Emilie Autumn is the ultimate femme fatale. She is a multi-faceted artist that is equal parts Broadway, burlesque, rock show and history lesson. Simply put, she is a one of a kind creation who has her sights set on total world domination! She is seductive, bizarre and brazen leader of an army of frenzied fans who are addicted to her unique style and captivating, out of the box live performances. The amazing shows are not be confused with a standard rock show, but rather regarded as a piece of theatrical history with a real story to tell. Beyond her dramatic vocal performance which masterfully fluctuates from operatic to filthy industrial and back again (she’s notorious for performing Queen’s Bohemian Rhapsody as a nightly encore), plus her violin virtuosity, she elegantly strikes that effervescent balance between sex, violence, and English literature. In addition to her many other talents, Emilie is a gifted author. In 2009, Emilie Autumn unveiled her long-awaited novel, ‘The Asylum for Wayward Victorian Girls’ to raves reviews. The book is an autobiographical, reality-bending, historical thriller that jumps from the page and entangles the reader. The fully illustrated book chronicles Emilie’s experiences in a mental ward and a young girl in Victorian England who is admitted into an insane asylum. The elaborate, nearly five-pound book is chock-full of full-color glossy pages delicately highlighting Emilie’s sketches, paintings, photographs and erratic scribbles. (Check out this amazing book here!) ‘The Asylum for Wayward Victorian Girls’ is a direct companion to her most recently released album, the empowering ‘Fight Like A Girl.’ All stunningly beautiful in their on right, each one of these pieces of art are just pieces of a much larger picture created by Emilie Autumn. Jason Price of Icon Vs. Icon recently had the pleasure of sitting down with Emilie Autumn to discuss her creative vision. In the interview the two discuss her earliest musical memories, her evolution as an artist, her collaborative efforts with director Darren Lynn Bousman, what fans can expect from the Broadway musical version of ‘The Asylum for Wayward Victorian Girls’ and much more!
I wanted to go back to your early years and hear a little about your first memories of music in your life.
My first musical memory is of standing up in my crib, this is for real, at the age of two and singing the theme from ‘Star Wars.’ I know it is a real memory because my parents recorded it! They kept this tiny tape from a handheld tape recorder and played it for me when I was seven. It was spot fuckin’ on! [laughs] That was the first song I ever sang! That was a first! I have loads of memories of classical violin recitals, of course. I also have the memory of being four and being taken to see Andrew Lloyd Webber’s ‘Evita.’ I remember getting in trouble! You see, my mother had been really into costume, theater, musical theater and all of that stuff. She played that soundtrack a lot at home, so I knew all of the songs. I remember singing them out loud, really loudly! Other people started turning around and were very upset about that for obvious reasons! I didn’t realize they were upset. I was thinking, “Why are you guys not singing?” Looking back, I just had a realization that I have never had before this moment, so thank you for that! As you probably know, I am turning my book into a musical. I was just thinking, “What would I do if a four year old started singing the songs when I was on stage?” I am thinking that is exactly what I would want them to do! Maybe that was all about coming full circle! I haven’t thought about that memory in twenty-five years but I think it is relevant!
Who were some of the influences that had an impact on you in your early years as a musician and a performer?
As a musician, I will start with doing away with all of the things I would like to be inspired by before or that other people might have been, simple because I was so isolated. I wasn’t really allowed to listen that wasn’t classical, jazz or musicals. I was very isolated. To be completely honest and not to sound all fancy-pants or anything, my influences were old classical violinists. Nigel was my very favorite because he was different and because he got shit for it. I thought if I was ever going to have the guts to be myself, I am going to get shit for it. I wanted to learn how he did it, was able to deal with it, is the best violinist of all of them, wins the Grammys and is the most respected. He never said “I’m the punk rock violinist.” He was just doing his thing and there was no marketing behind it. He was getting crap for it but he was the best, so there was nothing anyone could do about it. He really inspired me because he was a brilliant electric violinist. He wasn’t an electric violinist in the way, to be brutal, most electric violinists are. You play electric violin almost kind of like you play viola because you weren’t really that good at real violin. It’s a lot easier. Once you put distortion or amplify something, it does matter if you have brilliant tone or bow technique because you can get away with it due to it being loud or scratchy. However, this guy was an absolute Hendrix at it! Hendrix was his inspiration, so because of that Jimi Hendrix became my inspiration. Massively! As I got older, in my early teens, I was able to sneak away and listen to Queen and David Bowie. Later I got into New Wave but not until a lot later and these scenes were already over, these people were already dead or broken up. I never got to enjoy these things in their time. Now, I am like “Fuck! That would have been kind of cool to sixteen and discovering New Order!” [laughs] Then again, I have found it now and it is the soundtrack to many of my days! Then, of course, my inspiration for creating things was generally not musical. There were literary or artistic. I was always very bookish. I was very into history, language and literature. I got absolutely obsessed with Shakespeare and everything involving him by the time I was thirteen. I had an absolute obsession! I read every play. I would study that shit! I got into taking a few theaters classes simply so I could understand how these plays would be performed. It became a totally obsession and is what influenced my writing and understanding words more than anything else. I think it trains you to think clearly, beautifully and poetically, so you have that chance you mind knows how to put a thought together in a beautiful, poetic way. I think that is what is completely responsible!
Your music is very powerful, full of emotion and allows you to really put yourself out there. Early on, did you have any reservations about doing so? It seems like a pretty big step to make!
It was a massive step! In no way was that a part of the plan! That is kind of what is fantastic about it! None of what I am doing now, other than the theatrical nature of it, is at all what was planned, for me or by me! I had every intention of being a word-class violin soloist only. I didn’t want to sing. I didn’t want to use my voice. I didn’t even talk that much. My instrument and my voice was this piece of wood wedged under my chin for upwards of eight hours a day, every day. There were no days off. It is similar to being an Olympic gymnast training in Russia. You don’t go home for Christmas! That is what this was like. Part of that though is that it is incredibly conservative. Everyone knows that about classical, which it sells the least amount of records. It sells even fewer records than jazz. It is crazy! With that said, country music sells the most albums, so what does that tell you! [laughs] It is obviously killing itself because of its very conservative nature and the fact that there is no allowance for one’s own personality. This started to become a problem for me around the time I was thirteen or fourteen. I was not trying to rebel or be different. I was just trying to have some bit of myself in the music because there was more magic in me than I was allowed to show. It isn’t even about what you wear. It is about how you walk into a room and everything else. That became a problem! I began to be criticized by people who had always been like “You are our child prodigy. You are going to be this next person.” Then all of these things about me started to become threatening to that. It sounds preposterous even to me when I say it like that because it doesn’t make sense. I wasn’t doing anything strange. I didn’t look the way I do now. I didn’t draw hearts on my face every day. I had long hair which I wore in a ponytail. I looked cute and I dressed nicely but there was something that was too flamboyant even from a shy little girl. There was nothing I could do about it. I was at Indiana University, which is where I went for college from about the age of fourteen to sixteen and I was supposed to stay longer. There was a point where my primary professor called up my mother and she said “We need to discuss Emilie’s behavior.” My mother asked her what she was talking about. The professor said “She is distracting. The way she looks is distracting. Her personality is distracting. It is distracting from the music.” They said “She will not do well in this industry if she cannot tone it down.” I remember my mother saying “How is her playing though? How is her music?” They said “That is perfect. We have nothing to say about that.” I heard that and I left. I said “Fuck this! I am going back to Hollywood. If you have nothing to say about my musical work and you have something to say about the dress I wore, we have a problem.” At least have something to say about the reason why I am there! I just thought those people were fucking idiots and doing a huge disservice to their audience thinking they are so fucking stupid they couldn’t possibly focus on two things at once! They couldn’t possible listen to something and watch someone doing it at the same time! That would just be impossible! I thought that was just an embarrassment and very clearly my exit signal. From that moment, I said “I will keep playing this music. I will record this music. I will put together my own orchestra where I can solo and conduct. I will compose and use everything I have learned during this grueling upbringing and I don’t care what it is called.” I am so glad that I did! I don’t care if somebody calls it classical or anything else. I have made classical records and put them out. People buy them because they like it! To me, that is the ultimate success! From there, I keep doing that and keep building that part of my catalog but that was the end of that. Up until then, I don’t think I had the “Fuck you!” attitude I think you need in order to be any kind of rock performer. That is when I became anything at all visible as what I now am. I underwent a massive transformation out of complete necessity and finally getting angry enough to make a change in something. Then you think “Well, I can make a change. I could do that by getting up on a soapbox and ranting about inequality of gender in the world or I could make it into a show where it can be funny, sexy, beautiful, exciting and all of these things.” That way it absorbs into people more than if I just went out and started bitching about the things in the world I don’t like! That is where I think an onstage performer or writer can get a lot more done than a politician can any day because people will actually listen!
You have come a long way since those early years and that is fantastic! I wanted to talk a little about you latest album, ‘Fight Like A Girl’ and how it serves as a big evolution for a much larger picture. How has your writing process changed and where does the ‘F.L.A.G’ album fit in with your vision?
The process has changed quite a bit. I was talking earlier about being obsessed with language when I was younger. I wrote from a very wordy place. Writing was very much about getting the lines right, getting the words out and making it something worthy of being read by someone. When I began performing it changed, prior to ‘Opheliac,’ when I began singing a bit. The whole singing bit was not in my training! That had nothing to do with my musical training at all. It just happened! When I began doing that, I was still writing from the wordy place but I am also writing it as a showgirl; thinking about what I will be doing and the basic scenery. What has transformed again and is amazing is that I am at is I am no longer writing as a writer, singer or performer. I am now writing as a storyteller! That means when I am writing something now I am thinking about the gesture I or the character will be doing on this Broadway stage. I am thinking about what the lighting is doing. I am thinking about the person in the audience and them when I say a certain word or when I pause between two words. I am imagining the audible gasp of that person in the front row. That is the transformation — realizing there is something more important than me expressing myself. It is me telling this story. I am in the story and am a part of every aspect of this story but it is also so much more. I am just one ingredient in the story. Everything that I use from every musical skill, every sound idea and ever gesture are all ingredients. They are just the extra crayons in the box! It is like you started with twelve and suddenly get the twenty-four pack with the gold, silver and copper, which are the ones everyone wants to use! That is what it is like now. It is such a completely different experience creating because you are not only creating a song or an album but an entire world. With the ‘F.L.A.G.’ album, it was extremely different from everything I had done previously because it was written as a soundtrack to a show. It was written and recorded and then a show happens to support the sales of that album; which is normal. It was written to be a soundtrack. It is almost like I am merchandising for a movie that isn’t even out yet. The ‘F.L.A.G.’ album is literally one-third of the musical, done by one girl playing all of these different parts.
What the ‘F.L.A.G.’ show now is that album, being one-third of the musical, performed by three girls. The real thing, in a short while, will be performed by a cast of forty people — men, women and rats! Everything for the past couple of years, which I have known long before I made the massive announcement on a London stage, was going in the direction of turning the entire book into this musical. Ever show has been a rehearsal for that! That album was manifesting it and bringing it into reality. I felt by putting out the album, I started the soundtrack, so now we have to finish it. We have to do this show because we are already selling the soundtrack. That is what makes sense and what was done. The last step between rock show and full theatrical experience is bringing in the music from this musical and doing it in the rock setting with a small cast and small amount of resources. If I can do that and have it exist in the minds of people, then when there is a full stage, set and cast of forty people, I can do anything. That was the real plan and why it all developed in that fashion.
One of the first interviews we did when launching Icon Vs. Icon was with director Darren Lynn Bousman, back when he was first tour with ‘Repo: The Genetic Opera.’ We are big fans of his work and you two have done some really awesome work together. How did you initially cross paths with him?
It is very sweet because now he is one of my best and closest friends. He is more important to me as a beautiful friend as much as anything else. It is almost a benefit that we get to do some awesome shit together! For example, ‘The Devil’s Carnival 2,’ we are very close to starting the shooting of that! That is basically centered around the back-story of my character, The Painted Doll. I have a whole lot of work ahead of me for that and I am very excited about it! It started pretty simply. I guess he had come across something about me on an online ad from a promoter from a Los Angeles show. He apparently liked what he saw and clicked on the link, which is what you are supposed to do! [laughs] He started checking out the stuff, seeing the hours and hours of YouTube stuff and got really, really into it. He learned all of the music and all about the Asylum world. We are both trying to create these alternate realities that become actual environments for people to live in. That is what I am doing and that is what he has done with his projects as well. He looked, listened and did all of that good stuff and then contacted my manager, the awesome Melissa, and said “I need this person to play this Painted Doll character for this thing I am creating.” I didn’t know it at the time but it turns out that I was the first person that they cast in ‘The Devil’s Carnival.’ It was kind of funny because had I known they hadn’t cast anyone else yet, I probably would have been much more skeptical about doing it.
It is like the old saying “Nothing succeeds like success.” You don’t want to be the first to sign on to a project unless it is something massive that you would absolutely be a nut ball not to! I actually didn’t know who Darren was, about ‘Repo’ or anything else. He had contacted Melissa. He tells the story a bit differently. His version, which he has told in every interview and Q&A after live showings, is him saying “I found Emilie on this website. I learned everything about her and got completely obsessed. I contacted her manager while she was on the road. I kept pestering her manager to the point her manager told me I had to calm down because I was freaking them out!” Keep in mind this is all coming from Darren. He said “No, no, no! I am a director! Really!” [laughs] I doubt that it was a bit as fan-ish as that. He basically says “I was stalking Emilie.” I don’t know if that is necessarily true but he wanted to get in touch and we finally did. Again, I just didn’t know his work because I am a bit out of things. What was cool was that he sent me a link and said “Have Emilie go to YouTube and see this video. Then have her get in touch with me if she wants to.” I didn’t know what to expect. I thought it was going to be a film or a preview or something. To be honest, there are a lot of things that come in, so you never really know that this is something you could have time for or need to take seriously. I clicked on the link and it didn’t take me to a film. It took me to a behind the scenes look at the ‘Repo’ fans and the Repo Army where doing. He basically sent me to a fan video that was all of them showing what had become of this thing, that when it came out, everyone had panned. I knew that everyone had hated and panned “The Rocky Horror Picture Show” when it came out. It was seven years after its release that anyone started paying attention to it and thinking it was cool in any way. I thought it was so interesting because that is exactly what had happened in this situation in a smaller amount of time. Seeing the fan reaction to it was something similar to what I had seen with the community people have created around the “Asylum” world I am a part of. I thought “Alright! There is a reason we should be friends. Now let’s look at your thing!”
I put on ‘Repo’ with the girls and we all snuggled up in a hotel bedroom. The first thing I saw when the credits were coming up and I saw them say “Sarah Brightman.” I knew whatever this thing was, if he was good enough for Sarah Brightman to work with then who am I to say no! I met with him and did that twelve minute trailer for episode one that came out months before we made it. After we made the first episode, we worked on my ‘F.L.A.G’ video, which is one of the most incredibly important things to me, along with being one of the best experiences of my life. Darren is just so good. Anything I can ask for and imagine he will find a way to do. If I say I want rats crawling around on the sink, he will have them there by that afternoon! He won’t say something isn’t possible or he has a problem with it and will find a way to get it done. He is the only person, thus far, who I have been able to trust with my vision, to the point where he could make decisions without me having to sign off on them. Half of the video I didn’t even know happened until I saw it. I was like “I don’t know when you did that! I don’t know when you did that! I don’t know when you went on stage and decided to have people throwing cabbages at the guy in the wheelchair!” I had nothing to do with that. I watched the video of the pre-edit of that and said “When the fuck did that happen? I didn’t write cabbages into the treatment! Yet they are there and they are perfect!” I didn’t even know that half of my male crew would be dressed up in makeup, put into Victorian dresses and be dancing around. I didn’t know they signed off on that! It was kind of brilliant. That is when I said to him, “Would you direct the musical when it happens?” He said “Don’t even insult me by asking! Of course I am!” I said “Alright! I guess we are doing this!” [laughs]
Do you feel there are any major misconceptions about yourself at this point in your career?
To be a million percent honest, I am not sure. The reason I am not sure is that I don’t pay attention to anything. I don’t read any press about myself or any reviews. I definitely don’t Google myself, go on fan forums or anything like that, so I am not really sure. I really make a point to not know because I don’t think it would serve me in any way. I am sure that there are. There are misconceptions about everybody whether they are known or not. Actually, I am positive that there are because I have a relationship with Wikipedia that is brilliant. They call it the place journalists go to die! [laughs] It is too easy, it’s cheating and it’s totally inaccurate. Wikipedia has the great idea of letting users input information. Ok, how about that is a dumb idea because nobody is going to be right! [laughs] Why would they be right, I mean, what the fuck would they know about me! You can say what day a record came out but after that you have nothing to say. I went onto Wikipedia, years ago when I first realized I had a page. I thought “What the hell! That has to be a mistake! Why would I have that?” Then I realized pretty much everyone has a Wikipedia page! [laughs] I looked at it and it was a huge mistake because pretty much everything was wrong. The timelines of things that had happened in my life were wrong, relationships I had been in or not been in were wrong and there were quotes that were completely wrong. I thought “Oh no! Misinformation about me is out on the internet! I must fix this!” [laughs] I was much younger! [laughs] I made an account and went in righted the informational wrongs. I corrected the stuff and within five minutes of correcting all of this misinformation, somebody was on there that changed it back, added other stuff and left a comment saying “The last person who made changes obviously doesn’t have a clue who this person is and doesn’t know anything about them!” That is when I closed the computer for the last time and said “I’m out!” Clearly it doesn’t matter! I don’t matter, my opinion doesn’t matter, reality doesn’t matter, so you guys make your own thing and I am better off if I just stay out of your way! I think in the past I have been aware of misconceptions.
I think I was more difficult to understand before the book came out. I think it has taken a bit of time for people to disassociate me with the purely gothic genre, which I never truly was and I am not exclusively. However, I do have a large gothic following of which I am immensely grateful. The gothic/industrial crowd was the first to find me interesting in Germany. That is how all of this started. I think me being put in that category exclusively has broaden where I am not defined by one category. I think I had a rough time earlier on with people criticizing what could be considered by some super conservatives as the sexualizing of myself as being an anti-feminist something or other. Of course, I loved that because it gave me the opportunity to go out and do a bunch of speeches and interviews about how fucked up that was! If I wear a burqa and be super ashamed of my body but then would I be a strong female? I am probably one of the few women on Earth that is actually comfortable with themselves and who doesn’t look in the mirror and find themselves hideous because society tells them something is wrong with them. I just don’t care anymore. I am actually very healthy and very much wanting to just be my complete self and be as proud of myself as I can be. I can wear whatever the hell I want to wear and not get into that vicious cycle of thinking where if a woman actually looks good, she must be doing that to please somebody, she is being told to or she is being forced into some sexualized position. I mean, look at a beautiful painting. Let’s just critique Rembrandt for painting something beautiful or painting a beautiful woman! We don’t say “Oh that is horrible! They should all be fat and hideous; otherwise you are not a feminist!” I think that was embarrassing on the part of the people who were so stuck on the notion that if you are a girl and look pretty on stage and yet you claim to have these strong opinion about gender equality, then you are somehow backwards. I thought that was a point well missed because beauty is power and sexuality is power. I am very fond of being a powerful human being and I would like us all to be beautiful in our own individual ways. I think we call can be! I think beauty comes with health, happiness and being as uniquely you as you possibly can be! That is one of the most fun misconceptions; that if I do a photo shoot in something skimpy or a tight corset or something, I am taking women backwards. I thought that was fantastic! [laughs] I say that because this whole thing is about empowering everyone, particularly women! We are the most oppressed, so it just makes sense that the stronger we become, the stronger everybody becomes.
It has been interesting to hear how you music has evolved and continues to flourish into this musical and the reality it springs from. How far ahead are you looking into the future and what do you have in store for us in the years to come?
What a beautiful question. I think the musical is the most concentrated focus because it is going to take light years of work to do. Initially, it was “a Broadway musical” and now it is “a Broadway musical with half of it made up of holograms!” That is the first time I have mentioned that, so it is kind of secret but you can have that information. Basically, it is getting out of control, what is being created here! There is simply nothing that has ever been done like this in a full show. People have brought back singers to life on stage at Coachella and it’s fucking amazing but now we are creating an entire world. We want to have it come alive, have versions of me on stage at once and have it done so well you can’t tell which is which. This is what is happening. This is going to be the most intense process, other than writing that book. Nothing in my life has ever turned out the way I have foreseen it and is typically much more adventurous, to say the least! I think that is a beautiful thing! It humbles one and says “Plan to the last moment and then have your eraser by your side because you are going to need it!” Nothing is ever going to go the way you thought. I think what I want at this moment is to be the lead in this musical for quite a long time before it gets sent off and other people are allowed to take on the role of my character in my dual role. Where my heart is really at is having my future unfold as being able to, in the next couple of years, get this musical to be on London’s West End, bring it to Broadway and then bring it everywhere! I hope to see it have residencies in cities around the world and be there for maybe three months at a time. Then, after a couple of years, I hope to see how we could develop it for other countries with other casts in other languages if need be. I just want to see this project have a chance to become the phenomenon that I really want it to be. It is not because I consider myself, Emilie Autumn, worthy of that but because I do consider this adventure and story worthy of that. It is not just about me, If it were just about me I can’t talk like this but if it is about this story, I can! I am just a small part of this world and that makes it ok to me to really get behind it and say I want this to be a good message and a beautiful thing for a lot of people. I know it is not what you asked but I just had a thought of these past few years. My audience began to grow and I began to get more attention. All of this came without ever being on the radio, TV, being on a late night talk show and without any press for the most part, as far as a campaign because there is no money and it is all me. Things started to grow because that is what happens if you do something that connect with other people for whatever reason. I have found you don’t need to have a ton of money. If you are really sincere about something, it will come across. If you are really passionate about something and it means a great deal to you, chances are it can mean a great deal to someone else as well. The idea of creating The Sanctuary really hit with people because we all really want that and don’t want to be alone. It started to grow and I had that reaction of seeing how this could get really big. I thought I could get really big at the same time. How would I feel about that? The sad fact is everything I have seen of fame is pretty disgusting and very unattractive to me. There has not been any aspect of seen very famous people and what fame can do to their lives that looks attractive to me at all. I thought maybe I just wanted to keep this small, underground, intimate and special. Maybe I don’t want to be that.
More recently I have had this realization, in the past few months as things are starting to grow again, where I said “Fuck that!” No matter why you do it or what you feel about fame, if you have a message that matters to you, it should matter enough to you to get it out to as many people as you possibly can. Otherwise, you are not that committed to your message. That was me calling myself out and saying “Fuck this! Stop being a baby about it and deal with whatever happens. Prove how important this is to you. Don’t be shy about trying to get to everybody.” So that was my schooling. Now, I am all about making this massive, world domination in the most beautiful way and spreading this message. I think that has made me even more ambitious to be even louder to know that I don’t have to be like every other famous person. I don’t have to go down some dark hole and start doing a bunch of drugs that I have never even done. I don’t have to become that and lose the close connection with the audience, you and all of these things. The concept of world domination by beauty and art is necessary.
To get back to your original question, it is two-thirds about establishing the musical, me in this role all over the world and then carrying it out to have other casts in other countries do this own their own. I hope to franchise this thing and, obviously, make the movie.
What is the best lesson that people looking to you as an inspiration can take away from your life and times, so far?
Wow! That is beautiful! I like how you said my life and times because it really makes me want to do a video chat in front of the fireplace I am looking at right now. It would be “A Fireside Chat with Emilie Autumn: Her Life and Times! [laughs] I am actually going to do that! That is a beautiful question. I can tell you something that has been my lesson and something I would love to share with them. I would love to share the concept of transformation. Transformation is magic in every way, My example is my turning my very dark real-life experiences into very beautiful things that are full of light and have them illuminate the dark corners they once resided in and were born out of. Turning absolute ugliness into breathtaking beauty is what I feel I have started to do in my life. That is the point of my story — taking your prison and making it a sanctuary. If we are going to be stuck here, let’s make it a place we never want to leave. Let’s be here by choice! Let’s take it back by transforming all of these things and making them usual. The concept is “Never a day is wasted.” Your worst day could become a Broadway musical tomorrow! [laughs] It could be the thing that lets you help other people or helps you save somebody’s life. One of most gruesome examples of it is when I wrote the book, it has actual photographs and descriptive, in the moment text about me slicing myself because that is part of what I did. You have close-up pictures of my thighs being slit to shreds. The result of that, which was intended but I didn’t know was going to happen, is people come to the shows and show me their cuts. They say “I don’t do this anymore because you wrote about that.” That is a very morbid, gruesome example of that lesson. My doing that can help you to not do that. Think of what they can now do with that to help someone else. It is your duty to do that once you transform to show someone else how to do that. I think if you recognize that you have the ability to change something into something else, and then nothing in your life is ever wasted. No day is ever wasted, no matter how dark it is. There is not wasted time and it is ultimately empowering because nothing is ever over! The whole lesson is that is not over until it is over and it’s never over!
My personal lesson has been gratitude. I mean that in the least clichéd way possible. I realize I have been given the privilege of being allowed to share my transformation with other. Just because you can transform doesn’t mean you are going to get that platform. I know I can say I have worked for it and I have earned it. A lot of people have worked for and earned things they have never gotten. One can question why or one can just say “Thank You.”
All I can say is… Wow! You are such an inspiration! Thank you so much for sharing so much of yourself with us, Emilie.
Thank you, Jason. I have had such a pleasure talking to you. I am very grateful. I really appreciate the time and care you have taken. I really appreciate and I hope to see you soon! Let’s have some tea together!
Amazing! Take care, Emilie. All the best!