{"id":507493,"date":"2020-12-09T00:00:00","date_gmt":"1970-01-01T00:00:00","guid":{"rendered":"https:\/\/numero.com\/non-classifiee-2\/interview-with-lous-and-the-yakuza-i-talk-about-rape-prostitution-loneliness-colonialism\/"},"modified":"2020-12-09T00:00:00","modified_gmt":"1970-01-01T00:00:00","slug":"interview-with-lous-and-the-yakuza-i-talk-about-rape-prostitution-loneliness-colonialism","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/non-classifiee-2\/interview-with-lous-and-the-yakuza-i-talk-about-rape-prostitution-loneliness-colonialism\/","title":{"rendered":"Interview with Lous and the Yakuza : “I talk about rape, prostitution, loneliness, colonialism.”"},"content":{"rendered":"\n
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Veste en taffetas de soie rebrod\u00e9, Louis Vuitton. Boucles d\u2019oreilles, Charlotte Chesnais, ACNE Studios. Bagues, Louis Vuitton et personnelles.<\/figcaption>\n <\/figure>\n \n <\/div>\n \n
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Veste en taffetas de soie rebrod\u00e9, Louis Vuitton. Boucles d\u2019oreilles, Charlotte Chesnais, ACNE Studios. Bagues, Louis Vuitton et personnelles.<\/figcaption>\n <\/figure>\n \n <\/div>\n \n
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Veste en taffetas de soie rebrod\u00e9 et pantalon en laine, Louis Vuitton. Boucles d\u2019oreilles, Charlotte Chesnais, ACNE Studios. Bagues, Louis Vuitton et personnelles.<\/figcaption>\n <\/figure>\n \n <\/div>\n \n
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Veste en taffetas de soie rebrod\u00e9 et pantalon en laine, Louis Vuitton. Boucles d\u2019oreilles, Charlotte Chesnais, ACNE Studios. Bagues, Louis Vuitton et personnelles.<\/figcaption>\n <\/figure>\n \n <\/div>\n \n
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Robe \u00e0 imprim\u00e9 floral en tulle, 4 Moncler Simone Rocha. Boucles d\u2019oreilles, Panconesi. Bagues, Chlo\u00e9, Panconesi et personnelles<\/figcaption>\n <\/figure>\n \n <\/div>\n \n
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Robe \u00e0 imprim\u00e9 floral en tulle, 4 Moncler Simone Rocha. Boucles d\u2019oreilles, Panconesi. Bagues, Chlo\u00e9, Panconesi et personnelles<\/figcaption>\n <\/figure>\n \n <\/div>\n \n
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Bagues, Chlo\u00e9 (\u00e0 droite), Panconesi (\u00e0 gauche).<\/figcaption>\n <\/figure>\n \n <\/div>\n \n
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Bagues, Chlo\u00e9 (\u00e0 droite), Panconesi (\u00e0 gauche).<\/figcaption>\n <\/figure>\n \n <\/div>\n \n
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Haut et pantalon en Lurex Stretch, Mugler. Boucles d\u2019oreilles, Charlotte Chesnais.<\/figcaption>\n <\/figure>\n \n <\/div>\n \n
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Haut et pantalon en Lurex Stretch, Mugler. Boucles d\u2019oreilles, Charlotte Chesnais.<\/figcaption>\n <\/figure>\n \n <\/div>\n \n
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Haut et pantalon en Lurex Stretch, Mugler. Boucles d\u2019oreilles, Charlotte Chesnais.<\/figcaption>\n <\/figure>\n \n <\/div>\n \n
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Haut et pantalon en Lurex Stretch, Mugler. Boucles d\u2019oreilles, Charlotte Chesnais.<\/figcaption>\n <\/figure>\n \n <\/div>\n \n
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Haut en Lurex Stretch, Mugler. Boucle d\u2019oreille, Charlotte Chesnais.<\/figcaption>\n <\/figure>\n \n <\/div>\n \n
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Haut en Lurex Stretch, Mugler. Boucle d\u2019oreille, Charlotte Chesnais.<\/figcaption>\n <\/figure>\n \n <\/div>\n \n
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Robe en coton et soie, et collier, Ann Demeulemeester. Boucle d\u2019oreille, ACNE Studios.<\/figcaption>\n <\/figure>\n \n <\/div>\n \n
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Haut \u00e0 cagoule en pastilles de cuir et \u00e9charpe \u00e0 franges en m\u00e9tal, Paco Rabanne.<\/figcaption>\n <\/figure>\n \n <\/div>\n \n
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Coiffure : Nabil Harlow chez Calliste Agency. Maquillage : Angloma avec Sisley. Manucure : B\u00e9atrice Eni avec Kure Bazaar chez Agence Saint Germain. Assistant r\u00e9alisation : Federico Toscani. Num\u00e9rique : Dope. Production : Afif Baroudi chez Production Berlin Group.<\/figcaption>\n <\/figure>\n \n <\/div>\n \n
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Coiffure : Nabil Harlow chez Calliste Agency. Maquillage : Angloma avec Sisley. Manucure : B\u00e9atrice Eni avec Kure Bazaar chez Agence Saint Germain. Assistant r\u00e9alisation : Federico Toscani. Num\u00e9rique : Dope. Production : Afif Baroudi chez Production Berlin Group.<\/figcaption>\n <\/figure>\n \n <\/div>\n <\/div>\n

Num\u00e9ro: Your first album, Gore,<\/em> came out in October this year, right in the middle of the health crisis. Were you worried that world events would harm the beginning of your career?<\/strong><\/p>\r\n\r\n

Lous and The Yakuza: No, because that\u2019s life. That\u2019s how things were meant to happen. I believe very strongly in god, so I also believe in destiny. I tell myself that it was written in the stars. It\u2019s an extra obstacle, but it doesn\u2019t matter. What does matter is this pandemic, not my album coming out in the middle of it. In a way, I think it makes me tougher.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\r\n

Barely had you made your d\u00e9but than you were being listened to by millions on streaming and were honoured with an appearance on Jimmy Fallon\u2019s The Tonight Show in the US. How do you feel about this planetary success?<\/strong><\/p>\r\n\r\n

Being on The Tonight Show was crazy! I was very surprised and honoured to be invited. What\u2019s more, the audience over there is truly interested in music, you don\u2019t have to shorten your performance for TV. But success is just a side effect of my dream, which was to become a singer. Fame doesn\u2019t really interest me. I like quiet, I like the countryside, even if I realize that my videos don\u2019t necessarily show that image of me…<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\r\n

It\u2019s true, you come across as very haughty and intimidating in your videos, but in real life you seem much more approachable.<\/strong><\/p>\r\n\r\n

I am a multitude of people. Perhaps later this afternoon I\u2019ll be wearing an orange wig, high heels and have drawings all over my face. I simply follow the course of my desires. In my videos it\u2019s my responsibility to give an excellent image of the Black woman. I believe I represent the excellence of the Black woman as my natural self, but unfortunately no one else is going to understand that. So I find myself obliged to find a way of showing a beauty that will more easily impress others.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\r\n

It\u2019s true that Lous and the Yakuza isn\u2019t just the music but also a very strong visual identity.<\/strong>
\r\nI must admit that I\u2019m a control freak, I want to decide everything that the audience sees of me \u2013 my nails, my hair, the lighting in my videos, the camera angles… I prepare everything in advance, absolutely everything. With, each time, a precise idea in my mind. A lot of artists have stopped making that kind of effort. As well as being complicated to listen to, their productions are complicated to watch.<\/p>\r\n

Num\u00e9ro: Your first album, Gore,<\/em> came out in October this year, right in the middle of the health crisis. Were you worried that world events would harm the beginning of your career?<\/strong><\/p>\r\n\r\n

Lous and The Yakuza: No, because that\u2019s life. That\u2019s how things were meant to happen. I believe very strongly in god, so I also believe in destiny. I tell myself that it was written in the stars. It\u2019s an extra obstacle, but it doesn\u2019t matter. What does matter is this pandemic, not my album coming out in the middle of it. In a way, I think it makes me tougher.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\r\n

Barely had you made your d\u00e9but than you were being listened to by millions on streaming and were honoured with an appearance on Jimmy Fallon\u2019s The Tonight Show in the US. How do you feel about this planetary success?<\/strong><\/p>\r\n\r\n

Being on The Tonight Show was crazy! I was very surprised and honoured to be invited. What\u2019s more, the audience over there is truly interested in music, you don\u2019t have to shorten your performance for TV. But success is just a side effect of my dream, which was to become a singer. Fame doesn\u2019t really interest me. I like quiet, I like the countryside, even if I realize that my videos don\u2019t necessarily show that image of me…<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\r\n

It\u2019s true, you come across as very haughty and intimidating in your videos, but in real life you seem much more approachable.<\/strong><\/p>\r\n\r\n

I am a multitude of people. Perhaps later this afternoon I\u2019ll be wearing an orange wig, high heels and have drawings all over my face. I simply follow the course of my desires. In my videos it\u2019s my responsibility to give an excellent image of the Black woman. I believe I represent the excellence of the Black woman as my natural self, but unfortunately no one else is going to understand that. So I find myself obliged to find a way of showing a beauty that will more easily impress others.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\r\n

It\u2019s true that Lous and the Yakuza isn\u2019t just the music but also a very strong visual identity.<\/strong>
\r\nI must admit that I\u2019m a control freak, I want to decide everything that the audience sees of me \u2013 my nails, my hair, the lighting in my videos, the camera angles… I prepare everything in advance, absolutely everything. With, each time, a precise idea in my mind. A lot of artists have stopped making that kind of effort. As well as being complicated to listen to, their productions are complicated to watch.<\/p>\r\n\n

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Veste en taffetas de soie rebrod\u00e9 et pantalon en laine, Louis Vuitton. Boucles d\u2019oreilles, Charlotte Chesnais, ACNE Studios. Bagues, Louis Vuitton et personnelles.<\/figcaption>\n <\/figure>\n \n \n
\n
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Veste en taffetas de soie rebrod\u00e9 et pantalon en laine, Louis Vuitton. Boucles d\u2019oreilles, Charlotte Chesnais, ACNE Studios. Bagues, Louis Vuitton et personnelles.<\/figcaption>\n <\/figure>\n \n

Who are the \u201cYakuzas\u201d in Lous and the Yakuza?<\/strong>
\r\nThe Yakuza are all the people who work with me in the wings, from my press attach\u00e9s and choreographers to my producers. All these people deserve the limelight. Crediting them is the first step towards not getting too big-headed. That\u2019s why they\u2019re mentioned in my stage name. I didn\u2019t want to forget that, without them, I wouldn\u2019t amount to much. I\u2019d be like a diamond in the rough in serious need of polishing.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\r\n

That\u2019s rather a lot of people in the team. Hasn\u2019t your inner control freak ever wanted to make a break for freedom?<\/strong><\/p>\r\n\r\n

I don\u2019t see myself at all in the clich\u00e9 of the artist fighting with the record label over their vision. I get along very well with mine [Columbia Records]. They took a chance and decided to believe in a young Black woman whose songs don\u2019t just talk about partying and forgetting your troubles. I talk about rape, prostitution, loneliness, colonialism. I didn\u2019t expect their trust, and the investment of energy and cash they\u2019re making to help me realize my ideas and vision is extraordinary.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\r\n

And yet you talk about solitude in the very first lines of the album.<\/strong><\/p>\r\n\r\n

Because I am alone, now perhaps more than before. I\u2019m travelling the whole time, every night in a hotel… The lifestyle the music business imposes on an artist has nothing to do with what I imagined. I guess I hadn\u2019t realized there would be all these ob- ligations. The theme of solitude recurs often in my work, even if that wasn\u2019t at all calculated on my part. The first track on the album, Dilemme,<\/em> is the one that explains who I am, that retraces my history. I wanted it to be the first track because it\u2019s my identity card, it allows the listener to know me better.<\/p>\r\n

Who are the \u201cYakuzas\u201d in Lous and the Yakuza?<\/strong>
\r\nThe Yakuza are all the people who work with me in the wings, from my press attach\u00e9s and choreographers to my producers. All these people deserve the limelight. Crediting them is the first step towards not getting too big-headed. That\u2019s why they\u2019re mentioned in my stage name. I didn\u2019t want to forget that, without them, I wouldn\u2019t amount to much. I\u2019d be like a diamond in the rough in serious need of polishing.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\r\n

That\u2019s rather a lot of people in the team. Hasn\u2019t your inner control freak ever wanted to make a break for freedom?<\/strong><\/p>\r\n\r\n

I don\u2019t see myself at all in the clich\u00e9 of the artist fighting with the record label over their vision. I get along very well with mine [Columbia Records]. They took a chance and decided to believe in a young Black woman whose songs don\u2019t just talk about partying and forgetting your troubles. I talk about rape, prostitution, loneliness, colonialism. I didn\u2019t expect their trust, and the investment of energy and cash they\u2019re making to help me realize my ideas and vision is extraordinary.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\r\n

And yet you talk about solitude in the very first lines of the album.<\/strong><\/p>\r\n\r\n

Because I am alone, now perhaps more than before. I\u2019m travelling the whole time, every night in a hotel… The lifestyle the music business imposes on an artist has nothing to do with what I imagined. I guess I hadn\u2019t realized there would be all these ob- ligations. The theme of solitude recurs often in my work, even if that wasn\u2019t at all calculated on my part. The first track on the album, Dilemme,<\/em> is the one that explains who I am, that retraces my history. I wanted it to be the first track because it\u2019s my identity card, it allows the listener to know me better.<\/p>\r\n\n

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Robe \u00e0 imprim\u00e9 floral en tulle, 4 Moncler Simone Rocha. Boucles d\u2019oreilles, Panconesi. Bagues, Chlo\u00e9, Panconesi et personnelles.<\/figcaption>\n <\/figure>\n \n \n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
Robe \u00e0 imprim\u00e9 floral en tulle, 4 Moncler Simone Rocha. Boucles d\u2019oreilles, Panconesi. Bagues, Chlo\u00e9, Panconesi et personnelles.<\/figcaption>\n <\/figure>\n \n

For this first album you worked with El Guincho, the producer who helped Rosal\u00eda achieve international fame. Was it you who approached him?<\/strong><\/p>\r\n\r\n

I\u2019d already composed half the album before I tried to meet him. For me, he was the producer who would be able to realize my vision. He sees everything before everyone else \u2013 I don\u2019t make any musical decisions without him. And we understood each other pretty quickly. I think that together we create music unlike any other. My team sometimes even has trouble getting us played on the radio because our sound doesn\u2019t fall into established classifications.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\r\n

The media and your fans tend to classify you as rapper, which you frequently deny.<\/strong>
\r\nPeople describe me their way, and to a certain extent I am what they think of me. If everyone agrees that I\u2019m a rapper, well I become a rapper. The public decides who I am, at least where nomenclature is concerned. I just try to be as authentic as possible. My music is a constant and infinite quest for truth, and that belongs to no particular genre and all of them at the same time.<\/p>\r\n

For this first album you worked with El Guincho, the producer who helped Rosal\u00eda achieve international fame. Was it you who approached him?<\/strong><\/p>\r\n\r\n

I\u2019d already composed half the album before I tried to meet him. For me, he was the producer who would be able to realize my vision. He sees everything before everyone else \u2013 I don\u2019t make any musical decisions without him. And we understood each other pretty quickly. I think that together we create music unlike any other. My team sometimes even has trouble getting us played on the radio because our sound doesn\u2019t fall into established classifications.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\r\n

The media and your fans tend to classify you as rapper, which you frequently deny.<\/strong>
\r\nPeople describe me their way, and to a certain extent I am what they think of me. If everyone agrees that I\u2019m a rapper, well I become a rapper. The public decides who I am, at least where nomenclature is concerned. I just try to be as authentic as possible. My music is a constant and infinite quest for truth, and that belongs to no particular genre and all of them at the same time.<\/p>\r\n\n

\n \"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
Bagues, Chlo\u00e9 (\u00e0 droite), Panconesi (\u00e0 gauche).<\/figcaption>\n <\/figure>\n \n \n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
Bagues, Chlo\u00e9 (\u00e0 droite), Panconesi (\u00e0 gauche).<\/figcaption>\n <\/figure>\n \n

On the subject of rap, Damso recently celebrated the release of his latest album, QALF \u2013 on which you feature \u2013 in Kinshasa. Would you be tempted to do something similar?<\/strong>
\r\nThat would be incredible! Damso did something I really admired: he brought his album out over there before releasing it in Europe to prove that Africa isn\u2019t perpetually behind. Putting on an event in the Congo that garners worldwide attention is pretty extraordinary \u2013 it\u2019s giving Africa the place it deserves, culturally. Africans are great influencers. Today, Afro-beat is everywhere, and people are falling over with admiration for African artists like Burna Boy or WizKid. But they\u2019d already launched their careers over a decade ago \u2013 I was listening to them back when I was 15.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n

On the subject of rap, Damso recently celebrated the release of his latest album, QALF \u2013 on which you feature \u2013 in Kinshasa. Would you be tempted to do something similar?<\/strong>
\r\nThat would be incredible! Damso did something I really admired: he brought his album out over there before releasing it in Europe to prove that Africa isn\u2019t perpetually behind. Putting on an event in the Congo that garners worldwide attention is pretty extraordinary \u2013 it\u2019s giving Africa the place it deserves, culturally. Africans are great influencers. Today, Afro-beat is everywhere, and people are falling over with admiration for African artists like Burna Boy or WizKid. But they\u2019d already launched their careers over a decade ago \u2013 I was listening to them back when I was 15.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\n

\n \"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
Haut et pantalon en Lurex Stretch, Mugler. Boucles d\u2019oreilles, Charlotte Chesnais.<\/figcaption>\n <\/figure>\n \n \n
\n
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Haut et pantalon en Lurex Stretch, Mugler. Boucles d\u2019oreilles, Charlotte Chesnais.<\/figcaption>\n <\/figure>\n \n

What place does the Congo have in your musical identity?<\/strong>
\r\nWe were talking about aesthetics earlier… Well I would say that the relationship to style is intense with us! People from the Congo try to make sure we\u2019re always styled, whatever the occasion \u2013 fashion is very important to us. For showing off, of course, but also because it\u2019s about identity: showing your clothes is about showing your power. And then there\u2019s dance. In the Congo, everyone dances from birth, it\u2019s what we live for. It\u2019s a huge manifestation of hope in our country, which has been at war since 1996. We can\u2019t think about war the whole time, we need to find escape outlets.<\/p>\r\n

What place does the Congo have in your musical identity?<\/strong>
\r\nWe were talking about aesthetics earlier… Well I would say that the relationship to style is intense with us! People from the Congo try to make sure we\u2019re always styled, whatever the occasion \u2013 fashion is very important to us. For showing off, of course, but also because it\u2019s about identity: showing your clothes is about showing your power. And then there\u2019s dance. In the Congo, everyone dances from birth, it\u2019s what we live for. It\u2019s a huge manifestation of hope in our country, which has been at war since 1996. We can\u2019t think about war the whole time, we need to find escape outlets.<\/p>\r\n\n

\n \"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
Haut et pantalon en Lurex Stretch, Mugler. Boucles d\u2019oreilles, Charlotte Chesnais.<\/figcaption>\n <\/figure>\n \n \n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
Haut et pantalon en Lurex Stretch, Mugler. Boucles d\u2019oreilles, Charlotte Chesnais.<\/figcaption>\n <\/figure>\n \n

Do you already have a follow-up to Gore in mind? Or can a young artist allow herself time?<\/strong>
\r\nI\u2019m going to start by releasing a few collaborations. When you decide you\u2019re looking for quality, you can take your time. Gore was written three years ago \u2013 that left me the time to calculate and organize everything. In music, it\u2019s all about strategy. If my first three singles were so different from each other, it\u2019s be- cause I wanted to set the tone for my career to come. I\u2019ve almost finished writing my second album, and it\u2019s absolutely nothing like the first. I think it\u2019s really going to disturb people. And it\u2019ll be like that my whole life through \u2013 I\u2019m too versatile, I\u2019m a mix of too many cultures and influences, I\u2019m in a state of constant experimentation. I hope people will never get used to my music!<\/p>\r\n\r\n

 <\/p>\r\n\r\n

Lous and the Yakuza, Gore<\/em> (Columbia Records), out now.<\/strong><\/p>\r\n

Do you already have a follow-up to Gore in mind? Or can a young artist allow herself time?<\/strong>
\r\nI\u2019m going to start by releasing a few collaborations. When you decide you\u2019re looking for quality, you can take your time. Gore was written three years ago \u2013 that left me the time to calculate and organize everything. In music, it\u2019s all about strategy. If my first three singles were so different from each other, it\u2019s be- cause I wanted to set the tone for my career to come. I\u2019ve almost finished writing my second album, and it\u2019s absolutely nothing like the first. I think it\u2019s really going to disturb people. And it\u2019ll be like that my whole life through \u2013 I\u2019m too versatile, I\u2019m a mix of too many cultures and influences, I\u2019m in a state of constant experimentation. I hope people will never get used to my music!<\/p>\r\n\r\n

 <\/p>\r\n\r\n

Lous and the Yakuza, Gore<\/em> (Columbia Records), out now.<\/strong><\/p>\r\n\n

\n \"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
Haut en Lurex Stretch, Mugler. Boucle d\u2019oreille, Charlotte Chesnais.<\/figcaption>\n <\/figure>\n \n \n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
Haut en Lurex Stretch, Mugler. Boucle d\u2019oreille, Charlotte Chesnais.<\/figcaption>\n <\/figure>\n \n \n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
Manteau en satin rebrod\u00e9 de sequins, JW Anderson. Bijoux, ACNE Studios.<\/figcaption>\n <\/figure>\n \n \n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
Manteau en satin rebrod\u00e9 de sequins, JW Anderson. Bijoux, ACNE Studios.<\/figcaption>\n <\/figure>\n \n \n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
Robe en coton et soie, et collier, Ann Demeulemeester. Boucle d\u2019oreille, ACNE Studios.<\/figcaption>\n <\/figure>\n \n \n
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\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
Robe en coton et soie, et collier, Ann Demeulemeester. Boucle d\u2019oreille, ACNE Studios.<\/figcaption>\n <\/figure>\n \n \n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
Haut \u00e0 cagoule en pastilles de cuir et \u00e9charpe \u00e0 franges en m\u00e9tal, Paco Rabanne.<\/figcaption>\n <\/figure>\n \n \n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
Haut \u00e0 cagoule en pastilles de cuir et \u00e9charpe \u00e0 franges en m\u00e9tal, Paco Rabanne.<\/figcaption>\n <\/figure>\n \n \n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
Manteau en satin rebrod\u00e9 de sequins, JW Anderson.<\/figcaption>\n <\/figure>\n \n \n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
Manteau en satin rebrod\u00e9 de sequins, JW Anderson.<\/figcaption>\n <\/figure>\n \n \n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
Coiffure : Nabil Harlow chez Calliste Agency. Maquillage : Angloma avec Sisley. Manucure : B\u00e9atrice Eni avec Kure Bazaar chez Agence Saint Germain. Assistant r\u00e9alisation : Federico Toscani. Num\u00e9rique : Dope. Production : Afif Baroudi chez Production Berlin Group.<\/figcaption>\n <\/figure>\n \n \n
\n
\"\"\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>\n
Coiffure : Nabil Harlow chez Calliste Agency. Maquillage : Angloma avec Sisley. Manucure : B\u00e9atrice Eni avec Kure Bazaar chez Agence Saint Germain. Assistant r\u00e9alisation : Federico Toscani. Num\u00e9rique : Dope. Production : Afif Baroudi chez Production Berlin Group.<\/figcaption>\n <\/figure>\n \n ","protected":false},"excerpt":{"rendered":"

Num\u00e9ro: Your first album, Gore, came out in October this year, right in the middle of […]<\/p>\n

Read More… from Interview with Lous and the Yakuza : “I talk about rape, prostitution, loneliness, colonialism.”<\/span><\/a><\/p>\n","protected":false},"author":0,"featured_media":507365,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[73],"tags":[],"class_list":["post-507493","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-non-classifiee-2"],"acf":[],"yoast_head":"\nGore: Interview with Lous and the Yakuza<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/numero.com\/en\/non-classifiee-2\/interview-with-lous-and-the-yakuza-i-talk-about-rape-prostitution-loneliness-colonialism\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta 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