Georgio et Laura Felpin, retour à la 75eme

Hello everyone, it's Brice, and welcome to this outdoor podcast of "La Bécédère du son". Three years ago, in the summer of 2020, I was able to do a long interview with Georges, a company by Raphael de la Crouse. The goal was to trace these more than ten years of career in music for the book that went to accompany the release of its sacred album. So we started at the very beginning, where I learned that he released freestyles more often than when he was still in college, and then we arrived at the 75th session. And I remember on his couch, in front of us, Georges then remembered all the people he was with, and suddenly he mentioned the name of Laura Felpin. Of course, we are a little intrigued, and he tells us "Yeah guys, before the comedy phase, Laura was with us in the 75th session, she sang, etc." And indeed, in the anonymous freestyles that the 75th session published on YouTube, there is this song in April 2012. Stay you cool, and I'm chilling with myself, wedding on you Baby, you wanna meet so bad, but don't be nasty, I'm gonna make you mad, hey Don't talk about sly, well I'm really gonna, gonna, gonna be hurt, yeah Stay you cool, and I'm chilling with myself, waiting for you to go Stay you cool, and I'm chilling with myself, wedding on you And well, super freestyles, do you remember them? Yes, I remember them very well, it was in my very small room, in my good room, I remember them very well. Oh, they had filmed at your place? No, they hadn't filmed at my place, I don't know where I had filmed, I remember that I had filmed in the 6th round, it's very strange, and I had done that just before SPM, and he had done his freestyles, he moved just behind, so you see, the two filmed the same day, and that's how I met him at the time, by the way. He's very old, I don't even know how he's doing. Well, he's doing a studio, it's called The Noble, I think, and it's a very beautiful studio, I went there a long time ago. I love it, it's been so long that I haven't seen a new one. Well, his Noblesse oblige album is a very big album, and so, to start, we're gonna listen to another song, we're gonna come back to the old one, we're gonna see. Somewhere under the rainbow, somewhere under the rain, why do I feel so alone? My ideas get confused that I'm feeling afraid, trying to chill, escape tomorrow morning, and I'm just getting high, and I'm losing my mic, I'm on that burning town. It's been so long that I don't understand that love was not the talk of the town, my father hit me, I didn't look at it anymore, he made the smile, and it's not that anymore, my notes weren't beautiful, then I learned that some friends weren't real, but I had to do it with them, I forgave them, as if it was normal. Results, I think it's the mutual pair, the chair, sometimes I wonder if you've changed, I think it's you, but I'm too proud, well, a great day, since my great love, the flowers fade, the hearts beat for the children, it's the rain, the bottles, the bottles, the water, one more time, who let me dream more, live the sports, it's Casgull, like a rat, you float, you play, that's the head of the game, the birds fly, the skis come out, I give myself to suffering, I'm waiting for death, with big lies, I don't work here, if I rap, it's probably not for life, I'll dream about the heart of a rainbow, it's wet, then dry, come to hate you, that's why you don't hate me anymore. Somewhere under the rainbow, somewhere under the rain, why do I feel so alone? So, after this great moment, super featuring, we're going to start with the beginning, how did you meet? And how did you manage to make this song? Well, the first time I met you, I don't remember, not crazy. No, but in fact, it's because we drove together, I was always with the 75th session, Antonin, Sheldon, Dooms, the guys, the team, we were always together, and Laura, I don't even know how you... I was contacted by Clément, so it was him who came to see me, meet me, to record a Bouche anonymous freestyle, as he used to say at the time. Sheldon? Yes, exactly. And suddenly, he came, it's with him, it's him that I sang, for the first time, it's really the first person to whom I sang a song in my life that I had written. It was really him in my little good room, and then, yeah, like that, I think we started all this training together. But how did he find you at the beginning? How did he know that you were singing? Honestly, I wonder if there wasn't a delirium of My Space, or I don't know, honestly, I don't even remember that. I don't know at all how, it was at the beginning captured with... Ah, if I had a friend at the time, Lester, who knew, of course, he knew, he was part of the 75th session. And it was the friend of a friend that I had met in the evening, and he said to me, "You sing, you sing." So that's how I got there, I remember, fuck, I didn't have Lester, I had him. And so afterwards, you stayed with them for a while, it was... It didn't last, it was a furtive, but I made up for it, in fact. What was it? He used to use it all to me. It was in time, yeah. But the only song I did, it's with Giorgio, it's the only song I did, and then I did the Jando. And I also did lots of voice-offs. Clément, he signed me for that. I did all the voice-offs of all his albums, of all these things. Ah yes, like the voice-off, level 1, level 2. Exactly. Yeah, and then I even did voice-offs for... I remember, I was like, "Framal!" For, what was it, already that? It was the escrow. Yeah, for the escrow. As soon as they went, yeah, as soon as they went to kick, I said their last name before, I had done stuff like that. Like voice-offs recorded for couples? Yeah, for couples, yeah, I did something like that. Because for people who don't know, in fact, you did a double school. Yeah. So, obviously, you know how to do the voice-offs. Yeah, exactly. And I think it was like, it was the same period, my serious rentabilisation. Yeah, you were already at school. I just finished my training, because I had worked a lot for Arte when I, like Julien de Strasbourg, I had worked a lot for them in voice-offs. And when I arrived in Paris, I had done a little training like that. And so, I liked doing that, so I think that... And then, they needed that, so in fact, it was so cool. It was all at the beginning, all at the beginning. And so, Jean, how do you think about inviting Laura at the time of my take on a song? Yeah, well, in fact, we were all together. We met at the studio in Saint-Denis. We even had parties together. Even I remember having a party in your bedroom. Exactly. You see, with the guys, well, precisely, with Clement. We have all that, all the guys from the 7.5. And in fact, this project, it's the first project that I record completely with the 75th session. And at the time, we had... I mean, it's "Hon", but it's mostly the guys, they had set up a studio in Javel in the 15th, at Robin. I'm a guy from the 75th session, his name is Robin. And so, I was always there. We recorded in the cabin, it was in a closet in front of Robin's room, in the living room. In the living room, we were doing the voices. Well, you know, it mixed the voices, etc. And then I was in the background in my project. There was, suddenly, everything recorded by Diaby and Sheldon. Okay. In 2012, in fact, yes, exactly. In fact, what happens is that, in fact, I meet Diaby via Facebook. And he sends me a prod and he asks me if he can mix and master the song. And at the time, I was playing my songs without mixing, without mastering. So he says, "Yeah, let's go." And he sends me the song mixed and mastered, like, two days later. And I said to myself, "But you're not warm, you're doing a whole project. You mix, you master everything and you say, "Let's go." I had the studio of the 75th, suddenly available. And I did all my projects. And it was at the same time where Laura was playing with us. We were all together. So in fact, naturally, I thought it was cool to have a chorus. And then I had proposed to Laura if she was in the mood to do it. And it was like that. Do you remember who wrote the lyrics? Well, it's you. Oh yeah? Yeah, it's you. I wouldn't be able to write in English, anyway. You wouldn't write in English? No, because I would have said, "But what I wrote was too funny." And it was in the cabin over there that we recorded. It's Sheldon who recorded it for us. Yeah, yeah, yeah, yeah. I remember that day. Yeah, yeah, yeah. Ah, Javel, yeah. Ah, Javel, we were still in the dark. I lived in the back, I lived in Max's. Can you imagine what I was doing for the studio? I was just wondering, what did it look like, the 75th session at that time? What do you remember? Well, I remember a big band of lots of people. After that, I stopped personally singing after that. I felt really lonely as a girl, by the way. You were the only girl. Well, there weren't a lot of girls in the group, you see. But it was a really good atmosphere. And then, in fact, I think there were zero calculations all the time from the part of people. I mean, I think there weren't even necessarily... You know, people today talk about career and everything. But I think, at that moment, you don't even look at yourself saying, "That's what's going to be my path. You're just doing what you have to do every day." And so, I think, just like we were doing all this and we were so happy to do it, well, in fact, it was just a band of friends who were doing things, you see. Well, yeah. In fact, we were all excited by the passion of music. Me too, the first person I met from the 75th, it's Clément too, you see. And so, I remember, with Népal, we were freestyling ourselves with Jaurès' kit. And then, it was at the very beginning of John Doe. We went to Rottena, TAC, we did John Doe 1 and then Mien, who came out in 3. Because there were fans of Zell who had actually been the very first one, who had actually been the test version of this formalist and Fadzell, so he came out in number 2. And actually, no, mine, it was the 4th, there was Doom 103, I remember. And so, in fact, it's TAC, we started rolling together. And then, in fact, we were not giving up, because we were all, you see, we liked the rap in the same way. Then we wanted to make things move, to be together. And that's how we got together. And in real life, we laughed too much. Yeah, and I started to laugh too much. And I started to laugh too much. Yeah, it's clear. There was a lot of insouciance too, as I used to say. There was not even too much, even if we liked music more than anything, and that we dreamed of living, and that we wanted to live, and that we did everything to go in that direction. We went out a lot of projects, we did a lot of stuff. There was also a lot, a lot of insouciance. Ok. Yeah. Because I have the impression that in the rap of the 2010s, and we are not always talking about it enough, maybe the 75th edition, it was a real training center, as you see, Lombard, you... Me, today, with my 8 albums. With your friends, with your friends, with your friends. I have the impression that it helped a lot of people to get started, to do things when they started. Yeah, because there was a... We listened to a lot of rap, each one had his own rap style, and then, as there was the studio, after Javel's one, there was the one in Saint-Denis, where Sheldon was playing, like H24, all the time there, and everything, there was more and more people from the past, there was a lot of connections. And in fact, we spent so much time between rappers, that we all wanted to be hotter than each other, you see. And so, in the end... Yeah, it's a kind of chemistry. Yeah, it's a kind of chemistry. You see, there was really something like that, where there was a lot of energy that was going on, and so, of course, there were big things that came out of it. You continued to follow a little bit further, after... Yeah, I followed them all, I listened a lot, I listened to everything. I'm not a specialist, I don't work on an album, I already work on a piece. But for all the artists, I don't know, sometimes I have things that stayed with me. At the time, I remember, I listened to So Clac, I still have an old piece of him in my iPhone, that I really think I don't know by heart, although you see, it's even more in line with what I think today, but it's the old one, so I remember many, many things. So it's funny, because I don't have a big rap culture at all, but on the other hand, I have precious pieces, people say, "Oh yeah, you know this piece of Isle MC, it's all so weird", you see. And so it's because it made me a little more educated about it. After that, in real life, I was so happy. I was coming from Moulouse, and I was so happy to get to Paris, to have guys that I had the impression they were from Moulouse. So I was already... So I trained with them, and it was cool to be in a band. And then, yes, I had always been a little... I had always been sensitive to that, in any case. It still touches me. And I'm mega sensitive to writing. And also to all the old stuff, I think it's an ultra-rich language. All the expressions, I love it. Well, it's good that you're talking about writing, because we're going to listen to another song that is related to that. Come on. My dear friends, I don't know when this mission will be found. I hope that the Postal Services are less and less paralyzed since the great crisis of 2020. The epidemic seems to calm down, and it seems like life could resume its course. I still don't smell it, and it's a shame that I'm bothered when you know what the "lendouillette" tastes like in Sarazin, and the "norance" that my aunt Anieche cooks for me, which I'm wearing right now. But with this virus, it's mostly the taste of others that we've lost. Do you know that no one really listens to us, but that everyone talks all the time, even though it's not rare to meet in this huge, some big characters, of those who accumulate in the corners of their little, a white cloth, which I like to call "the mouth's foam" or "the day's smoke". Today, Tuesday, February 1st, I was invited to the Radio House to talk about myself. Can you imagine? You, me, talk about myself. You talk about my life. Can you tell me where I come from? I am, I am, I am a woman of color. I have my own bottom of my heart. I have to talk about myself, sorry. I sing R&B songs from the 2000s. The Radio House is a surprising institution. You know, it's not rare to meet individuals who wear the curly veil in cakie shirts that don't help the face. Oh my god, what a torture. Would you hate to hear it? I hate it. It's complicated when you do the voice-off. Yes, but I think it's really... No, I don't like it. Like, even listening to yourself. But actually, I think it's a plus, because suddenly, an actress who doesn't look at herself or a few people who don't look at her doesn't care, you know. But when I listen to myself, you're always going to put me in trouble, it's horrible. Well, I chose this extract because if I'm not mistaken, you kept it in your show, it goes on. I kept the character. The character. And in fact, especially these passages, when the first thing I told myself to the person with whom I was at the show, I did it, it was well written. And there is a multisyllabic, it's not rare to meet individuals who wear curly veil in cakie shirts that don't help the face. Honestly, it looks like a face of Jean-Juot. So I wanted to ask you first, is writing really important to you? In any case, in your show, I really felt that you took your head on the lines, etc. Yeah, I always loved it. I was more comfortable with the oral already than she wrote me at the start, but I always liked it a lot, what I was saying, the verb, the structure, all that. And so on the show, I wanted to do something where there is really a link, whether it's almost theater, I didn't want it to be a one-man show or a stand-up, even if I really have a lot of respect for that, but I wanted it to be a different form, that I liked, that I hadn't seen too much. It was a bit of a mix, I'm not really in the public address, at the same time I'm still in stand-up at times like that. And there are these stories of characters. And yes, all the links come in anyway. I wanted it to be well written, and that it is not no more painful, we say to ourselves, because for the moment it is really the character of a mark, so she has a vocabulary a little more elaborate, than what we would talk about every day. But otherwise, I still applied myself on the form, because I think it's too cool to get a little boring for that. So how do you proceed, as you wrote? I have a problem, I wrote a lot, I really want to write at night, although I like to sleep too much, so it's really a problem for me. I love to write at night, but I like to wake up early in the morning, at the end of the night. But it's very hard, because sometimes ... Sometimes I go to my bed, I say to myself, "I think I have to get up to write." And I say, "No, but in fact, I'm not going to have my eight o'clock in the evening, it's going to be horrible." And so, no, I don't have ... as I wrote a show with Cedric, in any case, we locked ourselves in a house, in a residence, and at the beginning we knew, like, we wake up at eight o'clock, we stop at noon, we take 14 hours, we stop at 10 o'clock, in fact, it doesn't work at all. We said, "But we can't do that, it's artistic, you see, it's ... So, in fact, we're going to run our races with the little girl, Odile, who brought us to the supermarket, we're going to make some wood, meeting people in the village who didn't understand what we were doing there, all that. In fact, we ended up by ... Well, living, in fact, we said to ourselves, we're going to ... It came, as the creativity came, and then as we finished the stuff. But what was an obsession for me, it was to have a link, from the beginning to the end. After, I see that sometimes it's not clear for people, and it's not serious, but in any case, I tried to apply to that. I don't have an incredible, incredible method on writing. It's a bit of a period too, sometimes you have things to say, sometimes you have nothing to say. And then you have to be bored to be able to say things. And there, I don't have the time to be bored at the moment, it's a bit slow. But I find that writing is generated by that. In fact, at a time when you're in a performance as an artist, there is something that has to stop, so that you can say things. And that's hard, I think. I think it's going to happen to you too. It's the same for me, I know that when I'm active in my life, well, I can't write. It means that I need to take a break. It means that I need to stay two, three days at home, where I don't feel anything at all. Like, I don't see anyone. And after two, three days, I say to myself, "What the fuck am I doing?" And there, I'm going to write. But if I'm here in the evening with friends, that I'm in a promo mode, that after, I'm going to repeat my life, that's all. In fact, when I live, I have nothing to tell. I need to be next to real life to be able to write. But how do we do to be next to real life? Well... It's funny, you say that. Because in fact, it's rather when you don't live your thing of shooting, your thing of promo, of recording and everything. In fact, it's precisely because all of a sudden, you have a kind of like, "Nulose" kind of life, not "Nulose", but you see like, a kind of like, basic, what do you say, that you want to write or not at all? Where do you have to put yourself in a state, I want to say? No, it's because I, like, I get out when I say "real life" that is to say that, like, I get a bit out of my social life. You know, like, the only thing I do is go do my sport in the morning, like, and then I stay at home. I really stay at home, and then you have that, and then I write to myself. I write to myself, it's like, it's really to get out of the world. Yeah. I like it. Well, after, I'm like you, I don't, like, for example, on my last album, there was the half that was made in Los Angeles. Yes, that's what I was going to say. Yes, we were in... You were gone, in fact. Yeah, so we left, we left far away, and we were faced with another culture in relation to rap, which is, like, really impressive too. And then, well, I was finding my moments at home to write, we were making music, but, you know, we left with the goal of coming back with an album, or almost. So it means that when the guys arrived at LA, when I say "the guys", it's Loochie with whom I made the album, and Enkuma and Guillaume with whom we filmed, that we took a lot of pictures, etc. Well, when we found each other at the moment, all the four of us there, we also knew why we were there, so I easily came to find some time. You have a structure. Yeah, that's it, to write everything. But being outside your home, I think it's a... Yeah, that's good. It's a 10 times better outside your daily life. Yeah, that's good. There's something that the musicians, in any case, the rappers often say, and I wanted to see if it was perhaps for you, is that between two albums, sometimes, they need to take a break just to live, and to have things to write. But that's important, because in fact, it's just that, but in fact, that's what happened at the time, if you see the great authors and everything, then you have those who proliferate in terms of work and everything, because already, often, it's the guys we tend to forget, who were too sad, too sad, depressive, you know, so that's normal, who do... That's it, the Budler and Company, but in reality, it's weird to talk about life when you don't have the experience. So you have to live a little bit, you have to say, "Come on, well in fact, I don't know, I remember, when there was the confinement, it shocked me, everyone of a sudden, you had stuff on the internet, and I said to myself, but we didn't have time to live it, in fact, we are so... you know, we still don't have the time to talk about it, because finally, it affected us to be collectively confined, right away, we put things in place, live shows, people talking about it, you see, and I did it, but for the moment, I tried to make sketches that had nothing to do with confinement like everyone else, but I find that there is something in society that is a little pressuring for artists, it's that, in fact, you have to make the difference between... I think it's where you... it's the big question that I'm asking myself right now, it's... is what you're looking for to... me personally, yeah, I'm going to go to Envry, I feel like that. Go ahead, go ahead. No, but me personally, I'm told that what makes me dream in this environment, is to be able to continue to make choices freely and to have the opportunity to do a lot of things. You see, to receive a super-scenario to make a show or even to record a song, I don't know anything. It's to have the possibility to make these choices. But for that, I think that sometimes you also have to learn to retire for some time and make the right choices. And making choices, that means, at the same time, to say a name to things, frankly, the number of things to which. I say no, it's not at all to be kind, but where I say to myself, five years ago, but I'm serious, I take myself for saying a name to things. But you know, you even told me, you do that on... on T.F.1 in Mimati, I would have said, wow, finally, you see, and today, I say okay, it's less time to go or without any price. So, these things of choice and pause too, I think, it's mega important, you see, the guys, they release albums all the time, they make shows all the time, movies all the time. And I'm not at all 2000, I'm not at all a personality of the speed. It's horrible. - I want to say again, since we're talking about... - Well, I was also... - A lot of the 75th session, like at the factory, it's because Babylone won. - Yeah, it's serious. - You see, at the moment you're... I think that... you... well... you can't... you can't write a show or... or an album. All the time, like that, you have to have a retreat to have new things to say, then even to reinvent yourself. First, you have to understand what you've done to do something else, to go further. So you're... yeah. After, it's sure that the market and the world go so fast today that it pushes you to the opposite of... - Yeah, it's true. - But also, it's also a thing of... of integrity and what do you want to offer in your field, you know? - Yeah, but sometimes, you see, it's like you say, you have to have time to know it. - Yeah. - And in fact, people tell you stuff, I meet people tell me stuff like, "Oh, it's too bad, everything that happens, it works hard, you know, you don't see the thing from the outside saying, "It's true that in November, I was like that and now I'm like that." But without that, you're asked to... a little... to be... how do you say, aware of your success, or of the phenomenon, or of what's happening around you, while you're actually in the thing, you see, precisely, so you don't capture that. You see, if tomorrow, nothing will happen for Giorgio or for me, what I don't want to, but in fact, if I had little children, I could still tell them, "I've done three months, I've done three trillions, you see? And in fact, you just have to realize the luck we have with that thing and say to yourself, "But frankly, whatever happens, you've done five albums, you know, you see?" I even think about it, and it's something that I've had time to understand, but you don't have to... you don't have to define yourself by what you do. You see? For example, if you define... I'll take my case here because it will be the most concrete, but if I define myself only as a rapper and we say, "Who do you think I am? Who do you think I am?" or an artist, well, the day when it works less well, the day when I don't have any inspiration or what, well, in fact, I'm fucked because I don't exist anymore because I see myself through this prism, whereas if I see myself as George, in fact, I'm so much bigger than my music or what I do, that I could have a thousand lives, you see? And in fact, it's... they don't feel less good than the other one or whatever it is. And in fact, I think it's important to have this retreat and I think it's in your reflection too. Yeah, it's true what you say. I think it's... Yeah, it's too true, it's too much. I've never thought of it like that, but it's hard to not believe in people. Well, yes, you can try your days too. Yeah, that's it, yeah. Honestly, I don't know who said that. I don't know what the American actor said after half of your life consists of, "Ah, when you have success, don't believe too much that you're great." You see? In fact, it's too hard because when you have people who get up after a concert or when you have people who are making fun of you, well, in fact, even if you are the most humble guy in the world, really, there are tiny things that start to happen or you do like that, you see? And in fact, it's really important to put back the church in the middle of the village. Did you say something about writing? George Homes, it was in 2015 in Rapélie. Okay. It's that you came to write better when it wasn't going super well. Did you... Did you evolve on that? Yes or no? In the sense that... In fact, I still need to have a strong feeling that will submerge me to write. In fact, if I'm like... If I feel completely normal, there's nothing... I have nothing interesting to say when there is... When I even get to a state of... of very strong joy or strong excitement, I can write. Or a... A little soft blow, of course. And in fact, it's easier even to write in the sadness. But like, actually, for... I remember, I had talked with the... the... Unfortunately, I forgot his name with the guitarist of Sting, who made... Okay. It's the song of Sting which was sung by Nass, etc. And in fact, you see, he told me something that really touched me. He told me "Yeah, in fact, you have to... write, you have to work on it because he might tell me that you're going to be touched by the grace of God for one or two albums where you're going to be inspired, but then it's tough. That is to say, you have to write, you have to know, it's a cerebral gymnastics and everything. So in real life, I work on it. But necessarily, when there is something that will upset me or touch me, well, necessarily, when you go in this kind of emotion, there is something that is more liberating, easier to write. And precisely, for me, the exercise is also to be able to write when you're not in these states. Yeah, when I'm not in these states. Because in fact, I don't want to be in these states. After, since I'm quite sensitive, I can easily find myself. I don't have to touch myself much. But... Like I'm under the pressure of the piquet 313. I can easily make albums, but... But Laura, I play, he has an advantage compared to you, it's that... It's that it's a man, of course, unfortunately. But it's more than him, if he's sad, he can write on it. You, for the moment, in any case, you still have to write funny things. So I was going to ask myself how do we do when we are personally in a kind of bad period to write funny things? Well, I've already written for me a lot, but without a special rendering, where I don't need to show it. After, I think it's always closely linked. You know, it's still in the compartments that we actually have furs. So you see, there's always something that doesn't come with me in those moments where you see, or when you see difficult things, I often said to myself in recent times, it would still be happy to eat the sense of humor, you see, it's something like that, you see. It's almost a little bit the cliché, a little bit of the sad clone, a little bit of... who's crying a little bit when you have to do a little bit too. Do you have a little bit of that? Well, I'm mega nostalgic, I'm someone quite nostalgic, but I still think that I'm rather a partisan and I don't need to be bad to write, and I think it's hard to write on joy. On the contrary, because in fact, joy, often you live it, but you don't need to sign it. But in the society in which we live today, I think it's too hostile to talk about happy things, in fact. And it's above all what I wanted in the show, it was that we say to ourselves, "Ah, you see, which characters she likes, what she does." And in fact, the people she does are cute, because it's super hard today to have points of connection between us, you see. So it's an exercise that's just as difficult. And I don't know that I have a few intimate days very dark, of the little girls who came to me, but in fact, and I'm not always obligated to write funny things, in fact, that's not true. You see, I'm starting to write things a little more fictional and all that, and that's what we call a bit of drama, but it's all joined up. So I'm not in the context of the van, and by the way, it's not at all even in the show, I'm not at all in a van rhythm thing. No, no, of course. There is another common point that I think you also have, it's in two different directions. It's, I think that in your show, there are characters where you talk to other people, like you, in your music, you always talk to others, even on your last album, you talk to your friends. I find that there is something that you also observe the world around you. Is it important for you not to be always self-centered when you write a show, when you write a song, not to talk only about yourself, and to look a little around you? I think that... Well, I think that when you talk about yourself, you talk about others, that's the thing. So when you talk about others, you also talk about yourself. So in fact, that's not a question of self-centeredness, because in addition, when you go on stage, you're still at the center of the thing. But it's just... Yes, I think it's fundamental to observe the... In fact, what always makes me weird is to tell myself, "It's too weird, that's what we do, I say it all the time, it often happens to me, but it's too weird." We really believe, we believe that we always talk about others as if we were never the others. But we really are in the same mass of human, we are a species. For me, it makes me stupid, these things of... I don't know if you know, but there is something called "overview effect". It's when the astronauts go far from the Earth. In fact, they see the Earth at such a high scale, that it nicks them in their psychological system. That is to say, when they come back on Earth, they can't understand the borders, the passports. In fact, they can no longer understand the notion of borders, of limits, because they realize that we are in an ecosystem where we are... Very small. We are a species among others, and that's what I also wanted to say in the show. In fact, we are really not better, or less alive than a cloud, because in real life, we are alive in another way. And suddenly, all this stuff, I completely lost the beginning of the question. You saw, you left. It's talking about others. But of course, it's talking about others, it's a bit of talking about yourself, because in fact, we are all together. For me, it's a real thing that reassures me in the fact of saying to myself, "Oh yeah, we are together, we're all going to die together." You see, we're going to go through the things of life together. Where this thing that reassures people, after all, it's us as an artist who may find the place where it touches someone, and so on. But that's the most interesting thing, I think. And you, it's something that's been in your music for a long time, and which even, in the rap of the 18th century, is also based on what we should really talk about, about its environment. Yeah. Well, in fact, I... And it goes to the point of what Laura says. In fact, in the rap, what touched me the most as an audience and a fan of rap, it was when I recognized myself in a phase, or in a thought, you see, through a thought, through a fantasy, through an idea, or what. Or... Or... Or you see, it even tells life. And in fact, I mean, it's my life too, but I didn't have the power to put words on it, or whatever. And for me, that's what touches me the most in the rap. And so, that's what I try to do the most. And in fact, it's true that finally, the more your music is personal, the more it can also touch others, because it's... It's about details, in fact. And... And at the same time, when I make my music, well, I want to represent mine, I want to represent my loved ones, well, yeah, my friends, my... my social environment, where I come from, I... Yeah, there's this thing there, a little bit of... I want to... Since I'm lucky to be heard, I also want to pass the messages I hear around me, because in fact, that's what inspires me, it's... general life, it's to say that it's going to be as much my own emotions, my own reflections, but it's also going to be that of my loved ones, of... of... you know, things that I see that I find a little bit crazy or reflections that I hear from a friend who will tell me, "Who thinks like that?" And I say to myself, "Fuck, but he's got so much reason." And so, I want to talk about it in my music, I want to share it. But when... But all these details that you observe, do you notice them? Do you just keep them in mind? Or what... It depends sometimes, it's going to be... Sometimes I write it where I tell myself, "Oh, I have to... I have to remember from this moment on." And sometimes, it's things that stay in my mind. And when I write to myself, I'll do... I'm going to record prose and everything, and at some point, I'll tell myself, "Okay, what am I talking about?" And then, it's ideas that... that make me come back, and then I write it, I start a sentence, and then it goes away. You, Laura, what I find always quite strong in your characters, is that often, it's... well, like George was talking about for his music, it's about details. You say, "Oh yeah, fuck, I never noticed, but it's true that this kind of person always does that." Well, thanks. But... I'm very serious with the people I play with. Well, the little lady who's on WhatsApp in my show and everything, it's Madaron, but Madaron, I can watch it for three hours, and I'm not. What I like, is that when I'm in my natural environment, with the people around me who are close to me, you can train with them with whom you're watching them, you see. Like, my grandparents, I really love training with my grandparents, who are 90 years old, so there's really nothing to lose, fundamentally. And I find it's incredible to see people like that. But I don't train with them. Sometimes, I spend two days with them, it's really annoying, because they're 90 years old and they don't have the same rhythm of life, but I love to watch them. In general, I only do people that I've seen, in fact. Okay. I had trouble making characters invented a long time ago, where we'd said, "Yeah, why don't you make a bourgeois character?" And yet, I come from a bourgeois environment, but I realized that I didn't really like their behavior. So it was hard for me to play something I didn't like. I thought it was a bit hard and it didn't really fit the show. And after that, I captured, training a lot, with ultra-rich people, like nymphs, you see, how they talk, people who work for them, at home. And then, one day, I thought, "I really want to do this character, I really want to talk about it, but because I've put two months to all this shit." But I don't necessarily realize that I'm doing this. But sometimes, I train with friends of mine, and I observe them so much that at the end, you know, I'm going to have the same expressions, I'm sure that if I train with Giorgio for two days, I'm going to do the same... Ah yes, we want a character, Giorgio! I can't say anything now! And it makes me think, I really liked it. I think it was Christmas when you entered your family and you asked your T-Ruf the new expressions. It was just a story, you hit the bars, you asked your brother, "What are the expressions of Jeanne now?" It's crazy, Jeanne reasons. You're clear, especially, because you're in the rap. Yes, I'm clear, I'm clear. But you're clear with everything. So you knew that the young people were going to burn them, they said, "I'm going to burn Jeanne's." Because I didn't know! Excuse me! It's Twitter! Yes, it's Twitter! It's Twitter, but it's YouTube, but I'm connected again. You know, with the rap, I'm connected, even Twitter and everything. If I'm known, Giorgio, finally. But of course, we follow. Yes, but it's Twitter, don't follow. And you know, for example, with the rap, like, I like to see the... The evolution of that? Of course. Even the little guys who are really young who are starting to burn them. You know, for example, I was talking with Lutair. It's incredible. We met at the Grunfestival, at the Grunfestival, sorry. And we talked, I said, "How old are you?" And he said, "I'm 19 years old, and he's 2003." And you know, I'm 93. He's 2003, but it's... But it's too hot, their music is... It's too stylish. But that's why I hate people who say "Well, the rap, it's really the subculture, it's shit." You know, especially people who are not on the page, expressions and everything. But I remember, I heard a guy say that the other day, his friend in the subway, I thought, "It's too loud." His friend spoke and spoke, and one moment he turned around, he said, "Well, in fact, you're a noise." And I said to myself, "But it's too funny, you see, it's too pretty as an image, it's too funny to say that." And yeah, people's stuff, where I find... You can't... And it's funny, I talked to my friend, Géraldine Lacache, the other day, who told me, "Girl, do you think I can say that I'm hot?" Because she tells me, I don't want to say I'm hot when something happens, but at the same time, I have the impression of being too shy when I say, "Yeah, I'm hot, let's go." And I say, honestly, you can still say it, you see, but it's true that we're starting with an age, there are things we can't say. You, in your texts, you try to renew your vocabulary at the end of time to use new words? Yeah, then I do it anyway. In fact, the vocabulary, you know very well, the vocabulary, in rap, it evolves, there are a lot of expressions that evolve all the time, new words that come out. After, I know that when I write, in fact, I write more or less, because you necessarily have to put form and style, but I try to write as I talk, or as with my relatives, we talk, that is, there are expressions that come out in the rap, but around me, nobody tells them, I'm not going to tell them, because there, I kind of have the impression of being a person, or you know, I would feel stupid in fact, I wouldn't feel myself. Because this is still super important in the rap, in fact, in real life, it doesn't matter. Yeah, it's something of identity, of who you are, how you make your music, and everything. And that is to say, it must be a real pressure to say to yourself, I wrote rap, it goes so fast, in addition to rap, there are so many young people, that you still have to say, I have to stay a little in the neck, but like, you have to pay attention to that, but yeah... It's because you're a 93, that's for sure. But yeah, then it's sure that, well yeah, then there are, you know, there are new expressions that I like, or that we all use, so of course, you're going to say it. You have an expression that you learned not long ago that you like. An expression that I learned, no, I'm not like that in my head. But for example, I have your penis, you know. Yeah. It's said, do you have a lot of differences? No, not really. No, not really. No, three years. But I thought we had more, I don't know why. After, he didn't, he didn't, like I said, it's really hard to have 22 years. I was young, and suddenly, when I was 19, I was really very baby. But above all, you say that in your head, you still have 22 years. Yeah, that's true. Is that true or not? Yeah, I have... Even during the night? What? Even during the night? Well, during the night, I can feel it a little, but... At that time, I was still calm. Yeah. I really remember, it was really funny. I remember now, when I saw you the other day, I said to myself, "Ah, but I didn't remember it was funny, it's true." No, but it's true. You know, we haven't seen each other for a long time, and when you see someone, you say, "Ah, yes, I remember that I connected with him because I see you very much with your little white jogging, your full neck, I think it's a neck, it's not... On the scales, Versa Michel, it was so funny. With a little crest, apparently. Yeah, it was really a little crest and his hair was upside down. Yeah, we had so much fun. With your great friend, who had made, like, the new star, or something like that. But of course, Paola, yeah, exactly. Yeah, you're a great friend at the time. Yeah. I propose that we end up listening to a song from you, Giorgio, and after that, I'll explain why. Come on. Come on. (Music) (Music) (Music) So we just listened to the song "7x" from your last album. Yes. I chose this song because you sing almost all the song, at least a lot at the beginning. Yeah. And Laura, I think you like the song too. In your show, you sing, especially at the end. I'm going to start with you, Giorgio. Has it been since the beginning that you wanted to go to the singing? Has it been something where you took lessons, that you learned? Is it important for you to go more and more to the singing in your music? So it's not at all important, and it's not at all come from the beginning, because from the beginning, I was in a radical rap. Yes. So I had never thought of singing in my music when I started rapping. By the way, at the time, it didn't work. When you wanted to sing on your show, You invited Laura. You invited Laura. But that's it, you invited yourself a singer, either a singer, but it was never the rapper who sang. And in fact, over time, the rap has evolved constantly. It has evolved. There have been more and more artists who started singing, singing in their songs, etc. And it's true that I've always listened to other music, the rap. And then, at one point, I was so into the rap that I necessarily wanted to listen completely to other things, like music. And so, at one point, it's a mix of all these influences that I just got, that even I, I wanted to sing, to have melodies like "ah, such a rock style" or whatever, to mix my music to enrich it, to feed it. And now, when I make a song, it's true that I don't have a limit, I don't intervene. So you see, for example, it's very rare that I sing on a whole set, like on the first set of this song. But if I want to do it, I do it. If I feel it, I do it. But for me, it's not an obligation. It's really a pure artistic choice because I want to do it at that moment, on this song. And if, on the contrary, I want to rap from A to Z and which is not at all fun, well, I don't mind doing it either, because if I feel that it will serve the song, well, I don't sing. So there really is no rule. But let's say that it was a chord more to my arc and that when I wanted to, that my identity was created by merging different styles and by singing moments on a verse, on a chorus, I allow it. Laura, you too, I have the impression that it has been important for a moment, even in your characters, on a daily basis. I'm in particular of a singer, you made a singer of French variety who released an EP. And you sang very well on it, by the way, even on the video with the 75th session. It's too funny because I did this thing in front of Denis Bronyard and that it was on stage and I had made a singer of 2000 years. And in fact, he didn't understand at all that it was a joke and he said to me, "After, who is this singer?" And I said, "No, no one had fun that day, it was a show, but it was not at all..." But yeah, I love that, but I love it, I'm so happy in addition to... I really like the music, but I'm also very happy not to do it because in fact, it's like I was very happy to make cinema at the beginning because I said to myself, "Ah, but I really like films to do it." I didn't want to do it when I saw the thing and it's a bit the same for the song, I think I'll be back in a moment, but for me, it's so important and I really like that that I'm going to put 20 years to go, I think, but I really like that. And I find that in in my writing and everything, there is this thing almost singing, almost... in any case, the voice is mega important in my... more than the song, the voice is mega important. Yeah, and the rhythm, so the music, what the thing for me, it's really two arts that join together and besides, it's funny because I find that for me to imagine that a good comedian, for example, doesn't have the sense of rhythm because when we play together and everything, there is basically this thing of music. But I wanted to ask you, if you sing sometimes, like at home, you do things under the shower, but you really kiss the voice. Oh, no, not at all, not at all, because... No, I don't kiss you because when I kiss you, it's horrible and suddenly, I don't like it at all, even under my shower, to do horrible things. Okay, okay. But on the other hand, to join you, it's to tell you that for me, it's on stage where I found comedy because you see, when I play songs that are two years old or even six months old if it's the last album and I find myself on tour, it's still necessary that I put myself in the same state of mind as when I write it or that I choose in the interpretation of my song because if I just rap it in a very technical way without the slightest emotion, well, in fact, it's nothing. So you have to interpret your songs on stage. And so there, that's where I have a little part of comedy in my life as a rapper. Do you want to get back to the "Giorgio" of the time? Well, not in the month of the time, but in any case, I try to find the emotion that I had when I wrote it. To be just, in fact, in my interpretation, in the weight of the words. And it's natural. It's naturally linked, it's sure. Yes, it's naturally linked. You know, because music is to be there, because music is the emotion. Because people, people are sending something they like songs, I think. So when you write a nostalgic thing and there are 1,500 people who, like, drive something, I think you feel it all at once. Yeah, that's it. It must appear. Well, anyway, I think you'll feel it too, Laura. But I've always found that, you know, it's a bit like, like, on stage, we don't really know what it's doing. You know, I don't know if it's because the audience is dead, that I am, like, super hot, or if it's because I'm super hot, that the audience is dead. I think it's a kind of like... But I think people don't really know how important it is when it's an audience. You know, sometimes you want to tell them, but you don't realize how much I'm going to be super, if you're super hot, you know what I'm going to say. Yeah, really. And in fact, it's horrible because sometimes when you arrive and I don't know if that's what you're doing and when you feel that people aren't hot like you hoped for, I already hear it behind the curtain of how they settle, of how they sit, and I tell myself, they are... And in fact, I learned with time to tell myself, to laugh and everything, to tell myself, it's not because they're attentive, they're not passing a good time, and stop believing that when the curtain opens, they're already getting tired because it doesn't exist. Even you, when you go to a show, when you're in a hurry, you have to take ten minutes to tell yourself, it's going to be ugly. So you tell yourself, you have ten minutes, or in fact, ten minutes of safe, or in fact, there's just you to stop wanting to be hot, because sometimes it's hard, sometimes you tell yourself, "Oh, he doesn't give me anything, it's too hard." And you had to look for them or not? Well, in fact, really, I have Alex Lutz, who told me one day, it's never the fault of the audience, and I said to myself, I always make this idea in mind, and suddenly when I say, I find it hard with me, I'm much more nice, and much more, and I slow down even more, than at the time, when I saw that, really, I was like, "Okay, you're like that, it's going to last my show, it's been an hour and a half, sometimes I did phases two, my show lasts an hour and a half, sometimes I played it in 58 minutes." Oh yeah? Do you realize that? It means that I took only half an hour because it hurt me. So I was like, "Well, I'm going fast." You had everyone, you were always on the phone in the room. It's okay, I have something to do. But it's because you're attacked, you're fragilized, you're naked on stage, so you say, "And then it's horrible, because when it's your show or your album or something like that, there's also the thing of, "Yes, it's great when you're wearing it, but also, brother, it's you." So in fact, if people don't like you, they don't like you. So suddenly, you're like the last one in the class, not chosen as a sport, and you're like, "Oh yeah, it's you." It's harder for you than for me. Yeah. It's because when they come to see me at a concert, 90%, except if they're people who accompany them, they come because they like my music. So then, they're there for me, and then it's for me to make my father who makes them even warmer and that the moment is going to be even stronger. Whereas you, they're still waiting behind you. So they're all there like, "What a joke, how are you going to make us laugh?" But that's why I think it's good when you're in a show, not being immediately in this... Well, for me, it was interesting to immediately tell them, "Actually, that's how I wrote it, and I'm not going to ask you for every single sentence." You know what I mean? Because I didn't want to be too tribute to that because humor is so subjective, actually. Me, I'm too... You see, the only thing I want is when people say, "She did it, did she like it or didn't like it?" Of course. We say, "She worked the dose." After that, it's not my humor, it's not my humor, it's a problem, but... Yeah. Yeah, respect, whatever happens. Yeah, exactly. Yeah, exactly. Yeah, I agree. Yeah, that's true. Well, listen, you can finish with respect, it's a good conclusion. That's it. Thank you, thank you both, it was really interesting. Thank you. Yeah, thank you. We were small pipettes, right? Yeah, I'm not going to ask you any questions. So, like, your album "Anne Sauvage" was released, Zenith de Paris, on the 13th of May. Incredible. Yeah, it's not yet, but... You're going to put it in fast. Well, if you're not in your huge tour throughout all of France, for the "Sapace" show, so there, in March, you're going to keep going, I think, in March, Nancy, Besançon, Namur, and 5 Olympias in January 2024, not bad, they're not yet complete. No, it's the Triannons in June, they're not yet complete. What a flex, what a flex. And the movie too, on the 12th of April, in a movie called "Les complices" with François Damien and William Neckbill. Well, the episode was recorded at FGO Barbara, which we thank for their welcome, and it's recorded and made by Schkid. Don't hesitate to subscribe to the ABCDR on the platforms, and see you soon for a next episode.