. My own lack of self-worth and
self-confidence was the biggest obstacle I had to overcome. I finally realized that I
was good at something- art and music. That really fueled me."
Speaking of endurance, you're the only performer in Lilith Fair who headlines every
show on the tour. How do you deal?
"I'm a big believer in having time to myself. When you're out on the road, you have
no privacy. I've finally gotten to a point where I can say, 'I'm going to take two hours
in the afternoon that are just for me.' When I'm home it's a really different thing.
People ask me 'Where are you going on vacation? and it's like, 'I'm going home [to
Vancouver, BC. Canada].' It's my sanctuary."
So what do you do during your "me time"?
"I work out pretty much every day. It's really great for my energy level. I bought a
Stairmaster and a stationary bike, and I had cases built for them so I could take
them on the road when I'm touring. They're set up in one of the dressing rooms
every day. It's amazing. It's great meditation, because I do nothing but push myself
and get really mindless. It's goof therapy."
What will happen when you finally stop touring?
"I'm going to float - I have absolutely no plans at all."
If you missed last year's Lilith Fair, you can still experience it on the live double-CD,
Lilith Fair: A Celebration of Women in Music (Arista). Don't miss this summer's
second annual Lilith Fair, featuring Erykah Badu, Natalie Merchant, Bonnie Raitt,
Missy Elliot, Sinead O'connor, and more. For tour dates see www.lilithfair.com or
www.aristarec.com.
From: San Francisco Chronicle; April 26- May 2, 1998
By: Beth Winegarner
A Souvenir From Lilith Fair ***
Various Artists
Lilith Fair: A Celebration of Women in Music
The all-female Lilith Fair was last summer's hottest tour, so it's interesting that the
compilation CD, "A Celebration of Women in Music," is pitched at a slightly lower
temperature. The two-disc live set, due out Tuesday, is a modest collection of
performances that avoids hits in favor of songs that better convey the essence of
the artist. Take the Cardigans' gritty "Been It," for instance, or Meredith Brooks'
"Wash My Hands" with its shades of Patti Smith.
Elders are well represented on the album, including Emmylou Harris with "Going
Back to Harlan" and Shawn Colvin shimmering on "Trouble." Patty Griffin's "Cain"
invokes Bonnie Raitt, and Susanna Hoffs offers a nod to her years with the Bangles
in a bare-bones rendition of "Eternal Flame."
International singers are honored as well, with the French Canadian Autour de
Lucie's "Sur Tes Pas" and the yearning flamenco tones of Lhasa's "El Payande."
Yungchen Lhamo's a cappella "Lama Dorje Chang" is completely arresting.
"A Celebration of Women in Music won't please folks who were dismayed by the
tour's folkie emphasis, but for those who enjoyed their time at Lilith, the discs are a
perfect souvenir.
From: The California Aggie; May 21, 1998
By: Cary Rodda
This double-CD set is subtitled "A Celebration of Women in Music," and that it is.
This record features the various female artists from last year's hit megatour, Lilith
Fair. Even with a show of these proportions, some significant female artists were
left out for whatever reasons. These discs do a good job of mixing both well known
and deserving-of-more-recognition artists.
Of the better known artists' songs, three really stand out. Suzanne Vega's "Rock in
This Pocket," Emmylou Harris' "Going Back to Harlan" and especially Joan
Osborne's "Ladder." All three of these performers grab you right away.
Osborne in particular demands your attention with her bluesy song and arresting
voice.
Although none of the performers were true unknowns, some of the lesser knowns
showed they may be forces to be reckoned with. On "Four-Leaf Clover," Abra
Moore draws you in with her alluring singing. Dayna Manning gets inside your head
with her charmingly bitter-sweet "I Want." Other great performances are turned in
by the likes of Victoria Williams, Meredith Brooks, Lhasa and Patty Grffin.
This records is more than just a souvenir for Lilith attendees. It truly is a celebration.
From: Jane; May 1998
By: Bill Van Evol
Paula Cole had just won a Grammy for Best New Artist, so it was only appropriate
that she phoned up double Grammy-winner (and Lilith Fair high priestess) Sarah
McLAchlan, who took Paula on a pre-Lilith tour when she was nobody and helped
make her a star. It was inappropriate that we listened, but what the hell.
Why Sarah gave Paula her big break. Sarah: I was trying to remember the other
day, um, when did we first mmet? Paula: It was the San Francisco show and your
Fumbling Towards Ectasy tour, and I remember that was the first show and- S: I
probably had my head up my butt. P: It was sold out, and I just remember feeling a
little nervous cause I - I was just feeling extremely thankful, you know, that I had the
opportunity to do it. I really needed a break at that time because my record
companyt had gone down the tubes, and I couldn't find my record anywhere. And
then you just organically believed in the music. So I was nervouse and I remember
coming offstage, and you and your entire band and crew were stage left.,
applauding. I thought it was so swet and supportive and kind, and I was kind of
blown away by that. S: It was [for] totally selfish reasons. I heard your music and
actually saw you live in Boulder, Colo, and you were absolutely amazing- really
powerful and passionate. I just thought that I'd love to get you up there and hear
your music every night.
Whether touring sucks P: My mom says it's like I've gone off to war, that she never
sees me, and I'm sure from her perspective it is like that. It's wildly inntense. You go
unsupported emotionally for long periods of time-monthes or years-without seeing
your family or your close friends, or maybe you see the person you're having a
relationship with once a month. It forces you to become more stoic, more kind of
spiritually strong in your nomadicism. But that is good, too. I find that in the end, I
love my independence. In the end I'm not afraid of it, and I need it; I actually crave
the road after a while. So it has both things. As you know, I'm not married, but I
have a major person. He doesn't usually come along because he has so much of
his own life, but occasionally, here and there. S: But Paula, you're coming to Lilith
this summer, aren't ya, darlin'? P: Yeah, a couple of weeks, yeah. S: Excellent.
Om P: You can do yoga anywhere, any hotel room; lay down a shet or some towels.
I find it keeps me flexible, and it just helps my life-everything from my posture to my
diet to more positive thinking to humility... S: I gotta get into that. P: It's really
life-changing. It's wonderful.
The Lilith forecast S: Well, let's see. The first week, which is actually the only fully
confirmed, check's-in-the-mail kind of jobby is: myself, Natalie Merchant, Sheryl
Crow, the Indigo Girls, Sinead O'Connor, Erykah Badu... I think Missy Elliot's
confirmed for sure, as well as [for] later in the month; and you. It's been easier
allaround. It's been easier not only with the artists- the artists were never really a
problem... There was a lot of hesitance from labels or managers, or maybe
promoters and stuff- but definitely this year it's been much, much easier to get
people interested in it. I mean, it's a really pretty darn friendly and uncompetitive
environment, to the point where the Indigo Girls and Sheryl Crow were going, Oh,
we both really want these dates," and the Indigo Girls were all, "Well, Sheryl, you
can go second-to-last this night, and how about we go second-to-last the next
night?" Everybody's really into making whatever everyone else wants work.
To Lilith's critics S: At this point, F--- off. I have very little patience left aymore in
discussing what Lilith isn't. I'm walking a hard line because I'm the representative
for it. And when I'm face-to-face with interviews and I get asked the question, it's
always, "Why isn't it more like this..." And that's my own thing that I have to deal
with0not to see the negative side of the question but to turn it into something
positive; just like you were saying, Paula. P: Yeah, I was really pissed off at first
when we [nominees Paula, Sarah and Shawn Colvin] all had to play together [in a
Lilith-y medley] at the Grammys. We want the world to acknowledge us as artists,
regardless of gender. But I always have to take the higher road, because I know in
20 years if I'm looking back, I'll know that negativity never brought me anywhere...
That minute and a half did me more good than I could have possibly imagined. S:
But sometimes early in the morning, you're just not as diplomatic as you should be.
Give us a break! And then they go, "Oh, my God, You're certainly
From: USA Today; May 22, 1998
By: Edna Gundersen
Lilith, according to Jewish folklore, was Adam's first wife. Dumped and banished
for refusing to be submissive, she returned as a vengeful ghost to haunt and
unsettle Eden.
Likewise, the proudly female Lilith Fair began as an idea scorned and ridiculed,
only to rise triumphant and render the touring industry's male canon ... well,
impotent.
Last year's inaugural Lilith raked in roughly $16.4 million and was declared 1997's
top festival tour - ahead of Lollapalooza, H.O.R.D.E. and similar boys' clubs. (It was
16th when ranked along with solo tours) Bean counters expect bigger grosses from
this year's 47-city trek, launching June 19 in Portland, Ore.
Rather that sinking to nyah-nyah-nyah bragging, the festival's organizers are
diplomatically savoring revenge on a music business that traditionally nixed
all-female marquees and unmarketable.
"On a reactionary level, it was absolutely empowering to succeed after hearing so
many people say you can't do this, it won't work," says fest founder Sarah
McLachlan who again fills the headlining slot. "In my heart and mind, those attitudes
never made sense to me. But we were an unknown entity last year, and I don't really
blame promoters for hesitating or artists for not wanting to be involved. It's a huge
organization feat to make something like this run smoothly. It could have been
terrible, but it wasn't
"Not terrible" isn't exactly a victory cry. Loath to crow, McLachlan down plays her
role in Lilith's ascendancy and credits the allure of such '97 co-stars as Tracy
Chapman, Suzzane Vega and Jewel. But she takes pride in bucking the system
"It was thrilling to look at an audience last summer and think, me and 25,000
people can't be wrong," says McLachlan 30. "It exceeded every expectation I ever
had. It was tons and tons of work, but really rewarding. And so much fun."
Born in Halifax, Nova Scotia, to a homemaker and a marine biologist, McLachlan
was singed at age 19 and released her first album, "Touch," a year later. A
supernova in her native Canada, she enjoyed a lower profile here, building a cult
following that widened with 1994's "Fumbling Towards Ecstasy" and 1997's
"Surfacing."
By her own admission, the classically trained guitarist was an unlikely candidate to
spearhead a pop music revolution. But after music execs repeatedly rejected her
proposals to tour with other women, the frustrated McLachlan drafted her dream
team.
Hype and girls-night-out novelty status boosted Lilith's profile last year. A golden
track record and keener media attention now fuel momentum, along with such
promotional ammo as a new book. From Lilith to Lilith Fair (Madrigal Press,
$19.95), and a 25-song memento culled from last year's performances. The
two-CD "Lilith Fair: A Celebration of Women in Music" premiered at No. 24 in
Billboard and sold 86,000 copies in two weeks.
The 1998 sequel has greater geographic reach (47 cities compared with last
year's 35), expanded concourse attractions, a 14-city talent search and hefty
sponsors including Levi's, Starbucks, Volkswagen and VH1, which plans extensive
tour coverage. Nonprofit groups, including the Breast Cancer Fund, Planned
Parenthood and the RAINN sexual assault hot line established by Tori Amos, will
receive $1 from each ticket sold. (Lilith shelled out $700,000 to charities last year.)
The main attraction is the blockbuster talent pool. Rotating lineups are drawn from
a roster that includes Joan Osborne, Paula Cole, Bonnie Raitt, Sheryl Crow,
Emmylou Harris, the Indigo Girls, Lisa Loeb, Sinead O'Conner, Erykah Badu, Liz
Phair, Natile Merchant, Me'Shell NdegeOcello, Meredith Brooks, Tracy Chapman,
Lauren Hill, Missy "Misdemeanor" Elliot, Luscious Jackson, Neneh Cherry and
Queen Latifah.
About 60% of the 50-plus performers are returnees. And they're coming back with
enhanced credibility; Lilith grads walked off with 25 Grammys in February.
Despite rosy projections for Lilith, McLachlan isn't expecting a cakewalk.
"I went into it last year with an open heart and open mind, without thinking about
how many tickets we'd sell," she says. "It was our year of innocence and growth,
and I was naive and overwhelmed. I'm now painfully aware of the bottom line. The
shows are so expensive to produce that we have to sell 34,000 tickets at some
venues to break even. I don't want to dwell on that."
Changing their tune
She's heartened by increased cooperation this year. Artists who resisted coming
aboard last time lobbied hard to get on the bill. Promoters who scoffed at the
notion of a testosterone-free ticket eagerly lined up this year.
"I don' know if Lilith changed their attitudes, but it certainly changed their
pocketbooks and their tune," McLachlan says. "They know they can make money
on this little creature that grew wings.
For consumers, Lilith means more bang for the buck (a $25 to $35 ticket buys 11
acts). For the players, the professional payoffs - press coverage, a broader
audience - seems less enticing than the opportunities for girl power and girl talk.
"It's beautiful to make friends with other women," says Paula Cole, a fixture on last
year's stage. "It's wonderful to connect and unify and not feel like such a minority."
Newcomer Margo Timmins, singer for Cowboy Junkies, delights in knowing her
male bandmates will be out numbered. "I'm praying the conversation goes beyond
hockey and cars," she says.
First-timer Bonnie Raitt, the tour's self confessed den mother, looks forward to
creative cross-pollination.
"I hope there's some interplay between different acts," says Raitt, who embraces
Lilith more for its diversity that its feminine distinction. "I don't think it's such a good
idea to offer three or four acts that play the exact same kind of music. I'm glad to
see such a range of talent."
McLachlan is game. In Lilith's maiden journey, the initially shy participants
eventually got chummy enough to collaborate on stage.
"It takes a while for things to warm up," McLachlan says, 'but once everybody
opened up, it was amazing. I felt like a kid when I went into Emmylou Harris'
dressing room and said, 'Do you want to sing together?' and she said yes!
"I an such a big fan. To watch her perform is a lesson in grace and pride. She's
beautiful. I'm looking forward to the same thing with Bonnie Raitt, who has this
down to a fine art."
New soul-rocker Rebekah, likewise, says she's grateful for the chance to learn from
Cole, Raitt and others she admires.
"My father's going to keel over when I tell him Bonnie's on the tour," she says
breathlessly, adding with a laugh, "I need to be around women and be feminine
again. After being with the boys in my band, my language is so dirty right now."
The exposure should benefit her career. "Nobody know who I am yet. I keep
hearing, 'Who's that black girl with the funky hair?"
It's like I belong
But Rebekah sees a bigger reward in Lilith's cozy sisterhood. "As part of Lilith, I
feel comfortable and welcome, like I belong here. Sarah has been so sweet."
Rising star Meredith Brooks, back for Round 2, says Lilith's seasoned players
offered friendship and guidance.
"These girls just opened their arms to me," she says. "I was still trying to figure out
how to sleep on the tour bus. I'm used to being on tour with 10 guys, so Lilith was a
very calming environment."
What? No rivalries? No vicious gossip? No cat fights? "There's this weird false
assumption that we might be catty or competitive," says another Lilith alumna, the
very pregnant Shawn Colvin. Impressed by last year's roster (and that catered
meals), she'll return for two shows in June.
"The press pits us against each other. I used to be scared of Liz (Phair), but I'm not
now. She's really nice."
McLachlan took some shots last year for headlining every show and assembling a
homogenous roster of campfire-girl singer/songwriters. None of the criticism came
from within Lilith's ranks.
"The girls defended me and supported me continually," she says. "Even though the
media (were) incredibly supportive and generally positive, the questions at the
press conferences mostly focused on what Lilith Fair should have been or wasn't. I
felt like I needed to justify it every step of the way. Sheryl Crow stepped in at one
point and said 'Look, this is her thing, and if she wants to do this, she can!' It was
really nice."
As for any ill will toward McLachlan getting top billing over more established acts,
the Lilith ringleader says she tried to coax Tracy Chapman into the slot.
"I would be happy not to headline, but nobody else wants it," she says. "It was
intimidating going on after Tracy, who was doing one hit after another. Luckily there
was never a problem, because the audience was so respectful."
Hmmm, could that be due to a heavy representation of the fairer sex? A paucity of
Y chromosomes in Lilith crowds prompted detractors to dismiss the tour as a
musical petticoat junction, a goddess retreat, or worst of all, a man-hating
convention. McLachlan has struggled to ensure a guy-friendly atmosphere.
"You can only hope that men give the show a chance," the singer says wearily. "It's
just so sad that any time women get together, some men feel very threatened by it."
But Lilith's purpose is to celebrate pop music's female talent, not provoke a gender
war, McLachlan says,. Rather than proffer a radical manifesto or rail against
sexism in the industry, Lilith takes an inclusive stance, and its constituents aren't
above laughing at themselves.
"I'd like to test the theory of our periods all getting synchronized, "Raitt jokes. Liz
Phair's retort: "I'd hate to be at the PMS show." Face it, these grrrls just wanna
have fun.
From: Entertainment Weekly
Once upon a more militant time, when they held the odd "women's music" festival,
they spelled womyn with a y. No such matriarchal mandate, though, for Lilith Fair,
which dares present the peculiarity of an all-female lineup and then ask, Why ask
why? Festival founder Sarah Mclachlan, 30, is cheerfully short on answers, even on
the eve of Lilith's second coming. The annual outing wasn't conceived, she says, to
prove a point about the commercial firepower of chick singers (though last
summer's $16.5 million gross certainly hammered that home). No sociopolitical
banners, either: Getting pop's most talented frontwomen together--and leaving the
men to slave labor--just sounded like... "fun." Hell, the Spice Girls have more of an
agenda than that. Fancy- and agitprop-free or not, Lilith was at the crux of a cultural
revolution last year, giving girl power a grown-up face and the lie to the idea that
the public prefers its female singers in novel isolation, not en masse. It didn't hurt
that the vast majority of young white "adult alternative" artists worth giving a hoot
about happen these days to be missing a crucial Y chromosome. But if Lilith was
almost as definable by genre as gender in '97, this time McLachlan is mixing it up,
adding more hip-hop and alt-rock to the 57-date fest's ever-morphing lineup and
putting newcomers like Erykah Badu, Luscious Jackson, and Lauryn Hill alongside
such holdovers as Indigo Girls, Shawn Colvin, and Lisa Loeb.
Homogeneity was hardly on the menu when we solicited a few key divas for an EW
roundtable, either. On her new album, Ophelia, and especially its first single, "Kind
and Generous," Natalie Merchant, 34, manages to make every virtue Bill Bennett
ever extolled sexy, even a little subversive. Meanwhile, Missy "Misdemeanor"
Elliott, reigning queen of hip-hop, made bumpin' a sport for both sexes on last
year's Supa Dupa Fly. Paula Cole, 30, got smirkyfor one hit ("Where Have All the
Cowboys Gone?") but otherwise fervently mines the ideological passion pit. The
far droller Liz Phair, 31, was frank about sex and boredom back when Elizabeth
Wurtzel was a mere gleam in her publisher's eye--though, after a long layoff that
found her becoming a mother, Phair's August release, whitechocolatespaceegg,
may be shocking for not being so shocking.
So join the girls of summer as they sit down for a chat with senior writer Chris
Willman in advance of the tour's June 19 kickoff in Portland, Ore., and learn why
Sarah has her hand down her Levi's, which participant is in gravest danger of
having nude etchings pop up on the Net, and why Bob Dylan might not be welcome
even if her were just like a woman. EW: There's no truth to the rumor Ginger Spice
quit the band so she could come join up with Lilith Fair, is there?
ALL: (Stunned silence)
MERCHANT: I had a dream about the Spice Girls last night, and I've never even
seen or heard them.
McLACHLAN: How have you managed that?
Merchant: I live under a rock, basically. But in the dream I was in Italy and I went into
the courtyard of this church called the Cathedral of the Two Martyrs, and there was
this fresco of these two men who'd been decapitated, and Jesus was holding their
heads in his hands. And all of a sudden I heard these girls running on the roof,
squealing "I'm naked! I'm naked!" Little bits of terra-cotta were falling off. Someone
said, "Look, it's the Spice Girls!" That's how I knew who they were.
PHAIR: That's brilliant. Can I interpret?
MERCHANT: Please.
PHAIR: Jesus is holding the heads of two martyrs--a very Judeo-Christian,
patriarchal thing--and here come the Spice Girls, blowing the image of this somber
scene, defying convention and forgetting about the rules of this solemn place--
MERCHANT: Destroying the facade.
PHAIR : --and throw that against this Lilith/gender thing.
MERCHANT: A couple of 'em still had just their wet panties on. "I'm not naked yet!"
COLE: Well, Ginger Spice is naked in Playboy and Penthouse.
MERCHANT: I used to model for a college art class when I was going to school,
and it was funny, because when I joined {10,000 Maniacs} a couple of years later,
the bass player told me that his uncle had been in the class. He said, "I went to his
house once and he had all these drawings of this naked woman who looks a lot like
you!"
COLE: Have you ever been in a photo shoot where the photographer eggs you on
to show your breasts?
PHAIR: Totally. Horrifying. When I was really young and didn't know better... And
what's worse is that I had the worst makeup of any photo shoot I've ever had in my
entire life, and suspenders over my nipples, and that was it. And there were 20
people sitting around having drinks watching.
McLACHLAN: Or you're lying on the floor and your boob pops out of your dress,
and no one wants to tell you.
COLE: I did a shoot for US magazine, and I show up and there's a little pile of rags
that I was supposed to wear. It was one of the first photo shoots I did for This Fire,
my second album. I went along with it, but I was so mortified... I'm lying on a table
filled with cheese and fruit, like "You can eat me, too."
McLACHLAN: I remember that shoot. You looked beautiful. And yeah, he asked
me to expose my breast, so I did, and I now want to kill him... If you ever, ever want
to say no, say no!
EW: And yet there are two women here--Paula and Liz--who've posed partially or
wholly nude for album covers. That wasn't anyone else's idea but your own, right?
COLE: I didn't even want to be on my first record cover. I was in a fragile time in my
life. I cut my hair really short; I was androgynous; I didn't want to be sexualized--I
wanted it to be about the music. And I had a very aristocratic {label head} who
wouldn't let me not be on the cover. He'd always pick a sexy picture, and I was
choosing artistic picture
