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Quote by Emiko Jean

“I always loved that our hair was the same color. Inky. Black as night. And when we put our heads close together, you couldn't see where I began, and she ended. The colors are different now, but it doesn't matter. Noora and I are evergreen, a single note that will always resolve itself.”

Quote by Emiko Jean

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Tokyo Dreaming

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Emiko Jean

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“Why do you keep loving me, Birdie?” Birdie looked at her like she was really thinking about it. “I love you because you’re Leeda. I just… I don't know, I guess it’s too late to not love you. So I just accept you.” Leeda tried to harness what she wanted to say. It was hard to put it into words. “I can’t even imagine what kind of person you see when you look at me. I mean, I can't think of who it is you think you’re accepting.” Birdie put her hand on Leeda’s and crushed her fingers in her brave Birdie way. “Just you, Leeda. I just love you whoever you are.”

“Michael [Hutchence] is hands down one of the greatest frontmen in music. The style, the voice—all of it. Any way that I was ever influenced by him really comes down to small, pale imitations compared to the real thing. There is a fearlessness about him. Watching him at Wembley Stadium with 70,000 people, he looks as comfortable as if he were in his own living room.”

“En los ochenta, aún se escuchaban guitarras en las discotecas e incluso cuando sonaban esos niñatos de Hombres G, por más que arrugáramos la nariz con mohín despectivo, no podíamos dejar de corear que quiero comprarme un jersey a rayas. Entonces ()La música aún podía salvarnos. Fue justo antes de que se pusiera en marcha la trituradora de emociones, la mákina, la electrónica, el house, el trance, los miles de nombres para aludir a la victoria del frío.”

“Not long after that, the questions came: Why you? Drag had been around forever. Why had I been able to crack the code after so many false starts and almosts? But I knew they would never understand the delicate choreography I’d done to make it all work. I’d mastered the art of naughty-lite: two spoonfuls of Diana Ross, a pinch of Cher, a shake of Dolly Parton, all sealed with Walt Disney’s family-friendliness. Before, I had been blurry—confusing, a thing that only some people could understand. Finally, I had snapped into focus, just in time for the whole world to see. The eighties, with all its excess and opulence, had also been marred by darkness: the heaviness of crack cocaine, the AIDS epidemic, the crashes of S&Ls in the markets. There was a yearning for levity in the culture, the very same irreverence and sense of play that had animated me my whole life. A window opened. I stepped through it.”