{"id":507731,"date":"2020-11-23T00:00:00","date_gmt":"1970-01-01T00:00:00","guid":{"rendered":"https:\/\/numero.com\/non-classifiee-2\/christine-and-the-queens-i-experienced-sexism-in-its-purist-state-2\/"},"modified":"2020-11-23T00:00:00","modified_gmt":"1970-01-01T00:00:00","slug":"christine-and-the-queens-i-experienced-sexism-in-its-purist-state-2","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/non-classifiee-2\/christine-and-the-queens-i-experienced-sexism-in-its-purist-state-2\/","title":{"rendered":"Christine and the Queens: \u201cI experienced sexism in its purist state\u201d"},"content":{"rendered":"\n
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Veste en cuir et bottes, PATRYCJA PAGAS. Boucles d\u2019oreilles, Y\/PROJECT.<\/figcaption>\n <\/figure>\n \n \n
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Veste en cuir et bottes, PATRYCJA PAGAS. Boucles d\u2019oreilles, Y\/PROJECT.<\/figcaption>\n <\/figure>\n \n

Num\u00e9ro: You\u2019ve made a surprise comeback this year with the six- track EP La vita nuova<\/i>, for which you also produced a short accompanying film that was shot in the Palais Garnier. What does this \u201cnew life\u201d consist in for you?<\/strong><\/p>\r\n\r\n

Christine and The Queens:<\/strong> The song People, I\u2019ve Been Sad <\/i>set off a new cycle of writing for me. It hit me like a cannonball when my life was in disarray because of the loss of someone close and a complicated love affair, at a time when every night I had to go on stage to defend my new album, which was carnal, powerful, sizzling and in complete dissonance with everything I was going through. I felt the need to start a new, more introspective, chapter. Going beyond my wounds required a return to desire and to sociability. The solution was the club. And that\u2019s what\u2019s behind the song La vita nuova <\/i>and the finale of the video: the opera is literally transformed into a club. The title comes from Dante\u2019s poem La vita nuova<\/i>, in which the enamoured author has to face the death of a loved one. Dante expresses the imperious need for poetry \u2013 as light \u2013 after a loss. It\u2019s the triumph of poetry over death, for love.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\r\n

This new artistic cycle comes in the wake of a second album that was hailed in the UK and the US but received a cold welcome from certain French critics…<\/strong><\/p>\r\n\r\n

I\u2019ve had a rough time in France, and I\u2019ve suffered a lot as a result. I had the feeling of wanting to say some- thing and not being understood. To be honest, after the massive suc- cess of the first album, I knew the second would be difficult. Not where the writing was concerned \u2013 on the contrary, success had filled me with hope and strength. But I feared more than anything being buried alive in Chaleur humaine <\/i>\u2013 in a second Chaleur humaine<\/i>, and then a third… As an artist I need to be afraid some- times, to step out of my comfort zone. So I imagined the sacrilege and carried it out deliberately. The second album was an act of liberation. Being an artist, whether a successful one or not, is always a way of evolving into something else. On the second album, I crossed out my name: Christine and the Queens be- came Chris, which allowed me to develop a lot of things that were present in the first album but which people hadn\u2019t heard. I developed my femininity for example. By cutting my hair! [Laughs.] All of a sudden, because I had short hair, everyone could hear what I was saying from the beginning!<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\r\n

What type of femininity were you defending with Chris?<\/strong>
\r\nGiven Chris\u2019s BDSM penchants and homoerotic codes, I\u2019m playing the part of the macho: \u201cGet outta here, you\u2019re in the way!\u201d I had a lot of discussions at the time with journalists about desire and the female body. I was very surprised by their conservatism. The reaction to Chris was a textbook case \u2013 the whole feminist bingo was ticked! I think that at the time my desire to sexualize myself while avoiding the male gaze, which is to say deconstructing the dominant gaze, was not understood. The male gaze causes hurt and is only now starting to be deconstructed. I\u2019m thinking of the work of certain filmmakers, among them C\u00e9line Sciamma. Deconstructing means bringing your personality back to yourself and seizing power. Artists like Madonna did it long before me by subverting the male gaze and bringing back their own subjectivity: her conical breasts were the expression of an aggressive super-femininity. The male gaze is a very invasive construction that has inundated all of pop culture. But the second al- bum reminded me that you can get a message across with a haircut. True pop personalities are creatures of theatre and subversion, people like Madonna or Lady Gaga. When you start to think of yourself as a creature who exists in a certain theatricality, the possibilities become infinite. And once you\u2019ve started to choose, you can change your mind. A pop star is somebody who changes her mind all the time so as to be in tune with her music.<\/p>\r\n\r\n

 <\/p>\r\n

Num\u00e9ro: You\u2019ve made a surprise comeback this year with the six- track EP La vita nuova<\/i>, for which you also produced a short accompanying film that was shot in the Palais Garnier. What does this \u201cnew life\u201d consist in for you?<\/strong><\/p>\r\n\r\n

Christine and The Queens:<\/strong> The song People, I\u2019ve Been Sad <\/i>set off a new cycle of writing for me. It hit me like a cannonball when my life was in disarray because of the loss of someone close and a complicated love affair, at a time when every night I had to go on stage to defend my new album, which was carnal, powerful, sizzling and in complete dissonance with everything I was going through. I felt the need to start a new, more introspective, chapter. Going beyond my wounds required a return to desire and to sociability. The solution was the club. And that\u2019s what\u2019s behind the song La vita nuova <\/i>and the finale of the video: the opera is literally transformed into a club. The title comes from Dante\u2019s poem La vita nuova<\/i>, in which the enamoured author has to face the death of a loved one. Dante expresses the imperious need for poetry \u2013 as light \u2013 after a loss. It\u2019s the triumph of poetry over death, for love.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\r\n

This new artistic cycle comes in the wake of a second album that was hailed in the UK and the US but received a cold welcome from certain French critics…<\/strong><\/p>\r\n\r\n

I\u2019ve had a rough time in France, and I\u2019ve suffered a lot as a result. I had the feeling of wanting to say some- thing and not being understood. To be honest, after the massive suc- cess of the first album, I knew the second would be difficult. Not where the writing was concerned \u2013 on the contrary, success had filled me with hope and strength. But I feared more than anything being buried alive in Chaleur humaine <\/i>\u2013 in a second Chaleur humaine<\/i>, and then a third… As an artist I need to be afraid some- times, to step out of my comfort zone. So I imagined the sacrilege and carried it out deliberately. The second album was an act of liberation. Being an artist, whether a successful one or not, is always a way of evolving into something else. On the second album, I crossed out my name: Christine and the Queens be- came Chris, which allowed me to develop a lot of things that were present in the first album but which people hadn\u2019t heard. I developed my femininity for example. By cutting my hair! [Laughs.] All of a sudden, because I had short hair, everyone could hear what I was saying from the beginning!<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\r\n

What type of femininity were you defending with Chris?<\/strong>
\r\nGiven Chris\u2019s BDSM penchants and homoerotic codes, I\u2019m playing the part of the macho: \u201cGet outta here, you\u2019re in the way!\u201d I had a lot of discussions at the time with journalists about desire and the female body. I was very surprised by their conservatism. The reaction to Chris was a textbook case \u2013 the whole feminist bingo was ticked! I think that at the time my desire to sexualize myself while avoiding the male gaze, which is to say deconstructing the dominant gaze, was not understood. The male gaze causes hurt and is only now starting to be deconstructed. I\u2019m thinking of the work of certain filmmakers, among them C\u00e9line Sciamma. Deconstructing means bringing your personality back to yourself and seizing power. Artists like Madonna did it long before me by subverting the male gaze and bringing back their own subjectivity: her conical breasts were the expression of an aggressive super-femininity. The male gaze is a very invasive construction that has inundated all of pop culture. But the second al- bum reminded me that you can get a message across with a haircut. True pop personalities are creatures of theatre and subversion, people like Madonna or Lady Gaga. When you start to think of yourself as a creature who exists in a certain theatricality, the possibilities become infinite. And once you\u2019ve started to choose, you can change your mind. A pop star is somebody who changes her mind all the time so as to be in tune with her music.<\/p>\r\n\r\n

 <\/p>\r\n\n

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Robe manteau en cuir, FENDI. Boucle d\u2019oreille, SAINT LAURENT PAR ANTHONY VACCARELLO.<\/figcaption>\n <\/figure>\n \n \n
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Robe manteau en cuir, FENDI. Boucle d\u2019oreille, SAINT LAURENT PAR ANTHONY VACCARELLO.<\/figcaption>\n <\/figure>\n \n

How has this game of identities expressed itself in La vita nuova<\/i>? <\/strong><\/p>\r\n\r\n

With La vita nuova<\/i>, I\u2019ve initiated a different idea around a true fluidity. I exist in the film in multiple forms. I often talk about Bowie, because to my eyes he embodies this capacity. Defining your gender is of no interest anymore. Queerness is better under- stood in the Anglo world, which has long been confronted with personalties who construct themselves as creatures that are outside gender binarity. I\u2019m moving into spaces of fluidity and liberty. In the video of La vita nuova<\/i>, I allowed myself to wear a dress \u2013 something I\u2019d never done before. And then I appear in a suit with epaulettes. Nothing is rigid. It\u2019s also about going back to the idea of theatre \u2013 theatre which saves my life and allows me to exist. Theatre, like the club, is the solution. At the Palais Garnier, I set down my suit- cases once more in the theatre, and there I stay.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\r\n

Is it easier today to achieve this fluidity of gender and theatricality?<\/strong><\/p>\r\n\r\n

When you want to exist in nuance and hesitation, your life becomes a combat. On every level, even the tiniest. When you want to define your music, for example. People have never been able to stand the fact that I don\u2019t reply clearly to the question: \u201cWhat is your music?\u201d I\u2019ve no idea! Pop?! \u201cBut what sort of pop?\u201d Hybrid pop?! \u201cSo French pop?\u201d Always this damn need to classify! The indeterminate opens up possibilities that frighten people. Not re- plying is an act of resistance. But I accept that each moment of creation is a confrontation with what I want to become. The liberating gesture must constantly be repeated.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\r\n

How did your sensibility towards questions of gender and identity develop over time?<\/strong>
\r\nI was lucky enough to inherit a very strong cultural legacy. Both my par- ents are teachers. My father taught English literature and worked a lot on gender studies. We had copies of Judith Butler in the house [the author, among others, of Gender Trouble<\/i>, which offers a new definition of gender as performance]. At 15 I\u2019d read Butler, who gave voice to what I already felt. Very young I wanted to become an author. And very young I had the impression that in order to do that you had to be a man. My fantasies of becoming a man were born! People still always ask me if I write my songs myself. In the collective subconscious, a woman can only be a performer or a muse, which is to say a figure given life by the voice of a man.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n

How has this game of identities expressed itself in La vita nuova<\/i>? <\/strong><\/p>\r\n\r\n

With La vita nuova<\/i>, I\u2019ve initiated a different idea around a true fluidity. I exist in the film in multiple forms. I often talk about Bowie, because to my eyes he embodies this capacity. Defining your gender is of no interest anymore. Queerness is better under- stood in the Anglo world, which has long been confronted with personalties who construct themselves as creatures that are outside gender binarity. I\u2019m moving into spaces of fluidity and liberty. In the video of La vita nuova<\/i>, I allowed myself to wear a dress \u2013 something I\u2019d never done before. And then I appear in a suit with epaulettes. Nothing is rigid. It\u2019s also about going back to the idea of theatre \u2013 theatre which saves my life and allows me to exist. Theatre, like the club, is the solution. At the Palais Garnier, I set down my suit- cases once more in the theatre, and there I stay.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\r\n

Is it easier today to achieve this fluidity of gender and theatricality?<\/strong><\/p>\r\n\r\n

When you want to exist in nuance and hesitation, your life becomes a combat. On every level, even the tiniest. When you want to define your music, for example. People have never been able to stand the fact that I don\u2019t reply clearly to the question: \u201cWhat is your music?\u201d I\u2019ve no idea! Pop?! \u201cBut what sort of pop?\u201d Hybrid pop?! \u201cSo French pop?\u201d Always this damn need to classify! The indeterminate opens up possibilities that frighten people. Not re- plying is an act of resistance. But I accept that each moment of creation is a confrontation with what I want to become. The liberating gesture must constantly be repeated.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\r\n

How did your sensibility towards questions of gender and identity develop over time?<\/strong>
\r\nI was lucky enough to inherit a very strong cultural legacy. Both my par- ents are teachers. My father taught English literature and worked a lot on gender studies. We had copies of Judith Butler in the house [the author, among others, of Gender Trouble<\/i>, which offers a new definition of gender as performance]. At 15 I\u2019d read Butler, who gave voice to what I already felt. Very young I wanted to become an author. And very young I had the impression that in order to do that you had to be a man. My fantasies of becoming a man were born! People still always ask me if I write my songs myself. In the collective subconscious, a woman can only be a performer or a muse, which is to say a figure given life by the voice of a man.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\n

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Robe manteau en cuir, FENDI. Boucle d\u2019oreille, SAINT LAURENT PAR ANTHONY VACCARELLO.<\/figcaption>\n <\/figure>\n \n \n
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Robe manteau en cuir, FENDI. Boucle d\u2019oreille, SAINT LAURENT PAR ANTHONY VACCARELLO.<\/figcaption>\n <\/figure>\n \n

Did you face sexism when you were young?<\/b>
\r\nI experienced sexism in its purist state while I was studying theatre. When I was 18 or 19, I was refused a writing grant, although three boys had already obtained it. No one was able to tell me why. When I was younger I was so angry, angry to be a woman. Because I knew it was going to be more complicated for me. In the wake of the misogyny I experienced at drama school, I came to the music business with greater resolve. I signed up with a record label that I knew would respect my work as an author and producer.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

You often cite Ren\u00e9 Char\u2019s Fureur et Myst\u00e8re<\/i>, whose poetry oscillates between furious passion and a more contemplative and mysterious life. Is this ambivalence part of your own life?<\/strong><\/p>\r\n\r\n

It has structured my life. I made a very clear divide between the stage and real life. I often used to say to myself: \u201cOn stage I coincide with the world, I\u2019m present to myself… And off stage it\u2019s a disaster! The Spider- Man\/Peter Parker syndrome.\u201d As a child I was very alone. I\u2019ve always felt myself in slight dissonance with the world. It\u2019s often the case when you write. Writing is cruel. The writer is a thief. People in my life may have the impression that what they go through with me is not only some- thing they go through with me. Lorde put it very well in one of her songs: \u201cThis is what happens when you kiss a writer in the dark.\u201d But today I own my being a thief of feelings.<\/p>\r\n

Did you face sexism when you were young?<\/b>
\r\nI experienced sexism in its purist state while I was studying theatre. When I was 18 or 19, I was refused a writing grant, although three boys had already obtained it. No one was able to tell me why. When I was younger I was so angry, angry to be a woman. Because I knew it was going to be more complicated for me. In the wake of the misogyny I experienced at drama school, I came to the music business with greater resolve. I signed up with a record label that I knew would respect my work as an author and producer.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

You often cite Ren\u00e9 Char\u2019s Fureur et Myst\u00e8re<\/i>, whose poetry oscillates between furious passion and a more contemplative and mysterious life. Is this ambivalence part of your own life?<\/strong><\/p>\r\n\r\n

It has structured my life. I made a very clear divide between the stage and real life. I often used to say to myself: \u201cOn stage I coincide with the world, I\u2019m present to myself… And off stage it\u2019s a disaster! The Spider- Man\/Peter Parker syndrome.\u201d As a child I was very alone. I\u2019ve always felt myself in slight dissonance with the world. It\u2019s often the case when you write. Writing is cruel. The writer is a thief. People in my life may have the impression that what they go through with me is not only some- thing they go through with me. Lorde put it very well in one of her songs: \u201cThis is what happens when you kiss a writer in the dark.\u201d But today I own my being a thief of feelings.<\/p>\r\n\n

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Veste en cuir, MUGLER. Bagues et bracelet, PANCONESI. <\/figcaption>\n <\/figure>\n \n \n
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Veste en cuir, MUGLER. Bagues et bracelet, PANCONESI. <\/figcaption>\n <\/figure>\n \n

Part of the identity of Christine and the Queens lies in the intensity of the body, and in dance. Which choreographers have influenced you?<\/strong><\/p>\r\n\r\n

Pina Bausch changed my life. I saw her for the first time when I was 18, and I cried my heart out. I discovered that dance is a truly emotional language. It\u2019s not so much the beauty of the movement that counts as the precision. This ability to tell all the body\u2019s tensions and memories. I studied classical dance, but my cou-de-pied <\/i>wasn\u2019t good enough to dance on points. [Laughs.] I took lessons, but I mostly danced at home, all the time. Later on it was difficult to find people in the pop business who understood my approach. Far too often dance as entertainment is just padding. This standard way of showing off the singer makes me want to die of bore- dom. For my tour, I tried to find strong personalities, dancers who could threaten me in my leadership position. Dance is also about creating a body for yourself. I wanted to create an ambivalent body for my- self. That\u2019s why I wanted to work with Marion Motin. I\u2019d alreday spot- ted her work on blogs, before she worked with Stromae. Her vocabulary is very androgynous. She is gracious and powerful. With Marion I could quote both Michael Jackson and Pina Bausch.<\/p>\r\n

Part of the identity of Christine and the Queens lies in the intensity of the body, and in dance. Which choreographers have influenced you?<\/strong><\/p>\r\n\r\n

Pina Bausch changed my life. I saw her for the first time when I was 18, and I cried my heart out. I discovered that dance is a truly emotional language. It\u2019s not so much the beauty of the movement that counts as the precision. This ability to tell all the body\u2019s tensions and memories. I studied classical dance, but my cou-de-pied <\/i>wasn\u2019t good enough to dance on points. [Laughs.] I took lessons, but I mostly danced at home, all the time. Later on it was difficult to find people in the pop business who understood my approach. Far too often dance as entertainment is just padding. This standard way of showing off the singer makes me want to die of bore- dom. For my tour, I tried to find strong personalities, dancers who could threaten me in my leadership position. Dance is also about creating a body for yourself. I wanted to create an ambivalent body for my- self. That\u2019s why I wanted to work with Marion Motin. I\u2019d alreday spot- ted her work on blogs, before she worked with Stromae. Her vocabulary is very androgynous. She is gracious and powerful. With Marion I could quote both Michael Jackson and Pina Bausch.<\/p>\r\n\n

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Haut, jupe et cagoule en m\u00e9tal, PACO RABANNE. Bottes, PATRYCJA PAGAS.<\/figcaption>\n <\/figure>\n \n \n
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Haut, jupe et cagoule en m\u00e9tal, PACO RABANNE. Bottes, PATRYCJA PAGAS.<\/figcaption>\n <\/figure>\n \n \n
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Soutien-gorge, SAINT LAURENT PAR ANTHONY VACCARELLO. Pantalon en cuir, Y\/PROJECT.<\/figcaption>\n <\/figure>\n \n \n
\n
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Soutien-gorge, SAINT LAURENT PAR ANTHONY VACCARELLO. Pantalon en cuir, Y\/PROJECT.<\/figcaption>\n <\/figure>\n \n \n
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Bustier drap\u00e9 en cuir, BALMAIN<\/figcaption>\n <\/figure>\n \n \n
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Bustier drap\u00e9 en cuir, BALMAIN<\/figcaption>\n <\/figure>\n \n

For the video of La vita nuova <\/i>you worked with the choreographer Ryan Heffington…<\/strong><\/p>\r\n\r\n


\r\nRyan\u2019s dance is very cathartic, like a pure shamanic ceremony. Faces grimace, tongues stick out. I\u2019ve always adored his work, but I needed to find a suitable project. La vita nuova<\/i>, with its baroque side, seemed an obvious choice. He was only in Paris for five days. We learned the choreography in two days. The shoot was frenetic, crazy. The faces I make on People, I\u2019ve Been Sad <\/i>were out of my control. It wasn\u2019t pretty \u2013 but in a good sense! I like the idea of resisting in front of the camera and not being in a permanent state of seduction. Ryan writes for faces. The face is always there with the choreographers who want to tell everything. Like Pina Bausch. Whereas in pop choreographies, you always have to smile. And that just gets me down.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\r\n

Christine and the Queens, La vita nuova <\/i>(Because Music), out now.<\/strong><\/p>\r\n\r\n

 <\/p>\r\n

For the video of La vita nuova <\/i>you worked with the choreographer Ryan Heffington…<\/strong><\/p>\r\n\r\n


\r\nRyan\u2019s dance is very cathartic, like a pure shamanic ceremony. Faces grimace, tongues stick out. I\u2019ve always adored his work, but I needed to find a suitable project. La vita nuova<\/i>, with its baroque side, seemed an obvious choice. He was only in Paris for five days. We learned the choreography in two days. The shoot was frenetic, crazy. The faces I make on People, I\u2019ve Been Sad <\/i>were out of my control. It wasn\u2019t pretty \u2013 but in a good sense! I like the idea of resisting in front of the camera and not being in a permanent state of seduction. Ryan writes for faces. The face is always there with the choreographers who want to tell everything. Like Pina Bausch. Whereas in pop choreographies, you always have to smile. And that just gets me down.<\/p>\r\n\r\n

 <\/p>\r\n\r\n

 <\/p>\r\n\r\n

Christine and the Queens, La vita nuova <\/i>(Because Music), out now.<\/strong><\/p>\r\n\r\n

 <\/p>\r\n\n

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Robe en organza de soie, PATRYCJA PAGAS. Chaussures, Y\/PROJECT. Pi\u00e8ce en latex de l\u2019artiste Stef Van Looveren.<\/figcaption>\n <\/figure>\n \n \n
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Bustier et jupe en coton et organza brod\u00e9s d\u2019or, DI PETSA. Bijoux, MUGLER.<\/figcaption>\n <\/figure>\n \n \n
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Haut en latex, KJELL DE MEERSMAN. Bustier en corde, SHAWNA WU. R\u00e9alisation : Natacha Voranger. Coiffure : Paolo Ferreira chez Calliste Agency. Maquillage : Karin Westerlund chez Artlist Paris. Manucure : Huberte C\u00e9sarion chez Marie-France Thavonekham Agency. Set design : C\u00e9cile di Giovanni. Assistante r\u00e9alisation : Ad\u00e8le Berson. Num\u00e9rique : Brice Dossin chez Dope Paris. Production : Berlin Group. Remerciements \u00e0 Philippe Saint-Gilles.<\/figcaption>\n <\/figure>\n \n \n
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Haut en latex, KJELL DE MEERSMAN. Bustier en corde, SHAWNA WU. R\u00e9alisation : Natacha Voranger. Coiffure : Paolo Ferreira chez Calliste Agency. Maquillage : Karin Westerlund chez Artlist Paris. Manucure : Huberte C\u00e9sarion chez Marie-France Thavonekham Agency. Set design : C\u00e9cile di Giovanni. Assistante r\u00e9alisation : Ad\u00e8le Berson. Num\u00e9rique : Brice Dossin chez Dope Paris. Production : Berlin Group. Remerciements \u00e0 Philippe Saint-Gilles.<\/figcaption>\n <\/figure>\n \n ","protected":false},"excerpt":{"rendered":"

Num\u00e9ro: You\u2019ve made a surprise comeback this year with the six- track EP La vita […]<\/p>\n

Read More… from Christine and the Queens: \u201cI experienced sexism in its purist state\u201d<\/span><\/a><\/p>\n","protected":false},"author":0,"featured_media":507689,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[73],"tags":[],"class_list":["post-507731","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-non-classifiee-2"],"acf":[],"yoast_head":"\nInterview with Christine and the Queens:<\/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\/christine-and-the-queens-i-experienced-sexism-in-its-purist-state-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Interview with 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