In 1998, in his song woman wordsLawrence Galbert stated that he never wanted to hear “Then Then? When one of her sisters denounced an injustice.” One year after Quebecers bothered themselves with a letter asserting they had been a victim of domestic violence, the singer-songwriter continues her path with a keen awareness of what remains to be accomplished.
Posted yesterday at 8:00 AM.
Yes, Laurence Jalbert received the Luc-Plamondon Award from the Professional Society of Composers and Composers of Quebec in November 2020, crowning his entire work. But perhaps it is worth repeating: the singer signed or co-signed the vast majority of her memorable songs.
“It was Diane Juster who called me to tell me the news, Diane Juster, I adore her, do you understand?” says the 62-year-old, who she joined via video conference just days before her show at Francos. Diane and I talk about everything and nothing, and then I say to her, ‘Give me the author award, but did you know I composed too?’ There was silence. You didn’t know. »
It’s annoying, but that’s it: From Marjo to Diane Tell via Francine Raymond, top singers and songwriters have to say time and time again that their choirs belong to them.
I often find myself in front of people who are surprised: “Hey, did you write that?” Well, yes, it happens in my spare time, I write small sentences. It is still in people’s minds that a woman would be an artist, if it was not emphasized that she was an author and a composer.
But this tends to change, the one who will soon become a grandmother for the seventh time rejoices. “Take Marjo! Finally, we’re starting to see her everywhere again,” she says of her ‘great boyfriend,’ with whom she regularly texts.
And what does it look like, a conversation between La Jalbert – Laurence often refers to herself during our interview by her last name alone – and La Morin? We are two Leo bulls, two covered, two very energetic, and two volunteers. Margo is a person of great purity, great humility, and this is where we connect together. We know why we find ourselves in front of the world. Not because we are better or prettier From others. This is because there is a truth within us. It is not the truth. We have humble truths within us that we want to share with others. And like Margo, when I’m on stage, I belong entirely to the present moment.”
There is no original model
In April 2021, Lawrence Galbert posted a touching message on social media titled “Spoons in the Refrigerator,” an account of the decade of domestic violence she experienced. This confidence surprised the whole of Quebec, and they are both innovative the hallway This image has always been of a woman who does not allow to be trampled on. Among its many beneficial effects, this testimony will have the advantage of recalling the lack of an archetype for the victim.
Emerging from an epidemic that will see the number of femicides explode, Laurence Jalbert has doubled down not only on shows—her summer promise to be one of the busiest of her career—but also conferences on the subject. Her songs themselves have always been about what women have to put up with with pressure to speak softly.
It is for woman wordshis popular pamphlet is taken frombefore the storm (1998). “I actually went through a lot of horrific events in those days,” says the woman who rode the rails for 15 years before winning the Empire of Future Stars with her band, Volt, in 1987. Enough time to survive some horrors.
when i wrote woman words, I was annoyed. But did you think you didn’t have to worry about that, big eyes, when you released that song? [Elle prend la voix d’un enquiquineur.] “But, Lawrence Galbert, what is this feminist discourse?”
In 1990, without fully realizing it, she wrote her first text invoking the issue of violence against women. At the dawn of the tour inspired by her debut album, her music director asked her if she had in her drawers any starters for songs that could expand her repertoire.
Among these drawings there was a melody accompanied by one phrase: “Encore et encore”. Despite her busy schedule, Lawrence Galbert is sitting in the corner of the practice room with a pencil, while she plays her new piece set, without texting. “The fourth or fifth time I got up and sang it, but I had no idea why I wrote all these things.”
A few days later, in Abitepe, there is talk everywhere in the local media of the murder of Sandra Godet, a 14-year-old who was abandoned on the side of the road, an unsolved crime.
And there, while checking the sound, I think of my daughter and think of how this little girl would leave, Sandra. I decided to dedicate to him this song that I sing: “I saw in their eyes, the crazy desire to hurt you and hurt you / I saw them snatch what’s left of your soul and out of your dolls.” “It is the plain and simple truth: I never understood what I had written before that evening.”
Sandra’s mother Judd, whom Lawrence has asked to keep on the trial, will send her an envelope a few weeks later containing the first page of the child’s diary.
“And you know what his notes are called?” long silence. “He was called Repeatedly. » Longer silence. “I’m not telling you I’m Our Lady, I’m just telling you that sometimes artists have antennae. And every time I sing it today, I see in my head the faces of all the women who die because they are women. And I guess I absolutely should have called it Repeatedly Because it will never stop. »
On the Lotto-Québec Theater – Floor on June 13th at 8pm.
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