Alanis Morissette -- Intimate and Interactive 2002

A huge thanks to MuchMusic for putting on such a great show!!!!

Place: The Roundhouse theatre, Vancouver, British Columbia, Canada.

Date/Time: Friday, March 1, 2002. 'Pre-game show' 8:00-9:00. Actual show: 9:00-10:30 p.m.

Host: MuchMusic VJ Namugenyi Kiwanuka

NOTE: A lot of what they say is rather thrown together, so a lot of times you have to read through the remnants of previous sentences and um's and things, so good luck trying to understand everything they say!!

Click Here to go to the bottom of the page with the MIDI control etc.

Live Performances:


[Opening Montage]
[Applause]

Namugenyi Kiwanuka: You are looking at the beautiful city of Vancouver, British Columbia. I'm Namugenyi Kiwanuka, and welcome to the Roundhouse! Tonight we're here to celebrate Alanis Morissette with her second "Intimate & Interactive" session here on MuchMusic. Alanis is going to be hanging out with us, plus she's gonna be performing new songs off her new album called "Under Rug Swept." We're going to get these guys [the audience] involved; we want you at home involved through Phone, Fax, and E-mail. She's sold forty million records, she's been awarded seven grammy's, and she's Canadian! Please welcome Alanis Morissette!

[Applause]

[Alanis performs
All I Really Want:]

[Male voice speaking through recording]
[Harmonica]
... stress you out?
My sweater is on backwards and inside out
And you say how-oo-ow-oo-ow appropriate
I don't wanna dissect everything today
I don't mean to pick you apart you see
But I ca-ee-aa-ee-a-an't help it
'nd there I go jumping before the gunshot has gone off
Slap me with a splintered ruler
And it would knock me to the floor if I wasn't there already
If only I could hunt the hunter, yeah

And all I really want, is some patience
A way to calm the angry voice, woah
And all I really want, is deliverance
Ah ha ee ah ee ah da, yi ee ee oh ho!

Do I wear you out?
You must wonder why I'm relentless and all strung out
I'm consumed by the chill of solitary
I'm like Estella
I like to reel it in and then spit 'em out
I'm frustrated by your apathy
And I am frightened by the corrupted ways of this land
If only I could meet the Maker
And I am fascinated by the spiritual man
I am humbled by his humble nature, yeah

And what I wouldn't give, to find a soulmate
Someone else to catch this drift, woah
And what I wouldn't give to meet a kindred
Ah ha ee ah ee ow ow, yi ee yi ee ooh!

Well enough about me, let's talk about you for a minute
Enough about you, let's talk about life for a while
The conflicts, the craziness and the sound of pretences
Falling all around . . . all a-rou-ee-i-ee-i-ee-i-ee-i-ee-i-ee-i-ee-ound

Why am I so petrified of silence?
Here can you handle this?
[Music stops, audience cheers]
Did you think about your bills, your ex, your deadlines
Or when ya think you're gonna die?
Or did you long for the next dis-trac-tion
And all I need now is intellectual intercourse
A soul to dig the hole much deeper
And I have no concept of time other than it is flying
If only I could kill the killer, yeah

And all I really want, is some peace man
A place to find a common grou-ah-ee-i-ound
And all I really want, is a wavelength
Ha ee ah ee ow ow, yi ee ah ee ooh!
All I really want, is some comfort
A way to get my hands untie-ie-ie-ied
And all I really want, is some justice . . .
Ah ha ee ah ee ah ah, yi ee ah ee ah ee ooh!

[Harmonica]

[Applause]

[Spoken:] Thank you very much, thank you!

[Alanis performs
21 Things I Want in a Lover:]

Do you derive joy when someone else succeeds?
Do you not play dirty when engaged in competition?
D'ya have a big intellectual capacity but know that it alone does not equate wisdom?
D'ya see everything as an illusion?
But enjoy it even though you are not of it?
Are you both masculine and feminine?
Politically aware?
And don't believe in capital punishment?

These are twenty-one things that I want in a lover
Not necessarily needs but qualities that I prefer

Do you derive joy from diving in and seeing that loving someone can actually feel like freedom?
Are you funny?
À la self-deprecating?
Like adventure?
And have many formèd opinions?

These are twenty-one things that I want in a lover
Not necessarily needs but qualities that I prefer
I guess that I can describe it since I have a choice in the matter
These are twenty-one things I choose to choose in a lover

I'm in no hurry I could wait forever
I'm in no rush 'cause I like being solo
There are no worries and certainly no pressure
In the meantime I'll live like there's no-o tomorrow

Are you uninhibited in bed?
More than three times a week?
Up for being experimental?
Are you athletic?
Are you thriving in a job that helps your brother?
Are you not addicted?

These are twenty-one things that I want in a lover
Not necessarily needs but qualities that I prefer
I figure I can describe it since I have a choice in the matter
These are twenty-one things I choose to choose in a lover
Are you curious and communicative?

[Applause]

[Spoken:] Thank you so much!

[Applause continues]

It's such a joy to be here, I can't even tell ya, it's so great! This is a song called "Narcissus"

[Alanis performs
Narcissus:]

Dear momma's boy I know you've had your butt licked by your mother
I know you've enjoyed all that attention from her
And every woman graced with your presence after
Dear narcissus boy I know you've never really apologized for anything
I know you've never really taken responsibility
I know you've never really listened to a woman

Dear me-show boy I know you're not really into conflict resolution
Or seeing both sides of every equation
Or having an uninterrupted conversation

And any talk of healthiness
And any talk of connectedness
And any talk of working at this
Leaves you running for the door

(Why why do I try to love you
Try to love you when you really don't want me to
Why why do I try to love you
Try to love you when you really don't want me to)

Dear popular boy, I know you're not really into conflict resolution
Or seeing both sides of every equation
Or having an uninterrupted conversation
Dear me-show boy, you've never been with someone who's dared to call you on it
I wonder how you'd be if someone were to call you on it
I wonder how you'd be if someone were to call you on it

And any talk of selflessness
And any talk of working at this
And any talk of being of service
Leaves you running for the door

(Why why do I try to help you
Try to help you when you really don't want me to
Why why do I try to help you
Try to help you when you really don't want me to)

You go back to the women who will dance the dance
You go ba-ee-ack to your friends who will lick your ass
You go back to ignoring all the rest of us and
You go ba-ee-ack to the centre of your universe

Dear popular boy I don't know why I still feel affected by you
I've never lasted very long with someone like you
I never did although I have to admit I wanted to
Dear popular boy you've never been with anyone who doesn't take your shit
You've never been with anyone who's dared to call you on it
I wonder how you'd be if someone were to call you on it

And any talk of willingness
And any talk of both feet in
And any talk of being of service
Leaves you running for the door

(Why why do I try to change you
Try to change you when you really don't want me to
Why why do I try to change you
Try to change you when you really don't want me to)

You go back to the women who will dance the dance
You go ba-ee-ack to your friends who will lick your ass
You go back to being so oblivious
You go ba-ee-ack to the centre of the universe

[Applause]

Nam: Whoo! Please give it up for Alanis Morissette! Welcome guys. Hi. How are you?! Now, thank you so much for being here!

Alanis: Thank you for having me

Nam: Alanis has had a crazy week. You know how crazy a week you've had, so thank you so much for being here.

Alanis: Thank you for having us.

[Applause]

Nam: Yeah, show her some love because she's here!

[Applause]

Nam: We're actually, we're gonna take a short break. After the break we're gonna chat with you and we'll also get these guys involved as the "Intimate & Interactive" with Alanis Morissette continues right here on MuchMusic.

[Applause]

[Cut to commercial with display of numbers and e-mail]

[Return from commercial to applause]

Nam: Welcome back to the Alanis "Intimate & Interactive" right here on MuchMusic. Everyone here is happy, and it's really loud! Alanis, can you hear me?

Alanis: Yes, I can hear you

Nam: Wow. Thank you so much for being here again. Now when you look over, when you look over your career, you've sold forty million records, been awarded seven Grammy Awards, this current album "Under Rug Swept" shipped platinum in two days... [Applause] ... Two days!!! Wow! And recently, uh, the friends of United Nations awarded you the award for promoting global tolerance around the world. You're an actor, an artist, a businesswoman, an athlete... when you look at your résumé, you are one successful young lady. Isn't she? [Applause] How do you define success?

Alanis: Success is when I'm just, um, being as much as I possibly could be, but in my own definition of that. So, you know, I always love stretching myself and growing at whatever rate feels good and being alive. I just feel like life is so short, I just want to make the most of it, you know, as quickly as I possibly can.

Nam: And it's a lot of things that you've done. Now one thing that you've done that's new this time around is "Under Rug Swept," the first time that you wrote and produced the album by yourself. What did it mean for you to do this at this point, at your point, at this point in your career?

Alanis: I think it was just a natural next step in my evolution really. Um, I produced with people before and I've been produced and I produced a song for the "Dogma" soundtrack on my own in London at Abbey Road, so that was a whistle-wetter of sorts. So, um, so, I wanted to try it out just out of the sake of just, for the sake really of seeing what it would sound like and be a facilitator. I love creating an environment where people can do what they do best in it; and if they want to look to me for guidance, great. And if they don't, they can just do what they, you know, they do best.

Nam: Was this, though, um, a way to reaffirm control on your career right now? Because at the beginning of your career, you always had people involved in what you were doing. But this time around, to do it, is this the way to reaffirm control over yourself?

Alanis: Well, I always felt in control over my own choices which is ultimately the only thing I can be in control over as, as I see it. So I feel like I've been in control my whole life in that sense, um, but being at the helm of certain things, I don't think I was quite ready for it yet and I didn't want to do something just for the sake of doing it for my own ego's sake, rather than just doing it 'cause I felt like I was ready. So as soon as I felt ready, I was, y'know, ready to dive in.

Nam: Well it has to say a lot for um a woman to be able to go this in this time and age to write your whole album, to produce it. It must say a lot though, right?

Alanis: I don't know what it says quite yet [Laughs] but it says something. It says I was ready to produce and write a record at least.

Nam: Actually we're going to talk to you some more annd we're going to get all these guys involved. Right now we've got an audience question and it's from Scott. Scott's right there...

Scott: Hi Alanis, what's going on?

Alanis: Hey

Scott: Um, "Jagged Little Pill" as a CD defined a whole era and a generation. As for you personally, what defined an era as a CD?

Alanis: A CD that I loved?

Scott: That's right, that's right

Alanis: Umm, I always say The Smurf's All-Star Show Record, when I was little

[Laughter]

[Applause]

Alanis: Didn't it though? Didn't that define an era for everyone? No... I think, um, when I was really little I lived in Germany with my family and I remember being in the back seat of our caravan car and hearing Carole King's voice and just everything stopped in my world and I remember wondering who that was because I had a connection with her. She sounded very maternal to me and very inspiring so she was the first voice that I really resonated with, so...

Scott: Thank you

Alanis: Yeah, thank you

Nam: We're also going to be taking questions from, uh, Speaker's Corner which is a travelling soapbox. It goes around the whole country and uh right now we got a question from Corner Brook, Newfoundland and, uh, the monitor is right there. I don't know if you can see the monitor, it's so packed in here.

Alanis: Yeah, I can see it

Nam: Newfoundland

[Speaker's Corner trailer]

Jennifer Baird: Hi, this is, uh, Jennifer Baird. I'm at Grenville College in Corner Brook, Newfoundland. Uh, my question for Alanis is: "Have you ever had any recurring dreams?" And if so, uh, can you describe them? Thanks.

Alanis: Okay... [Laughter] Umm, I have had recurring dreams. The one that I think of most often is the one that I cite every now and again; is, uh, I'm in an elevator and I'm going up the elevator and the higher I get, the building starts to rock and the air gets really prickly, and then I get to the top floor and somebody is there when the door opens. And in one case, and I already spoke about this a few years ago, but in one of the cases it was Paul Reiser [Laughter] Uh, and then every once in awhile it's just a different person who's in my subconscious or in my life. So I still have that one.

Nam: What do you think that dream says about you? [Laughs]

Alanis: It says, it says I have a fear of heights perhaps. No, I think I could psychologically analyze that one for a few hours but I'll spare you the gory details. [Laughter]

Nam: W'v'also got a phone call right now from Vern in Prince George [British Columbia] Hey Vern. Hello, Vern?

Vern: Hello

Alanis: Hi

Vern: Hey, what's up? How you doing Alanis?

Alanis (jokingly): What's up yo? How's it goin'?

[Laughter]

Vern: A'ight that's cool. What's up Nam? What's up Van-City?! Yeah!

Nam: What's up Vern?

Vern: Yeah, anyways, I got a couple questions for you Alanis

Alanis: Go for it

Vern: Uh, on your latest CD, "Under Rug Swept," you written and produced eleven cuts on the track or whatever... What's the most like personal song on the CD for you, like, you know what I mean?

[Laughter]

Alanis: Yeah, um, they're all pretty personal

Vern: Like, yeah

Alanis: I think in order to call one of them my favourites would probably be impossible because it's like trying to pick your favourite kid

Vern: Oh really?

Alanis: But um, but definitely some emerged to be my favourites during a tour live, and right now I'm playing "Precious Illusions" and "Hands Clean" are my two favourites to play live but that changes every five minutes so...

Nam: Now, your music tends to be very personal. Um, how, how is it for you to perform it and share it with so many people at the same time? I mean, it's one things to write it, when you're by yourself, but then to perform it...

Alanis: It's, it's fine because I'm expressing myself and I, I also see it as my performing and people get to define themselves in accordance, whether it be by it being, you know, relating to it or feeling validated by it or horrified by it or repulsed by it or whatever it is that one may feel if they choose to listen to the song or watch my play live. It, uh, it can tell me sometihng about them... So it is still a conversation of sorts, and I'm just here expressing myself and defining myself, which is why ultimately I think we're all here.

Nam: Is there any song that you won't perform live, that you don't feel comfortable performing live?

Alanis: No.

Nam: No?

Alanis: No.

Nam: And I was reading something, and it was interesting because uh, you were talking about how you feel more comfortable performing the very personal songs as opposed to a song like "Symptoms." Why is that?

Alanis: Well, "Symptoms" is a song that I wrote just about politics [sarcastically] which is really exciting, [Laughter] So, um, it is exciting to me, but I also just feel like my microcosmic version of, of relationships, i.e. the relationship between myself and one other person, can be extrapolated into the broader issues. So if I can sit here and have an opinion formed about what I think the Middle East should do about America and vice-versa, farbeit for me to do that if I can't even resolve a conflict between myself and one other person. So I put so much of my energy into seeing if I can walk my own talk in my own day-to-day life. So that's why I prefer to sing about more personal, autobiographical, immediate relationships, and maybe at some point I will sing about broader ones. But as, as it stands today, that's kinda where I'm at.

Nam: You've also said ... [Applause] You've also said that um, when you... because in the past, critics have criticized you for being over indulgent, whatever that means. And you said that, until you conquer your own personal relationships, then can you do it in a bigger scale, which is with the world.

Alanis: Yeah... I feel like I -- I mean... yes, a lot of people have said "You're so incredibly self-absorbed" and I say "Absolutely," because when I understand myself and have clarity about myself, then it naturally and organically leads to a place where I can be of service to other people, and not from an empty cup but rather one that's really super-full, and I'd much rather give from that place. So the more I understand and have clarity about myself, the more I'm able to see the world with clear eyes as opposed to through these glasses that are still egocentric and in pain, y'know?

Nam: We're going to talk more about clarity and pain awhile

Alanis: We're not?!

Nam: ... But we want to get into the pain, but I've got an e-mail question here and, uh, the e-mail is from Angela Ting in London, Ontario. She says:
"What would you say to women in the music industry and young girls growing up who are bombarded by images from the industry and pressured by scoity and the media to be, to look, and to think a certain way?
Thank you for your time. Thank God your music and ideas are out there. You definitely improve the world."

[Applause]

Alanis: Thanks, thanks um, as far as what I would tell a young person, umm, I would encourage them to listen to their gut first and foremost, and um, also in terms of society's images and how they, you know ... how objectification is such a prominent thing, especially for women but certainly for men as well, um, I just encourage or recommend uh, questioning everything all the time and challenging it if it doesn't feel right, you know, and uh, it can be tough to, to act in opposition with what society is presenting, much like a thimble trying to catch a tidal wave, but there are a lot of people that are like-minded in that sense and really challenge society's standard of what women or people should look like, and as soon as I started realizing all of this and, and understanding it, it was a lot better and I was able to be much more accepting of myself, so...

Nam: How did you come to that understanding? Because it is difficult, you look at the media, you look in, on TV, in magazines. It's there. How did you get to where you are now?

Alanis: I stopped buying those magazines [Laughter] you know, and I started... [Applause] Yeah... I stopped buying those magazine, and, and got to a place of integration in my life because, for a period of time, the pendulum swung from my being horrified by all of that to, you know, just shutting down with my own sexuality and the part of my body that is fun to have be an ornament. You know, there's an element of that that is fun, but it went so far that I cut myself off from all of it and the pendulum really went to the other end. And now I'm just having fun and I see the illusory parts of it and I don't take it seriously. And I want to integrate all parts of me, the part of me that is sexual, the part of me that is intelligent, the part of me that is strong and vulnerable and confused and all of it and the more integrated I have become, the more peaceful I've become and less, less afraid of parts of myself, so that helps I guess.

Nam: Are you at peace with yourself now?

Alanis: Sure. Sometimes I'm not at all, but these days it's a little more consistent, which is good.

Nam: More talk with Alanis, and after the break you're going to perform some more. Right now we're going to take a short break as the Alanis Morissette "Intimate & Interactive" continues after this break.

[Cut to commercial]

[Return from commercial to applause]

Nam: Welcome back to the Alanis Morissette "Intimate & Interactive" live from The Roundhouse in Vancouver, British Columbia. Right now, It's time for some more music! Please give it up for Alanis Morissette!

[Alanis performs
So Unsexy]

Oh these little rejections how they add up quickly
One small sideways look and I feel so ungood and
Somewhere along the way I think I gave you the power to make
Me feel the way I thought only my father could

Oh these little rejections how they seem so real to me
One forgotten birthday I'm all but coo-ooked and
How these little abandonments seem to sting so easily
I'm thirteen again am I thirteen for good?

And I can feel so unsexy for someone so beautiful
So unlovèd for someone so fine
I can feel so boring for someone so-o interesting
So ignorant for someone of sound mind

Oh these little protections how they fail to serve me
One forgotten phone call and I'm deflated and
How these little defenses how they fail to comfort me
Your hand pulling away and I'm devastated

I can feel so unsexy for someone so beautiful
So unlovèd for someone so fine
I can feel so boring for someone so-o interesting
So ignorant for someone of sound mind

When will I stop leaving baby-y?
When will I stop deserting baby-y?
When will I start staying with myse-e-e-e-e-e-e-e-elf?

Oh these little projections how they keep springing from me
I jump my ship as I take it personally and
How these little rejections how they disappear quickly
The moment I decide not to abandon me

I can feel so unsexy for someone so beautiful
So unlovèd for someone so fine
I can feel so boring for someone so-o interesting
So ignorant for someone of sound mind

[Applause]

[Spoken:] Thank you very much. This is Jason Orme on the guitar. [Applause] And Blair Sinta on drums [Applause]... Representing... This is a song called "Precious Illusions."

[Alanis performs
Precious Illusions:]

You'll rescue me right? In the exact same way they never did
I'll be happy right? When your healing powers kick in

You'll complete me right? Then my life can finally begin
I'll be worthy right? Only when you realize the gem I am?

But this won't wo-ork now the way it once did
And I won't keep it up even though I would love to
Once I know who I'm not then I'll know who I am
But I know I won't keep on playing the victim

These precious illusions in my head did not let me down when I was defenseless
And parting with them is like parting with invisible best friends

This ring will help me yet as will you knight in shining armou-ou-ou-our
This pill will help me yet as will these boys gone through like water

But this won't work as well as the way it once did
'Cause I want to decide between survival and bliss
And though I know who I'm not I still don't know who I am
But I know I won't keep on playing the victim

These precious illusions in my head did not let me down when I was a kid
And parting with them is like parting with a childhood best frie-iend

I've spent so long firmly looking outside me
I've spent so much time living in survi-i-i-i-i-ival mo-o-ode

But this won't work now the way it once did
'Cause I want to decide between survival and bliss
And though I know who I'm not I still don't know who I am
But I know I won't keep on playing the victim

These precious illusions in my head did not let me down when I was defenseless
And parting with them is like parting with invisible best friends

These precious illusions in my hea-ead did not let me down when I was a kid
And parting with them is like parting with a childhood best frie-iend

Ooh oh ooh ooh ooh ooh ooh ah oh oh oh

[Applause]

[Alanis performs
Right Through You:]

Wait a minute man
You mispronounced my name
You didn't wait for all the information
Before ya turned me away
Wait a minute sir
You kinda hurt my feelings
You see me as a sweet back-loaded puppet
And you've got meal ticket taste

I see right throu-ou-ou-ou-ough you
I know right throu-ou-ou-ou-ou-ough you-ou-ou-ou
I feel right throu-ou-ou-ou-ough you-ou-ou-ou
I walk right throu-ou-ou-ou-ou-ough you-ou
Uh oh ho ya da da dum ya da da ha

You took me for a joke
You took me for a child
You took a long hard look at my ass
And then played golf for a while
Your shake is like a fish
You pat me on the head
You took me out to wine dine sixty-nine me
But didn't hear a damn word I said

I see right throu-ou-ou-ou-ough you
I know right throu-ou-ou-ou-ou-ough you-ou-ou-ou
I feel right throu-ou-ou-ou-ough you-ou-ou-ou
I walk right throu-ou-ou-ou-ou-ough you-ou, wuh oh ho!

Ya da da da da ha ah ho oh oh oh

Well hello Mr. Man
You didn't think I'd come back
You didn't think I'd show up with my army
And this ammunition on my back
Now that I'm Miss Thi-ing
Now that I'm a zillionaire
Ya scan the credits for your name
And wonder why it's not there

I see right throu-ou-ou-ou-ough you
I know right throu-ou-ou-ou-ou-ough you-ou-ou-ou
I feel right throu-ou-ou-ou-ough you-ou-ou-ou
I walk right throu-ou-ou-ou-ou-ough you-ou, you-ou!

[Applause]

Nam: Whoo!

Alanis: Thank you

Nam: Whoo! Please give it up one more time for Alanis Morissette. However, that's not all. We're going to take a short break, but when we come back we're going to chat some more with Alanis as the "Intimate & Interactive" continues right here on MuchMusic.

[Cut To Commercial]

[Return from commercial to applause]

Nam: Welcome back to Alanis Morissette "Intimate & Interactive." We're live in Vancouver, British Columbia. This is The Roundhouse, and this is the very first time that we're doing an "Intimate & Interactive" in Vancouver. [Applause] When I heard that, um, I was going to get a chance to talk to you, I was like "Yes! We can talk about relationships, 'cause I'm known as the jaded one at MuchMusic. However [Laughs] now relationships really motivate your music, and people always want to know about other people's love lives, right?

Alanis: So tell me about your love life.

Nam: No, we, we need like five days, five days. How can you be so personal about relationships that go wrong?

Alanis: Well I also am personal about relationships that go right, too. I don't, I don't equate um, short relationships with being ones that go wrong, I just equate them with relationships that are short. Um, so, uhh, you know, I think that I define myself and I, am aware of who I am, based on my interactions with people or places or things or whatever, so it's in relationships that I'm able to define myself and ultimately provide an opportunity for someone else to define themselves or heal themselves or understand themselves. So I see relationships as opportunities, and it really, it really works well, when both people do.

Nam: And you've said that, um, when you do write, it's not in revenge, it's more for yourself. But there has to be a point when it might be a little hard to get dates, because you're calling out your exes right? Is it hard getting a date?

Alanis: No, it's actually not hard at all. I think what happens is that people who consider even dating me at this point, I tihnk they kind of know what they're getting into. [Laughter] Um, because I write obviously autobiographically so I think it just says something about their being comfortable with themselves enough to know that they may be found in the subject matter of my songs at some point.

Nam: And earlier on you were talking about clarity and honesty is an important concept in your music. What is honesty to you?

Alanis: Just speaking the truth to oneself, I think, is a big one. That's the scariest one for me, sitting alone in a room and just being honest with myself about something is the most terrorizing one. The rest of them are okay, and, you know, I do see a big difference between privacy and secrecy, so, you know, being honest when I'm, when I'm trying not to be secretive feels really great, but being honest when I'm not, you know, taking into account someone else's privacy, I usually don't go there just because I don't want to.

Nam: Why is honesty terrifying to you?

Alanis: It's terrifying when I know that it has to or will inevitably result in a huge change. Before I started writing this record, I had to put my conceptual helmet on and seat belt on because I knew that coming to terms with a lot of what I was writing about would result in my ... you know... having changes happen in my life to say the least. So they did and I'm still alive. I'm still here, so it's okay.

Nam: Still kicking

Alanis: Yeah

[Applause]

Nam: You said that um... [Applause continues] ... you said that there's a difference between um, privacy and secrecy, what's the difference?

Alanis: Well, privacy, in my opinion, comes from a place of love, and secrecy comes from a place of fear. So, um, when I'm afraid I am secretive about things, even with myself and I'm in denial about them and I try to compartmentalize and push them away and not even look at them because they're too scary, but um, privacy is something that I'm doing very consciously in order to respect someone else's ... privacy, or mine.

Nam: Okay, we have an audience question, it's from Cassie. Hey, Cassie..

Cassie: Hi.

Alanis: Hi

Cassie: Hi, um, knowing that you're a fellow Canadian, I was just wondering what you were doing when you found out the hockey team got the gold medal? Whoo-hoo!

[Applause]

Alanis: Which hockey team? The, the female or the male game?

Cassie: Well you can tell us both if you want

Alanis: Well, the male one, I was flying somewhere, and uh we were winning when I got on the plane and then someone on the plane told me 5-3 and I got really excited but I'm also, you know ... I'm surrounded by Americans a lot so I have to kind of quell my excitement [Laughter]

Cassie: Yeah

Alanis: No, um, and the female game, I was there. So...

Cassie: Cool!

Alanis: I was at the game

Nam: Wow

[Applause]

Alanis: Yeah

Nam: Um, we were talking about um the concepts of privacy and secrecy, and the first single that's off this album, "Under Rug Swept," "Hands Clean"... People are talking about this song [Applause] The idea of the song is that a younger woman is involved in a relationship with an older man. What did you want to do with this song?

Alanis: I had been silent about the nature of the relationship for a really long tiem at the um, at the request of the person who the song's about, and that was an exact example of my, you know, being silent on someone else's behalf to kind of protect them in a way that was at the cost of my own peace of mind and my own self. And um, I wanted to be honest with myself about it and feel the liberation that comes from that, so the verses and the "B" sections are him singing to me, and the bridge and the chorus is my responding to him from the present tense. And it was very therapeutic and cathartic to write it basically.

Nam: What do you think about ... because um I know there's been a lot of articles out there and they're calling the relationship, this, or the song, they're calling it statutory rape

Alanis: Mmhmm

Nam: What do you think about that, when you read those articles?

Alanis: I don't usually categorize things, whether it's music or dynamics or whatever it is. I usually just call them what they are, which is that I was a young person who was in a relationship with someone where, on some level I was ready for it and on other emotional levels I wasn't. And that's kinda how I define it and I know that takes way more words than "statutory rape" but it better defines it to me because I don't need to make things be short and put in a box. I don't need to do that, so...

Nam: Because it's interesting , too, because honestly, if I was in your situation, um, even earlier on when we were talking about this is the first time you wrote and produced your album and it has to be like, kind of like a middle finger to the people who, like, messed you, messed around with you when you were younger. But you see it in a different way. You're like, well, this is just a natural evoluion for myself, and even with what's going on with this song, a lot of people... It's so much dialogue is going on about this song, to you it's kind of like, you know, it's just a situation that I was in and that's it...

Alanis: Yeah

Nam: ... that's the end of the story

Alanis: Well the hardest part for me was to just repress it and be silent about it. So the act of writing it in and of itself was enough for me.

Nam: We've got a phone call right now, and hello, caller from Hamilton, Laura Lee, [Correcting herself] Lauralai

Lauralai: Hi

Nam: Lauralai, I got your name!

Lauralai: Um I was wondering um from the song "21 Things You Want In A Lover," which 21 things have you found in a lover and what they were.

Alanis: Um, I found a lot of things on my list. Um, my thing, uh, just kind of randomly, is 80% of that last is something that I think I would be really psyched about, and the operative word in the song for me is um, "not necessarily needs," because these are things that I am kind of putting out there in a way and describing what it is that I want, much like I would have a map of sorts that I can at least reference, but, you know, I basically really get as clear about it as I possibly can and then I let go entirely and see what the Universe or what life has to offer and I go with that.

Nam: Only three days though?

Alanis: Three days of what?

Nam: In the song, you say three days, you reference three days

Alanis: More than three times

Nam: Oh okay, just wondering. Just for my own personal knowledge. We've got a Speaker's Corner ... 'cause I was like three days, wow!

Alanis: Yeah, and that shifts, sure

Nam: ... Seven days in a week... Um what...

[Laughter]

Alanis: You're telling me a lot about yourself right now, thank you

Nam (Laughing): Okay. Question coming from Montréal, Speaker's Corner. Let's take a look at the monitor

[Speaker's Corner trailer]

Grant: What's up Alanis? It's Grant from Montréal. Uh, my friend's dad used to teach you in history in high school, and I was wondering if there's any truth to the story you used to sing "O Canada" through the P.A. system to everyone in the morning?

Alanis: A taped version of it would be played every morning and I was mortified. But if it's the history teacher I'm thinking about, I used to fall asleep in history class every time, so I have such apologies sent to your friend's dad. And now I'm actually reading history books, but when I was, you know, being taught history in school, sometimes I just couldnt' get into it. But not of my own volition I want to do it, which is often the case with how curriculums are in school... [not wanting to get off-topic visibly refocusses herself] But anyway, the answer to your question is yes, it was played on a tape but I wasn't doing it love every morning.

Nam: Now I know you're a big reader of books and uh, you read a book called "Conversations with God." What did you get from that book?

Alanis: Um, just clarity and there was a lot of things in that book that I really resonated with and connected with and God is such a fraught little word, y'know, because it always implies religion or um, everyone that I've talked to about the word God seems to have a really weighted definition of what that is. And wht I loved about the book was that it really challenged, it challenged all the definitions of God and, and had some levity about it and a lot of clarity about situations that I had been extremely confused about and the author of the book is someone that I've gotten to know over the last while and I wrote a foreword for his teen book, which was exciting and, yeah...

Nam: Are you a spiritual person? Do you consider yourself a spiritual person?

Alanis: Very spiritually minded, yeah. I don't consider myself to be religious, although I'm so curious about religions and what I have found over the last while is that thread of continuity that permeates all of them which is exciting. I always look to see where they all have consistencies, you know and that's usually where I go.

Nam: Now, I wish I could talk your ear off for another hour. However I'm being wrapped. We're going to the window because we have a question.

Alanis: Okay

Nam: And if you could just follow me, yeah! [Applause] We've got -- [To Alanis] are you okay? ... Julie is at the window. Hello, people at the window! [Applause] How are you? Julie, you've got a question?

Julie: Yes, hi Alanis

Alanis: Hi

Julie: I was wondering what artists have you not worked with that you would most like to?

Alanis: When I love artists, I, the last thing I think about is, is my playing with them, because I always think that they're so distinct and individual that I wouldn't want to, you know, pee all over their songs with my own individual take... Um, but I love Leonard Cohen, and I would love to maybe, you know, send some love to him. I don't have to meet him, but yeah.

Nam: Oh, come on, you guys can be louder than that! [Applause] Now uh, we don't really have very much time left to talk but there's a question that I wanted to ask you: What is the most important issue that's closest to your heart?

Alanis: Oh, there's many [Laughs] Umm, the closest issue? Just the human condition. Basically, just thinking about us all being one, even though we're all so distinctly different and unique and kick-ass, just all the countries that I've travelled to and all the different cultures that I've been in, I just see how we're all alike fundamentally, and that's the kind of thing I think about when I wake up in the morning.

Nam: You sing about Utopia on the album. Can it really exist or is it just an ideal that's not attainable?

Alanis: I think it absolutely can exist. It really depends on whether we want it badly enough or not, so yeah.

Nam: Alright... Thank you Alanis

Alanis: Thank you

Nam: There's going to be more performance, but we're going to take a little short break right here as the Alanis Morissette "Intimate & Interactive" continues lives from Vancouver, British Columbia

[Cut to commercial]
[Return from commercial to applause]

Nam: Welcome back to the Alanis Morissette "Intimate & Interactive," live from Vancouver, British Columbia, at The Roundhouse. It's been such a great night, but we've got some more music. Please give it up for Alanis Morissette!

[Alanis perform
So Pure:]
You from New York
You are so relevant
You reduce me to cosmic te-ears

Luminous more so than
Most anyo-one
Unapologetically alive
Knot in my stomach and
Lump in my throat

I love you when you dance
When you free-style in trance
So-o-o pure such an expression

Love you when you dance
When you free-style in trance
So-o-o pure such an expression

Supposèd former infatuation ju-unkie
I sink three pointers and you wax poetically

I love you when you dance
When you free-style in trance
So-o-o pure such an expression

Love you when you dance
When you free-style in trance
So-o-o pure such an expression

Let's grease the wheel over tea
Let's discuss things in confidence and
Let's be outspoken
Let's be ridiculous
Let's solve the world's proble-ee-e-e-ems

I love you when you dance
When you free-style in trance
So-o-o pure such an expression

Love you when you dance
When you free-style in trance
So-o-o pure such an expression

[Applause]

Alanis: Thank you! Mr. Eric Avery on bass! [Applause] And Zac Rae on keyboards. [Applause] And David Levita on guitar! [Applause]

[Alanis performs
Head Over Feet:]

Ya da da ow da ah hi woah oh
I had no choice but to hear you
You stated your case time and again
'Nd I thought about it

You treat me like, I'm a princess
And I'm not used to liking tha-e-a-at
And you ask how my day was

You've already won me over in spite of me
Don't be alarmed if fa-all head over feet
'Nd don't be surprised if I love you-ou-ou for all that you a-are
I couldn't help i-it
It's all your fau-ault

Your love is thick and it swallowed me whole
You're so much braver than I give you credit fo-or
That's not lip service

You've already won me ove-er in spite of me
And don't be alarmed if fa-a-all head over fee-eet
Don't be surprised if I love you-ou-ou for all that you a-are
I couldn't help i-it
It's all your fault

You are the bearer of unconditional things
'Nd you held your breath and the door for me
Thanks for your patience

[Instrumental/Harmonica break]

You're the best listeners that I've ever met
'Nd you're my best friend
Best friend with benefits
What took me so lo-ong?

'Nd I've never felt this healthy before
I've never wanted something rational
'Nd I am aware now
(I swear to God I am I think)
I am aware now

You've already won me ove-er, in spite of me
And don't be alarmed if fa-all head over feet
And don't be surprised if I love you for all that you a-are
I couldn't help i-it
It's all your fau-au-ault

La la li, ya ha hi, ya ha hi yi ha oh
Ooh ee ooh, ee oh oh, ooh oh oh oh ee ya ee ah ooh ow ow
Oh ho oh ya ha hi ya ha hi hi!

[Applause]

Alanis: Thank you, you guys are awesome. [Applause] This is a song called "Hands Clean"

[Alanis performs
Hands Clean:]

If it weren't for your maturity none of this would've happened
If you weren't so wise beyond your years I would've been able to control myself and
If it weren't for my attention you wouldn't have been successful and if
If it weren't for me you would never have amounted to very much

Ooh this could be messy but
You-ou don't seem to mi-ind and
Ooh don't go telling everybody and
Overlook this supposèd cri-ime

We'll fast forward to a few years later
And no one knows except the both of us
And I have honoured your request for silence
And you've washed your hands clean of this

You're essentially an employee and I like you having to depend on me and
You're a kind of protégé and one day you'll say you learned all you know from me and
I know you depend on me like a young thing would to a guardian
I know you sexualize me like a young thing would and I think I like it

Ooh this could get messy
But you-ou don't seem to mi-ee-i-ind and
Ooh don't go telling everybody
And overlook this supposèd cri-ime

We'll fast forward to a few years later and
No one knows except the both of us
And I have honoured your request for silence
And you've washed your hands clean of this

What part of our history's reinvented and under rug swept?
What part of your memory is selective and tends to forget?
What with this distance it seems so obvious?

Just make sure you don't tell on me especially to members of your family and
We best keep this to ourselves and not tell any members of our inner posse and
I wish I could tell the world 'cause you're such a pretty thing when you're done up properly and
I might want to marry you one day if ya watch that weight and you keep your firm body and

Ooh this could be messy but
You-ou don't seem to mi-ee-i-i-ind
'Nd ooh don't go tellin' everybody
And overlook this supposèd cri-ime

We'll fast forward to a few years later and
No one knows except the both of us
And I have honoured your request for silence
And you've washed your hands clean of this

Ooh this could get messy but
You-ou don't seem to mi-ee-i-i-ind and
Ooh don't go tellin' everybody
And overlook this supposèd cri-ime

We'll fast forward to a few years later
And no one knows except the both of us
And I have honoured your request for silence
And you've washed your hands clean of this

Eh oh oh oh oh
Ya ee ah ho oh, ah ah ho!

[Applause]

Nam: Wow! Could you guys please just give it up for Alanis Morissette, and the band? [Applause] Thank you, thank you, thank you, thank you. Did you have a good time?

Alanis: Very, very, very good

Nam: Now, do you guys have the new album, "Under Rug Swept?" [Applause] Just checking, just checking. Thank you so much for being here, thank you to the band, thank you so much. [Applause] And it was so wonderful to be here in Vancouver for our very first "I & I" and it was with you! [Applause] And right now we're going to say "bye" to everyone at home, bye to you guys but you're going to perform one more song, let's take it away, thank you!

[Alanis performs
Thank U:]

How 'bout getting off of these antibiotics?
How 'bout stopping eating when I'm full up?
How 'bout them transparent dangling carrots?
How 'bout that ever elusive kudo?

Thank you, India
Thank you, terror
Thank you, disillusionment
Thank you, frailty
Thank you, consequence
Thank you, thank you, silence

How 'bout me not blaming you for everything?
How 'bout me enjoying the moment for once?
How 'bout how good it feels to finally forgive you?
How 'bout grieving it all one at a time?

Thank you, India
Thank you, terror
Thank you disillusionment
Thank you frailty
Thank you consequence
Thank you, thank you silence

The moment I let go of it was
The moment I got more than I could handle
The moment I jumped off of it
Was the moment that I touched down

How 'bout no longer being masochistic?
How 'bout remembering your divinity?
How 'bout unabashedly bawling your eyes out?
How 'bout not equating death with stopping?

Thank you, India
Thank you, providence
Thank you disillusionment
Thank you, nothingness
Thank you, clarity
Thank you, thank you silence

Yeah, yeah
Ha-ah-oh
Oh-oh-oh
Oh, oh, oh, oh, oh whoa-oh
No oh oh
No, oh, oh, oh, oh
Oh oh oh oh oh oh
No-oh, no-oh oh oh oh oh
No no oh oh oh oh oh
No oh, no-oh oh oh oh
No-ooh-oh oh oh ho!

[Spoken:] Thank you so much, such a gift to be here. Bless you, love you, keep on, love you!

[Applause]

[Closing Credits]


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