maria globe tour

Maria Globe Tours Inc

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Opening hours

• Monday: 10:00 AM – 6:00 PM
• Tuesday: 10:00 AM – 6:00 PM
• Wednesday: 10:00 AM – 6:00 PM
• Thursday: 10:00 AM – 6:00 PM
• Friday: 10:00 AM – 6:00 PM
• Saturday: Closed
• Sunday: Closed

MARIA GLOBE TOURS 339 Bloor St. West, Suite 220, Toronto, Ontario M5S 1W7 Tel: 416-481-2227    Fax: 416-481-2067 E-mail: [email protected]

Maria Globe Tours Inc: Reviews

Fantastic experience: This is a very, very good travel agency. They are very prompt, and help you out to find the best travel experince, price, and all other advises related to your trip. I work with them for already many years. I do recommend this agency, and all the employees, which are very nice and helpful. A very good experience.

Fantastic experience: Very helpful, Maria is providing the necessary information for your dream vacation.

Fantastic experience: Best prices ever and always prompt and responsive.

Fantastic experience: Good service ,tell what you want and they will help you.

Fantastic experience: I have worked with Maria globe Tours for more than 10 years. They are always outstanding. Top notch service and competitive price. Highly recommended.

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We offer the best quality services to our clients like- Airline Tickets, Visa Processing, Passport Issue/ Renewal Services, Travel consultation, Guiding, Tour Arrange, Ancillary services, Pacakge Services.

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Professional and polite. Could always find the best deals fast.

Excellent service each time I purchase a ticket from Maria Globe Tour!

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Maria Globe Tours

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605 Av Eglinton E

Toronto, ON M4P 1P8

Mount Pleasant and Davisville

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Really bad customer service. I don't recommend her services and I will not use this agency again.

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Maria Globe Tours Inc

We offer the best quality services to our clients like- Airline Tickets, Visa Processing, Passport Issue/ Renewal Services, Travel consultation, Guiding, Tour Arrange, Ancillary services, Pacakge Services.

Maria Globe Tours Inc - 176 St. George St, Toronto, ON

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Opening Hours

Monday 8:30 am - 6:00 pm

Tuesday 8:30 am - 6:00 pm

Wednesday 8:30 am - 6:00 pm

Thursday 8:30 am - 6:00 pm

Friday 8:30 am - 6:00 pm

Saturday 9:30 am - 5:00 pm

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What is the phone number for maria globe tours inc..

The phone number for Maria Globe Tours Inc. is (416) 481-2227.

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Maria Globe Tours Inc. is located at 605 Eglinton Ave E, Toronto, ON M4P 1P8, Canada

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The website (URL) for Maria Globe Tours Inc. is: https://www.pstranslations.ca/maria.htm

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• Maria Globe Tours Inc.

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Tuesday: By appointment

Wednesday: By appointment

Thursday: By appointment

Friday: By appointment

Saturday: By appointment

Sunday: By appointment

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RBD’s fans flooded Globe Life Field for ‘Soy Rebelde’ reunion tour

A sea of red ties Saturday flooded Globe Life Field for RBD’s “Soy Rebelde” reunion tour.

The Mexican pop band marked the lives of a whole generation of U.S. Latinos in the 2000s and is now back for a reunion tour with sold-out stadiums in the U.S., Mexico, Colombia and Brazil.

The iconic red tie is reminiscent of the band’s origin: A Mexican telenovela titled “Rebelde,” or “Rebels” in English, with a storyline that focused on a private boarding school. The signature uniform includes a red blazer and tie, white button-ups, denim skirts and knee-high black boots.

After 440 episodes, the band took a life of its own: RBD produced six albums that sold over 15 million copies.

Many U.S. Latinos growing up after the millennium found themselves represented in the characters of the novela and became mega fans.

Dallas-based cousins Jaqueline Armijo, 24, and Karina Armijo, 28, sang their hearts out during Saturday’s concert.

“I grew up watching ‘Rebelde’ since I was 4 or 5 years old,” Jaqueline said. “I have videos of me singing and watching the novela wearing the outfit.”

Karina said all her school friends and cousins were “obsessed” with RBD.

“I would go to Mexico and they were so much bigger down there. So they would have merch, stickers, gum, you name it,” Karina said. “And I would go buy stuff there and bring it over here and show off to my friends.”

Following massive success in the United States and Brazil, RBD recorded albums in English and Portuguese.

One Brazilian super fan, Luiz Felipe Pereira Ballachino, 28, traveled from Buffalo, N.Y., to Dallas with his husband to attend Saturday’s concert. The couple wore star stickers on their foreheads, paying homage to RBD member Anahí whose character in the novela had the star sticker as her signature look.

“I was so emotional when I learned that they were back and I said, ‘I can’t miss it,’” Pereira Ballachino said. “I paid $1,000 to be here.”

Pereira Ballachino said he learned Spanish because of the band, but the most impactful aspect of RBD in his life was when RBD member Christian Chávez was outed as gay by a gossip magazine in 2007.

“It was huge. My mother never accepted the fact that I’m gay,” Pereira Ballachino said. “She knew I was a huge [RBD] fan, then at some point she was like, ‘[Chávez] is normal, successful, so it’s OK for you to be gay, too.’ It was basically that. So thank you, Christian.”

Every RBD member had a solo song, but Chávez’s was special to fans like Pareira Ballachino: Chávez wore a pink and gold traditional mariachi outfit while singing “Tu Amor.”

Following the song, digital projections of pride flags covered the stage while Chávez addressed the audience holding a rhinestone rainbow microphone.

“If you want to wear pink, wear pink. If you want to love who you want to love, love them,” Chávez said. “Follow your own rules because we’re rebels and we don’t follow others.”

Other memorable moments included RBD member Christopher von Uckermann wearing a Texas Rangers jersey and RBD member Dulce María addressing “the women of Texas” and talking about women’s bravery and strength.

Saturday’s concert took place on the day of the 19th anniversary of the band’s most iconic single “Rebelde,” which was the last song performed. Every member wore the signature uniform look and the crowd went wild.

Arts Access is an arts journalism collaboration powered by The Dallas Morning News and KERA.

This community-funded journalism initiative is funded by the Better Together Fund, Carol & Don Glendenning, City of Dallas OAC, Communities Foundation of Texas, The Dallas Foundation, Eugene McDermott Foundation, James & Gayle Halperin Foundation, Jennifer & Peter Altabef and The Meadows Foundation. The News and KERA retain full editorial control of Arts Access’ journalism.

Shakespeare's Globe

Guided Tours

• Shakespeare's Globe Story & Tour
• For Families
• Group Guided Tours
• Themed Guided Tours
• Walking Tours
• Swan Bar & Restaurant
• Sam Wanamaker Playhouse Tour
• Plan your visit

Our Guided Tours at Shakespeare’s Globe are an award-winning experience 400 years in the making.

From immersive history to chilling true crimes, and from family-friendly to Members’ exclusive, our fascinating range of guided tours offers something for all interests, ages and availability. Scroll down to find your unique adventure and information on how to visit us as a group or school .

Winner of Best Guided Tour at the 2024 London For Groups Awards.

SHAKESPEARE'S GLOBE STORY & TOUR

Be transported back to Shakespeare’s London, discover the magic of stagecraft, and explore the iconic Globe Theatre itself as part of Shakespeare’s Globe Story & Tour .

In our brand-new, walk-through exhibition space, you’ll be immersed in the sights, sounds, and secrets of Shakespeare’s London, travelling through over 400 years of fascinating history.

FOR FAMILIES

Introduce younger visitors to Shakespeare’s London and the theatrical world he created on one of our Guided Tours aimed at families with children ages 7+. Plus, enhance your experience with one of our exciting live demonstrations.

Family Sword Fighting Demonstration

Ghosts & Ghouls Family Tour

Dressing Demonstration

Group guided tours.

Visiting London as a group, society or school? Celebrating a special occasion? Create an unforgettable theatre experience by visiting Shakespeare’s Globe!

Your group of up to 30 people can enjoy Shakespeare’s Globe Story & Tour  with a discounted ticket rate, plus take advantage of special dining options at Swan Bar & Restaurant .

THEMED GUIDED TOURS

Our special themed Guided Tours allow you to experience the magic of our wooden ‘O’ through different lenses, allowing you to dive deeper into Shakespeare’s history and plays.

Pride Guided Tour

Heaven to Hell Tour

The Comedy of Errors: Guided Tour

Much Ado About Nothing: Guided Tour

Richard III Guided Tour

The Taming of the Shrew: Guided Tour

Antony & Cleopatra: Guided Tour

Walking tours.

Step away from the Globe and let our expert Guides show you around Bankside and beyond, and learn about the intriguing, entertaining and surprising history of our local area.

Shakespeare's True Crimes Walking Tour

Twilight Walking Tour

Swan bar & restaurant.

Swan is set over two floors, with stunning views of the Thames and St Paul’s.

Explore the bar and restaurant opening times, read menus and familiarise yourself with Swan’s Covid policy online .

SAM WANAMAKER PLAYHOUSE TOUR

Opened in 2014, and named after the Globe’s founder, the  Sam Wanamaker Playhouse  explores the experiences of actors and audiences in indoor playhouses in contrast to the more expansive, public spaces of the open-air theatres like the Globe.

PLAN YOUR VISIT

Everything you need to know to plan your visit to our Guided Tours .

Opening times, information about getting here, our recently-published Covid-19 safety measures, and more.

We use cookies to ensure you get the best experience from our website.

Carry on browsing if you're happy with this, or find out how to manage cookies .

Luke Jerram

Over the coming years Gaia  will be presented in art exhibitions, science, music and light festivals around the world. 

We update this website regularly, but please check with the presenting institution directly for the most up-to-date information.

Gaia will next be presented in: Sommerszene , Salzburg, Austria, 4 – 16 June Borneo Cultures Museum , Sarawak, Malaysia, 25 June – 22 September Kelburn Garden Party , Scotland, 4 – 8 July Colchester Castle , UK, 19 July – 15 September Kendal Calling , UK, 1 – 4 August Stadtkirche Karlsruhe , Germany, 13 September – 6 October Blumenthal Arts , Charlotte, USA, 20 September – 10 November Helsinki Cathedral , Finland, 1 – 31 October Bristol Cathedral , UK, 15 October – 10 November UCL , London, UK, ongoing Canadian Museum of Nature , Ontario, ongoing Trinity College Dublin , Ireland, ongoing

(There are often several Gaia’s touring simultaneously)

Gaia has been presented previously in:

2024 Birkenhead Park , UK. St Thomas’ Church , Isle of Man. Houston Museum of Natural Sciences , USA. Akropolis , Kaunas, Lithuania. Lincoln Cathedral , UK. Tewkesbury Abbey , UK. Norton Priory , UK.  2023 Rijnstate Hospital , Netherlands. Namur en Lumière , Belgium. The Media Majlis at Northwestern University , Doha, Qatar. Lichfield Cathedral , UK.  Truro Cathedral , UK. Stowe House , UK. 4Passi Festival , Treviso, Italy. Bath Abbey , UK. Lieux Publics , Marseilles, France. Beverley Minster , UK.  Charlotte International Arts Festival , USA.  Falu Kristine Kyrka , Falun, Sweden. Jeonju International Sori Festival , Korea. Durham Cathedral , UK. V Festival Internacional de Mujeres Creadoras , Covarrubias, Spain. Southwell Minster , UK.  Kendal Calling , UK. Bluedot , UK. Memminger Meile , Germany. Zsolnay Light Festival , Pécs, Hungary.  Huron Waves , Exeter, Ontario, Canada. Landmark Arts Centre , London. Charles Rennie Mackintosh Church , Glasgow, UK.  Reading Climate Festival , UK. Houston Museum of Natural Science , USA.  Taunton Minster , UK.  Key Biscayne , FL, USA.  Barletta Castle , Italy.  Frauenkirche Dresden , Germany. WOMADelaide , Australia.  Chester Cathedral , UK.  Exeter Cathedral , UK.  Muttart Conservatory , Edmonton, Canada.  Embassy Theatre , Skegness, UK.

2022 Grimsby Minster , UK.  Teatro al Massimo , Palermo, Italy.  Nobel Week Lights , Stockholm, Sweden.  Belluno Centro Storico , Italy. Holy Trinity Boar Lane Church , Leeds, UK.  Fässbergs Kyrka , Sweden.  Southwark Cathedral , London.  Chelmsford Cathedral , UK.  EXPERIMENTA , Grenoble, France.  Wells Cathedral , UK.  Derby Cathedral , UK.  Rockhampton River Festival , QLD, Australia.  Pieterskerk Leiden , NL.  Lights On Romania , Constanța.  Brisbane Festival , Australia.  Greenbelt Festival , UK.  We Are Lewisham , London.  Arcadia Tour , Friesland, Netherlands.  Bell Museum , Minnesota.  Kensington & Chelsea Festival , UK.  Trondheim International Olavsfest , Norway.  Kendal Calling , UK.  Bluedot , Jodrell Bank Observatory, UK. Lancaster Priory , UK.  Hartlepool Waterfront Festival , UK.  St Paul’s Cathedral , Melbourne, Australia.  Oxford Festival of the Arts , UK.  Cork Midsummer Festival , Ireland.  Rochester Cathedral , UK.  The Hub at St Mary’s , Lichfield, UK.  The Collection Museum , Lincoln, UK.  ChangeNOW Summit , Grand Palais Ephemère, Paris.  Houston Museum of Natural Science , USA.  CIA Copia Global Plant Forward Culinary Summit , Napa, USA.  WaterFire Arts Center, Providence, USA.  Bremen, Germany .  Millenium Point , Birmingham, UK.  Lights On Romania , Cluj.  Culture Warrington , UK.  Illuminate , Oldham. Fully , Switzerland.  Knowsley Borough of Culture , UK.  Spectra Festival , Aberdeen, UK.  Quoz Arts Fest , Dubai. 

2021 Kunsthal Charlottenborg , Copenhagen, Denmark.  Mechelen Feest , Belgium.  Number One Riverside , Rochdale, UK.  Lights On Romania , Bucharest.  Lumo Light Festival , Finland. Keele Chapel , UK.  COP26,  Glasgow, UK.  Water Cube , Beijing, China (10 metre Gaia). Dynamic Earth , Edinburgh, UK.  Fjord Oslo , Norway.  Coventry Cathedral Ruins , UK.  St Peter Mancroft , UK.  Spill Festival , UK.  Light Night Leeds , UK. Metanoia Climate Festival , St Wulfrum’s, Grantham, UK. Charlotte SHOUT! NC, USA.  Musica Sacra , Maastricht, Netherlands. Inside Out Dorset , UK.  Farout Festival , BASE Milano, Italy. Freedom Festival , Hull, UK.  The Wilds at Barking Riverside , London.  The Coro , UK. Festival of the Earth , Wakefield, UK. Milton Keynes International Festival , UK.  Lights On Romania , Sfântu Gheorghe.  Ely Cathedral , UK.  GLEX Summit , Lisbon, Portugal.  ‘Celeste’ Derriere le Hublot , Figeac, France.  Old Royal Naval College , London.  Houston Museum of Natural Science , USA.  Giornate del Respiro , Sardinia, Italy.  Lights On Romania , Timisoara. Leicester Cathedral , UK. Lights On Romania , Satu Mare.

2020 Gloucester Cathedral , UK.  Beaugrenelle , Paris.  The Apex , Bury St Edmunds, UK.  HOTA Home of the Arts , Gold Coast, Australia. Discovery China , Wuhan, China.  University of East Anglia , UK.  Circulate London , Hounslow, UK.  Greenwich & Docklands International Festival , London, UK.  Mattatoio , Rome, Italy.  Houston Museum of Natu ral Science , USA.  SILBERSALZ , Halle, Germany.  Microdot at Alderley Park , UK.

2019 Eden Project , UK.  Lights on Romania , Cluj, Romania. Lates: Seven Worlds, One Planet , Natural History Museum, London, UK. Barnsley College , UK. Shenzhen, China. Wentworth Woodhouse , UK. Lightpool Festival , Blackpool Tower Ballroom, UK. Essen Light Festival , Germany. Biela Noc (White Night Slovakia) , Bratislava, Slovakia. Oradea Festifall , Romania. Peterborough Cathedral , UK. White Night 2019 , Riga, Latvia. National Science & Media Museum, Bradford, UK. Wales Millenium Centre , UK. University of Bristol , UK. Discovery Moon landing 50th Anniversary Special , Taipei, Taiwan. Aura Festival , Sintra, Portugal. Yuanmingyuan Rd, Shanghai , with Discovery Channel, China. Llanthony Secunda Priory , Gloucester, UK. Liverpool River Festival , UK. Salisbury International Arts Festival , UK. Lee Tung Avenue & Citywalk , Hong Kong. Spinningfields, Manchester, UK. Joondalup Festival , Australia. Fire & Light Falkirk , UK. Hsinchu New Year Festival , Taiwan. W5 , Belfast. 

2018 Natural History Museum , UK. Bluedot Festival , UK.

Contact us if your organisation is interested in presenting the artwork   in the future. The artwork can be presented in a number of different ways. See examples in Presentations . The artwork can be exhibited indoors or outdoors and events can be programmed underneath.

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• Kontinental Hockey League

Gagarin Cup Preview: Atlant vs. Salavat Yulaev

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Gagarin cup (khl) finals:  atlant moscow oblast vs. salavat yulaev ufa.

Much like the Elitserien Finals, we have a bit of an offense vs. defense match-up in this league Final.  While Ufa let their star top line of Alexander Radulov, Patrick Thoresen and Igor Grigorenko loose on the KHL's Western Conference, Mytischi played a more conservative style, relying on veterans such as former NHLers Jan Bulis, Oleg Petrov, and Jaroslav Obsut.  Just reaching the Finals is a testament to Atlant's disciplined style of play, as they had to knock off much more high profile teams from Yaroslavl and St. Petersburg to do so.  But while they did finish 8th in the league in points, they haven't seen the likes of Ufa, who finished 2nd. 

This series will be a challenge for the underdog, because unlike some of the other KHL teams, Ufa's top players are generally younger and in their prime.  Only Proshkin amongst regular blueliners is over 30, with the work being shared by Kirill Koltsov (28), Andrei Kuteikin (26), Miroslav Blatak (28), Maxim Kondratiev (28) and Dmitri Kalinin (30).  Oleg Tverdovsky hasn't played a lot in the playoffs to date.  Up front, while led by a fairly young top line (24-27), Ufa does have a lot of veterans in support roles:  Vyacheslav Kozlov , Viktor Kozlov , Vladimir Antipov, Sergei Zinovyev and Petr Schastlivy are all over 30.  In fact, the names of all their forwards are familiar to international and NHL fans:  Robert Nilsson , Alexander Svitov, Oleg Saprykin and Jakub Klepis round out the group, all former NHL players.

For Atlant, their veteran roster, with only one of their top six D under the age of 30 (and no top forwards under 30, either), this might be their one shot at a championship.  The team has never won either a Russian Superleague title or the Gagarin Cup, and for players like former NHLer Oleg Petrov, this is probably the last shot at the KHL's top prize.  The team got three extra days rest by winning their Conference Final in six games, and they probably needed to use it.  Atlant does have younger regulars on their roster, but they generally only play a few shifts per game, if that. 

The low event style of game for Atlant probably suits them well, but I don't know how they can manage to keep up against Ufa's speed, skill, and depth.  There is no advantage to be seen in goal, with Erik Ersberg and Konstantin Barulin posting almost identical numbers, and even in terms of recent playoff experience Ufa has them beat.  Luckily for Atlant, Ufa isn't that far away from the Moscow region, so travel shouldn't play a major role. 

I'm predicting that Ufa, winners of the last Superleague title back in 2008, will become the second team to win the Gagarin Cup, and will prevail in five games.  They have a seriously well built team that would honestly compete in the NHL.  They represent the potential of the league, while Atlant represents closer to the reality, as a team full of players who played themselves out of the NHL. 

• Atlant @ Ufa, Friday Apr 8 (3:00 PM CET/10:00 PM EST)
• Atlant @ Ufa, Sunday Apr 10 (1:00 PM CET/8:00 AM EST)
• Ufa @ Atlant, Tuesday Apr 12 (5:30 PM CET/12:30 PM EST)
• Ufa @ Atlant, Thursday Apr 14 (5:30 PM CET/12:30 PM EST)

Games 5-7 are as yet unscheduled, but every second day is the KHL standard, so expect Game 5 to be on Saturday, like an early start. 

The Unique Burial of a Child of Early Scythian Time at the Cemetery of Saryg-Bulun (Tuva)

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Pages:  379-406

In 1988, the Tuvan Archaeological Expedition (led by M. E. Kilunovskaya and V. A. Semenov) discovered a unique burial of the early Iron Age at Saryg-Bulun in Central Tuva. There are two burial mounds of the Aldy-Bel culture dated by 7th century BC. Within the barrows, which adjoined one another, forming a figure-of-eight, there were discovered 7 burials, from which a representative collection of artifacts was recovered. Burial 5 was the most unique, it was found in a coffin made of a larch trunk, with a tightly closed lid. Due to the preservative properties of larch and lack of air access, the coffin contained a well-preserved mummy of a child with an accompanying set of grave goods. The interred individual retained the skin on his face and had a leather headdress painted with red pigment and a coat, sewn from jerboa fur. The coat was belted with a leather belt with bronze ornaments and buckles. Besides that, a leather quiver with arrows with the shafts decorated with painted ornaments, fully preserved battle pick and a bow were buried in the coffin. Unexpectedly, the full-genomic analysis, showed that the individual was female. This fact opens a new aspect in the study of the social history of the Scythian society and perhaps brings us back to the myth of the Amazons, discussed by Herodotus. Of course, this discovery is unique in its preservation for the Scythian culture of Tuva and requires careful study and conservation.

Keywords: Tuva, Early Iron Age, early Scythian period, Aldy-Bel culture, barrow, burial in the coffin, mummy, full genome sequencing, aDNA

Information about authors: Marina Kilunovskaya (Saint Petersburg, Russian Federation). Candidate of Historical Sciences. Institute for the History of Material Culture of the Russian Academy of Sciences. Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail: [email protected] Vladimir Semenov (Saint Petersburg, Russian Federation). Candidate of Historical Sciences. Institute for the History of Material Culture of the Russian Academy of Sciences. Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail: [email protected] Varvara Busova  (Moscow, Russian Federation).  (Saint Petersburg, Russian Federation). Institute for the History of Material Culture of the Russian Academy of Sciences.  Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail:  [email protected] Kharis Mustafin  (Moscow, Russian Federation). Candidate of Technical Sciences. Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected] Irina Alborova  (Moscow, Russian Federation). Candidate of Biological Sciences. Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected] Alina Matzvai  (Moscow, Russian Federation). Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected]

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The Marías Plunge Into The Depths On 'Submarine': How The Band Found Courage In Collective Pain

Following a major breakup, group therapy and finding solace in film, the Marías are back with a new album of ethereal pop. "It is my perspective on heartbreak, which can be interpreted in so many different ways," says singer/songwriter María Zardoya.

The Marías had undergone a seismic change by the time they started working on Submarine , their second full-length album. Lead singer and songwriter María Zardoya and drummer and producer Josh Conway had ended their eight-year relationship, uprooting their lives and creative partnership in the process.   

Instead of being subsumed by the breakup's emotional waters, the L.A.-based pop band took a six month hiatus. They traveled, tended to their loved ones, and considered the next steps for their careers.     Luckily for their large, devoted audience, Zardoya and Conway decided that their breakup wasn’t an obstacle for the Marías to keep going. "Even though you lose yourself in every heartbreak, I think that is an opportunity to gain even more," Zardoya tells GRAMMY.com.

What followed was a fruitful period at their Los Angeles studio, where Zardoya , Conway,  keyboardist Edward James, and guitarist Jesse Perlman reassessed their dynamics. They spent long days working on new songs, pushing through with the help of band and individual therapy. The end result is Submarine , a record that tells a story of loneliness, grief, and transformation.    

Submarine is a vibrant listening experience, and reflective of the Marías' love of film and well-curated aesthetics. The album is full of expansive arrangements, ranging from dream pop to rock and jazz. Water-like sounds, R&B harmonies, and soft electronic textures add to Zardoya’s ethereal vocals which, complimented by shimmery guitars and subtle percussion, create a contrasting narrative of desolation and romance.     The group’s musical union, and their distinctive sound, is palpable through Submarine. Tight-knit danceable songs, cheeky vocals, and Zardoya’s immaculate style — which seeps through lyrics about drama, paranoia, and even the claustrophobic feeling behind modern technology — make for a strong release, where love and hope are still within reach.     Ahead of their world tour, which kicks off in Mexico on June 11, and in celebration of Submarine, the Marías spoke with GRAMMY.com about overcoming the band’s potential dissolution, taking inspiration from arthouse cinema, and the emotional process of creating their third album.

Looking at your docuseries for 'Submarine,' something María said caught my attention. "There were a few moments after ‘Cinema’ that I thought the band was over." Can you elaborate on that?     María Zardoya : There was a point where I did think that the band was over. I think we were all in a tumultuous place. I didn't know if I still wanted to make music, and I didn't know if The Marías would continue. But thankfully, it did.   

We went to therapy as a band; Josh and I went to therapy together; and we all started doing our [own] therapy. Through all of that work that we did, we realized that the music is so important. We have so much to say, and what we have to say is important. Let's continue.   

In the end, that period only made us stronger. Today our relationship with each other, and my relationship with Josh and the guys individually are stronger than ever. So I'm glad that we went through what we did.     Can each of you, individually, tell me why the band is important to you?     Josh Conway: Music has been important to me my entire life. That's something that I kind of realized over the last couple of years; music is more important to me than anything else. I'll do whatever it takes to continue making music and making music with people that I love, especially. It's special to be doing this with all my best friends.     Edward James: I've always wanted to be in a band. I love the concept of a group of people who are one for all and all for one, and who get to experience everything together. It's a unique interpersonal relationship dynamic that you don't get really with anyone else in your life. So apart from the existential pursuit of music that we're all drawn to, the camaraderie is so important, because of how difficult the dynamic is to maintain and to continue. I think doing it with the band sort of translates to every other sort of relationship you can have in your life.     Jesse Perlman: Whether if we took one year off, or five years off, we would still, at some point, get back together and be like, "Okay, we're ready." I think we're so close, and we miss touring so much. This whole rollout and recording process that we did in the last year has just been so open — and I think we're just so ready to take this on the road.     Zardoya: It's important to express myself, and to get out the feelings that are inside. That's why music is so important to me, and this band is so important to me. I've gotten a lot of DMs and letters in the mail from fans saying that our music has helped them through different periods in their lives. That they feel seen, and represented — with them being Latin and me being Latin — and how inspired they are. So music is important for me individually, but it's also important for me to keep doing this for the people who get something out of our music.

Jesse, you mentioned missing touring. What is everyone's favorite part of touring? A lot of musicians have detailed how touring can be grueling and financially unviable.     Perlman: We're coming up on almost eight years of being in this band, and I feel like we've done it all. We've gone around the country so many times now, and that was special. But now we're at a level where we finally have a whole crew and we can play these bigger, beautiful theaters.   

We can make a cool, eclectic setlist with a mix of all the songs [from Submarine , Cinema and EPs Superclean Vol. I and II ] — and that's my favorite part, putting together a fun set. Surprising the fans with interludes and jams and a big production with cool lights and stuff. That’s so fun for me.     James: My favorite part of touring is just that feeling of nervousness before a show. Then sort of going over the hilltop as soon as we play the first notes of the first song. Then riding that feeling during and after the show.     Conway: All of the trouble of getting to and from the venue, carrying gear, and the off days in a random city — all of that can be pretty grueling and taxing. But when you can play these songs, in front of fans that love you, and love your music and sing along. You can see people experiencing joy. It makes it all worth it, 99 percent of the time.     Going back to the process of making 'Submarine,' María, you mentioned a transition between thinking the band was over to making music again. Can you tell us more about that moment?     Zardoya: I think we took the intensity of Josh [Conway] and me transitioning from a romantic relationship to a platonic relationship and put it into the music. [We] also used it to work on ourselves and grow individually. I'm grateful for everything that we've been through, the intense moments and the hard moments because we just put it into music.     How did you start and arrive at the theme of the album? From having an "aha moment" to completing the project?     Zardoya: The aha moment came when the album title came into my head. I shared it with the guys and they were super into it. That's when the album’s world started to be built. When we started hearing how it could all come together, that’s when Submarine — the title and the concept — was born. I saw so much symbolism in using water to represent this going inward, this introspective journey that we were all on. And then using these underwater sounds in the tracks.     Conway: There was also a moment when we had been working on the album for a couple of months. We had gotten to a good place after writing, and then María and I listened to the first six songs that are on the album now. That was the first time where María and I were able to conceptualize what it's gonna sound like when you listen to the whole album. We were dancing in the studio and that was just a really exciting moment. We both knew we just heard the beginning of the album and we loved it.     You did a great track-by-track breakdown of your 2021 album, 'Cinema.' Can you talk about the tracks in 'Submarine?'     Zardoya: The opening track, "Ride," is almost like an introduction to Submarine . Where Cinema started with these beautiful string arrangements, we kind of wanted the first track of Submarine to be a little bit more hard-hitting and in your face. Almost like it's slapping you into this world.     Perlman: The intro to Cinema was dramatic. Then when you listen to "Ride" opening Submarine , it's more fun and light-hearted.     Conway: Then "Hamptons." María and I were cycling through old beats, and that one caught our attention. We just started writing to it. We pretty much had the whole thing written on the first day. It was a lot of fun.     Zardoya: I think thematically I wrote these lyrics after visiting the Hamptons. I wanted to hate the Hamptons because it's like this bougie place in New York, but I honestly loved it. It was beautiful. The nature was so pretty. 

What about "Echo" and "Real Life"?     Zardoya: "Echo" is about being pulled into two different directions and living in that ambivalence, which makes you feel paralyzed. This was probably one of the hardest songs to write on Submarine — both thematically and then also piecing it together. We had a part written and it wasn't quite doing it. Then finally, one afternoon the chorus came out of nowhere. And then I think we were like "Okay, here we go. We've got the song."     "Real Life," lyrically, is about the culture that we have with our phones, and everything being virtual. It’s about wanting to have that one-on-one human connection in real life. Songwriting-wise, it came out of a jam that we were all doing together in the Dominican Republic. We were there for a show. We started jamming and it all — the melody, lyrics, and everything — came out of nowhere.     James: It was pretty much written in 30 minutes. It was crazy fast.     Perlman: Whenever we play it, it's perfect every time. It's always the first one we soundcheck with. It's one of my favorites on the album.     In a YouTube video, you said that 'Submarine' is not necessarily about your heartbreak. Can you expand on that?     Zardoya: Words in songs live subconsciously, within me. These songs could be about us, they could be about something that happened 10 years ago, they don't have to be about anything in particular . They are subconscious thoughts that come up to create a song. It is my perspective on heartbreak, which can be interpreted in so many different ways.     Have any films or music helped inspire or complement the aesthetic of 'Submarine?'     Zardoya: I've always been inspired by visuals when it comes to what we do and how it merges with the music. Film was like my first love. One of the movies that inspired this album, ' Three Colors: Blue ' by Krzysztof Kieślowskii , from the ' Three Colours ' trilogy. Aside from the color blue , and how we've moved from red to blue in this album, in that movie, the main character loses her family at the beginning and she has to figure herself out and go on this introspective journey to find herself.   

That's kind of how I felt with this album. In the beginning, I found myself in this place of solitude and loneliness. Then throughout the album, just like Julie in the movie, I started to find myself and started to find courage in the pain that I had been feeling.     Other movies that I rewatched during the making of this album were ' Lost In Translation ' and ' Her. ' ' Lost In Translation ' is also about solitude, and I found that perspective inspiring the visuals and the record as well. Then on ' Her ' , technology and loneliness kind of go hand in hand. All of these relationships that we have with technology and with our phones were kind of interspersed throughout the album.     Later I discovered that these two films were created in response to the end of a relationship [between film director Sofia Coppola and filmmaker Spike Jonze]. So I loved that as well because you create this art in response to something real and something tangible.   

In making 'Submarine,' did you learn something or find a silver lining?     Conway: You don't have to be in a romantic relationship to love someone.     Zardoya: Even though you lose yourself in every heartbreak and every loss, I think that you have an opportunity to gain even more.  

Conway: When the album ends, there is a glimmer of hope. In my mind, it feels like that you'll be getting out of the submarine pretty soon.     Wallows Talk New Album 'Model,' "Entering Uncharted Territory" With World Tour & That Unexpected Sabrina Carpenter Cover  

Empress Of Is Here 'For Your Consideration': How Heartbreak, Horniness & Self-Acceptance Led To An Actualized Album

"How can we make it hot?" Empress Of wondered while writing her new album. Out March 22, 'For Your Consideration' is at once dancefloor ready and introspective. "I take my career very seriously, but I also am having a laugh at how absurd it is."

Inspiration can strike anywhere — something that Empress Of learned during a night out at a strip club. 

The singer/songwriter and L.A. native returned to the studio the next morning, raring to work that energy into her new album. "I came into the studio, like, ‘Guys, I went to a strip club. I gave a beautiful woman money. That is the energy for today,’" she says with a laugh. "Almost to a fault, everything can be an inspiration." Her upcoming album, the ecstatic For Your Consideration (due March 22), was spurred by that type of sultry stimulus and winks knowingly at the seductive glitz of her Hollywood home.

Born Lorely Rodriguez, Empress Of debuted in 2015 with the sublime Me and has since perfected a formula of avant pop songwriting, high-energy electronic textures, and bold poetics across two further albums. But a distinct change powers For Your Consideration , in part powered by a surreal heartbreak: the press release accompanying the album’s announcement details having been broken up with by a film director, only to wind up bombarded by his "For Your Consideration" campaign for the Oscars. 

As such, For Your Consideration embraces the strengths of her first three records, while bringing a renewed immediacy to every facet. The house and R&B influences are distilled to their essence on some tracks, while others lavish in lush experimental pop. Lyrically, Rodriguez opts for raw, sensual tales of love, lust, and loss — sung in both Spanish and English. 

Nearing the release of For Your Consideration , Empress Of spoke with GRAMMY.com about finding inspiration from Raya dates and early ‘00s club music, losing your naivety, and finding her Lady Gaga transformation.

As an L.A. native, how has your perception of the entertainment industry shifted over the last few years? Was that something that had any impact on the way that you grew up and envisioned your future?

It's funny, I never saw L.A. as "the stars" and all that. But on this record, I'm embracing that L.A., or embracing that side of myself. I see "For Your Consideration" billboards everywhere. And now I'll have a "For Your Consideration" next year. But it’ll be like, "For your consideration: For Your Consideration." I think it's funny. I'm poking fun at it on this album. 

I don't think I've ever been so lighthearted with my album art and how I promote myself. I've always felt like an "indie darling." Maybe a little serious. And here I'm like 10 years into doing this, this is my fourth album, and I'm like, Let's ride a shooting star over Los Angeles. Let's be her . Let's send the message, and the message is she's a shooting star.

It feels as if you're introducing another side of yourself within this almost satirical and intensely contemporary conception of "the artist." It’s as if you needed to build to this level of poking fun, and now you’re comfy enough to.

For sure. And I think confidence is something you hear on the album. Even just working with this photographer, she was like, "If we're going to do this…you need to give me camp. You need to give me laughing, throwing your head back." 

I couldn't be serious on this album cover. And what I love about that is like, yes, I take my career very seriously, but I also am having a laugh at how absurd it is what we do.

I think there's a big misconception in art that you have to be stoic when you’re theorizing and contextualizing. The signs of having fun can actually be much stronger than projecting something more intense.

I think it's like you said: I'm comfortable. And there's also something when you speak about an album that you know is good. There might've been other times in my career where I was not as assured in something, like maybe I was doing something new. But even on this record, I'm doing something new. I worked with tons of producers and songwriters and all that, but I know it's a good album. If I didn't make it, I would want to listen to it.

You did work with some incredible songwriters for the album. There's never a moment where I hear something and think it sounds unlike you or out of place.

Age is confidence. And being older and having done four albums now, I just don't really doubt anything. I don't think I've compromised or was in a situation where a producer was pushing too much of themselves on a song. I feel like I was a very good leader on this album where even though I wasn't at the laptop or making the beats or whatever, I was able to convey what I wanted to make.

I agree with you about age — I know when I was young I would push myself and had this strange confidence because I was naïve! But as you grow older, you see a more complex picture. Thematically, does it feel like this captures that romantic, cyclical sense of longing and then having and then losing?  

Totally. You have that naive confidence when you're younger. When you're older, you have confidence about not caring anymore. Naiveness turns into "I don't give a f—." That is even more power in itself. 

The romantic themes and feminine themes on the record, the themes about wanting to be wanted and wanting to feel good, but being okay with letting it go — a lot of the lyrics are just a little bit more direct than I would have ever said them. An earlier me would drown it in metaphor. And I don't feel like I'm drowned in metaphor. It's like who I am right now. If you went on a date with me, I wouldn't be trying to present a version of myself that you would like. You would just get me. 

A lot of these songs were written with me using [the dating app] Raya for the first time and going on dates. [ Laughs .] It's weird. It helps with when you're writing songs, because I'm tired of presenting a version of myself that someone can understand. Either you get it or you don't.

  But getting there takes a lot of sifting through your own personal crap doesn’t it?  

Oh my God. Yeah. There was a 27-year-old version of me that was like, [ nervous muttering ]. And now I'm just kind of like, "Yes, there's a lot of intention and a lot of art direction, vision, but to me it feels less safe, and I like that."

I feel like there's a sweet spot in an artist's career when they become less safe. And I have seen it before in other artists and I'm like, Cool. This is an evolution for you . I don't know if I'm quite there. I don't know if I'm at the Lady Gaga point of less safe, but I feel like it takes time.

I was struck by the level of detail you went into in the runup to the album, talking about the heartbreak you experienced with a film director. Do you feel like being that direct and transparent helped you just push past it and move through it instead of getting stuck in metaphors?

Everyone always loves my breakup songs. I get so many comments from fans being like, "Your song got me through my breakup." The song I have with Muna , "What's Love," is a breakup song — a "breakup song but I'm not broken." It feels like my "thank u, next." Like, yes, I'm heartbroken, but I learned so much in it.

Completely. And now you can really go and sing it to the masses and have the story be your triumph. Does that ever get uncomfy, though, having people run up to you like, "I loved your most painful traumatic moment!"

No — once music is out, it belongs to people, and it's up to them for interpretation. If I broke up with someone or if I was mourning someone and had to go and play this song about them on tour, it would be difficult. But when I sing the songs, they kind of feel like someone else's songs. When I’m on tour and I sing my songs, it's like I'm singing a song that I added to my playlist.

How far into the writing and concepting did you get before you started working with someone like Rina Sawayama or Muna?

I wrote a lot of these songs during a summer, and then going into fall, going into sessions, I knew I wanted to start everything with my voice. I feel like the voice is the most important instrument. No matter what producer or songwriters, I was like, "Can you just turn the microphone on, and can I just beatbox and hum and sing, and we just chop it up and make some world?" 

I was like, "I just want to write hot songs. I want to write horny songs. I want to write fun songs. I want to be on stage and I want to be sexy and I want to evoke this sensuality." And so when I was writing, I was just like, "Okay, how can we make it horny?" 

That’s so fun, especially because you’re doing it by being unapologetically dedicated to what you needed in that moment.

I wrote these songs over two years, but I definitely remember being in the studio and coming up with ideas with these songwriters and just being like, "How can we make it hot? I just want to feel hot."

There’s this incredible duality to your music that makes me think of artists like Björk — this ability to bounce between really lux, almost ballad-y melodies, and then you can get really club-ready. And then, you've got some electronic textures. Who were your influences here, and how did you go about harnessing that wide spectrum so cohesively?

I was listening to a lot of music from the early 2000s. I was listening to this band called Koop, and their album Waltz for Koop which has Yukimi Nagano on it. I was listening to Des’ree’s "You Gotta Be. I was listening to the Romeo + Juliet soundtrack, with the Cardigans. I was listening to a lot of Pharrell and the Neptunes . I always listen to Saint Etienne. I just love the sexiness of being in a club in the early 2000s.

I was struck by how much singing in Spanish was emphasized on this album. Was that something you set out to do at the outset of the record?

On your fourth album, you’re like, How else can I make this exciting for myself? I’ve never written this much music on an album in Spanish. And I wanted to write with co-writers who write in Spanish. 

Just being in the room with them and thinking of themes and song titles that go with that flirty sexiness, like "Sucia" which means dirty, and "Fácil" which means easy, and "Preciosa" which means precious. It’s so fun. It made writing this album so exciting for me. For "Preciosa," the night before I had gone to a strip club and I came into the studio, like, "Guys, I went to a strip club. I gave a beautiful woman money. That is the energy for today. Let’s write a song." [ Laughs. ] 

Almost to a fault, everything can be an inspiration, whether it’s being objectified as a woman or being heartbroken or being on a Raya date and having a one-night stand. I hate and love that everything turns into a song.

After 9 Years, Ana Tijoux Returns With Songs At The BPM Of Life

Photo: Allen J. Schaben   /   Contributor

Watch Red Carpet Interviews With Nile Rodgers, Jacob Collier, First-Time Nominee Bonobo & More at the 2023 GRAMMYs

See and hear what the GRAMMY-winning and nominated stars were up to when they stopped by to talk with the Recording Academy ahead of the 2023 GRAMMYs telecast.

On Music’s Biggest Night, stars stopped to talk with the Recording Academy ahead of the 2023 GRAMMYs telecast. Watch interviews with Lifetime Achievement Awards recipient Nile Rodgers , first time nominees Bonobo and The Marias , industry legends like LL Cool J and so many more.

Head to live.GRAMMY.com all year long to watch all the GRAMMY performances, acceptance speeches, the GRAMMY Live From The Red Carpet livestream special, the full Premiere Ceremony livestream, and even more exclusive, never-before-seen content from the 2023 GRAMMYs.

2023 GRAMMY Nominations: See The Complete Winners & Nominees List

Carly Pearce & Bill Anderson

Carly Pearce , GRAMMY-winner with  Ashley McBryde for Best Country Duo/Group Performance  of  “Never Wanted To Be That Girl”.

Nile Rodgers

Nile Rodgers , recipient of this year’s Lifetime Achievement Award , GRAMMY-winner for Best R&B Song on Beyonce ’s “Cuff It” and GRAMMY-nominated for  Album Of The Year on Beyonce’s Renaissance. 

Maneskin , GRAMMY-nominees for Best New Artist .

Bonobo , GRAMMY-nominated for Best Dance/Electronic Recording for his song “ Rosewood”  , and Best Dance/Electronic Music Album for his album,  Fragments .

The Marias , GRAMMY-nominated for Album of the Year for Bad Bunny ’s “Un Verano Sin Ti”.

Nelly is a three-time GRAMMY-winner and 12-time nominee.

Aoife O'Donovan

Aoife O'Donovan , GRAMMY-nominated with Allison Russell for Best American Roots Performance for “ Prodigal Daughter”.

Fridayy, GRAMMY-nominated for Best Rap Performance, Best Rap Song , and Song Of The Year for “God Did”.

Jacob Collier

Jacob Collier , GRAMMY-nominated for Album of the Year for work on Coldplay ’s ‘Music of The Spheres’.

GRAMMY-winner LL Cool J . 

Machine Gun Kelly

Machine Gun Kelly , GRAMMY-nominated for Best Rock Album ,  Mainstream Sellout.

Tiara Thomas

Tiara Thomas , GRAMMY-nominated for Album of the Year for Mary J. Blige ’s album,  Good Morning Gorgeous .

Press Play At Home: Watch The Marías Deliver A Soothing Performance Of "Un Millón"

On the latest episode of the Press Play At Home performance series, watch alternative-pop band the Marías perfectly capture the warm feeling of love in their performance of "Un Millón"

True love can feel hypnotic. On the latest episode of the Press Play At Home performance series, alternative-pop band The Marías perfectly capture the mesmeric feeling of love with their warm performance of "Un Millón."

Serving as a love letter to lead singer María Zardoya's birthplace, Puerto Rico, "Un Millón" allows her to sweep the listener off their feet by pairing her commanding yet calm stage presence with her soothing delivery of the song's passionate lyrics.

As masterful as the song may sound, "Un Millón" almost didn't make it onto the Marías' recently released debut album, CINEMA , and serves as the alternative-pop band's introduction into reggaeton-inspired music.

"This is the first reggaeton-inspired track that we created," María tells GRAMMY.com. "I grew up listening to reggaeton, and we were curious to see what it would sound like if we tried making a reggaeton track."

Check out the Marías' powerful performance of "Un Millón" above and explore more episodes of Press Play At Home below.

Listen: GRAMMY.com's Hispanic Heritage Month 2021 Playlist Featuring Amara La Negra, Helado Negro, Andrekza, Maluca, And Many More

Tones And I

Photo: Giulia McGauran

Tones And I Talks Her New Album 'Welcome To The Madhouse,' Opens Up About The Menace Of Online Bullying

Australian indie-EDM sensation Tones And I just released her debut album and most personal work to date, 'Welcome to the Madhouse.' But she won’t be going on social media to enjoy the attention—and here, she courageously opens up about the online bullying

Tones And I  used to perform in a completely vulnerable state—alone, afterhours on the streets of Byron Bay, surrounded by soused barcrawlers. "On the street, I put myself in positions where, in the middle of the night, drunk and disorderly people are everywhere," the singer/songwriter born Toni Watson tells GRAMMY.com over Zoom. "And still, no one has yelled or said profanities like they do online."

How could this be possible? It's called  deindividuation —when people join up with mobs, they do things they wouldn't do alone. This goes triple for social media, where you can pick any name you want and replace your face with a pickup truck avatar. Under cover of anonymity, these types have tormented Tones And I to the point of  sending death threats , prompting fear for her family.

"I just feel like it's getting to the point where a whole bunch of artists are going to start talking about it," she says. "It's a good thing to bring up. We have a voice."

Tones And I uses her voice in two ways—her literal one calls attention to Instagram vultures and her musical one sings about her deepest fears, joys and anxieties. Those feelings permeate her new album,  Welcome To The Madhouse , which was released July 16. Its songs, like "Fly Away," "Fall Apart" and "Dark Waters"—which she wrote at various points in her life—paint a complicated portrait.

With all her challenges in the music business, does the good still outweigh the bad for Tones And I? Find her answer below—along with ruminations on her busking past, losing a loved one and overcoming hatred to find peace.

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This interview has been edited and condensed for clarity.

Nice to meet you. Where are you located?

I'm back in Byron Bay, where I used to busk.

What was in your repertoire?

"Dance Monkey," actually. I played that for almost a year before I released it. I was never going to release it. That and four other originals. The rest was a bit of  Disclosure , a lot of  Chet Faker .

Usually, when you busk, you go for something a 65-year-old in flip-flops might know. I respect the more obscure choices.

Yeah, also, I busked with synthesizers and loop pedals, so it wasn't your typical [setup]. 

One time, the whole power in the town went out and none of the buskers were connected to the powerpoints in the stores. I was the only busker that kept going. Everyone flooded into the streets and had to get out of the buildings because the power was out in town. The whole road was full with a thousand people and no one could see anything. The girls were holding their phone lights over my keyboard to keep playing. Everyone was singing "Hey Ya!" in the street. It was sick.

What was it like to watch your breakout hit grow from a busking environment?

Yeah, it was insane. Crazy.

I used to do this cover of "Forever Young" [by Alphaville] and every time I played it, people would get up and start dancing. I wanted a song that was my own that you could dance to, so originally, I just wrote that song for my friends. I didn't even want to release music, to be honest. I didn't think there was anything good from releasing music because I didn't know any better. I just wanted to busk.

Tell me about the palette of colors you used for  Welcome To The Madhouse —the inspirations behind its making.

That's really hard. I've always said that every song I write is inspired by some mood or even another song, but this album was definitely not a mood for me.

The fact that it's turned into a nicely wrapped box with a bonnet because I called it  Welcome To The Madhouse  and the music is depressed, happy then sad—I made it like that so it would all fit into that album nicely, but the reason is it was also written over the last two years. 

I've got songs from when I first got to Byron Bay, before I started busking, when I started busking, when I went on my first world tour and when [my friend] passed away. It was from such different times that there's no way this album was going to be one mood, or one time in my life.

When I wrote "Fly Away," the lyrics were so genuinely honest to how I was feeling. It could be quite sad, but I wanted to have a moment in that song where it felt really happy and very up-and-about and made you feel good. But, if you want to listen to it properly, you can listen to the slower version where I took that production out. It can show you that there's a really sad side to the song. It became my good friend's funeral song when he passed away.

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My condolences. Can I ask what happened?

So, we'd all just gone away together because we had this tiny little moment in Australia where there was no COVID. We got back and we were at the beach all day for one of our good friend's birthdays. That morning, I got a call at 6 a.m. He drove into a pole and flung through the windshield and hit the road and died.

I'm OK with talking about it because people like to pretend online that he did it to himself. They don't know what's going on, so I guess maybe if I just say it once, people will understand that it was nothing like that. He was an amazing, happy person and he got into a car accident.

That's absolutely awful. Tell me about him in life, though. What kind of a person was he? What did he mean to you?

Well, he was probably the one in the group that brought everyone together—the girls and the boys. He was the loudest one, but in the nicest way. He wasn't rude or obnoxious. He was fair to everyone. He never got involved in anything if anyone was having any arguments. He wasn't just the closest one to the younger ones, like us, but also the parents. There are a lot of different places around his world that are really significantly hurt by this. He's got such a good heart.

Anyway, I met him probably 10 to 12 years ago, growing up. He's dealt with a lot in that time. His dad passed away. His brother's got cerebral palsy, so at the moment, I'm housing his brother. I've got his brother in a place where he can live on his own because he told me before he died that was one thing he wanted to do—to get his brother out of his grandparents' house because they were getting too old to deal with it.

It's a weird balance between expressing yourself and making a commercial product. How did your response to this translate into the tunes?

Well, there was a period where I originally tried to write songs about the person that he was, but that was too hard for me. So, when I wrote "Fall Apart," I wrote about the fact that we can't really deal with it yet in the way I wanted to. I tried the way I wanted to talk about him and who he was with the world in the music, which is the way a lot of musicians would talk.

I tried to talk about him, but I couldn't. So, I wrote "Fall Apart," which is really about how much we miss him and we're thinking about him.

People online were saying his death was his own fault? What's wrong with them?

There's a lot of stuff online, especially when I release anything. Online sucks. It brings people to a place where they don't know what happened, so they just create a story. Everyone does. If you don't give people enough information, they're going to create a story.

The story was that he was sad. [Beneath] the photos we would put up remembering him, they would say things like "Look how sad he looks!" and all that. I [even had to] convince his mom that he was a happy person. I'm trying to tell his mom, who wants more clarity, that he was a really happy person. I had to lock down that he would never do that.

Do you deal with other types of online bullying outside of your friend?

The fact that you ask makes me feel really good, because I thought I was famously known for it. It's  really  bad. I'm off social media, which sucks. Being a new artist, you're excited. It's so hard. You want to be authentic. Sometimes, it does affect you a little bit when there's whole, huge videos on their YouTube accounts about you. They also make them about other artists, too.

I need to realize, at the end of the day, it feels like it's always me because I am me. But there are other people, too. There are so many people who are going through it. It's just that I am me. I'm upset about things that happen to me. But when I see someone say something about another artist, I'm automatically really frustrated toward that person because it's absolutely freaking horrible. It's not about me for a second.

Tones And I. Photo: Giulia McGauran​

Speaking stranger-to-stranger, I don't think you "need" to do anything in response. This is a cruel environment. The onus is on online bullies to cease their behavior, not on you.

Thanks for saying that. It makes me feel better. I just don't want my family—my nana and pa—to see that. They're so proud of me when I see them and I would never share that stuff with them. And now, they see it and it's so sad. I don't want my papa to see that stuff online and my nana. It gets pretty outrageous. I keep my head down. I talk about what I care about, but I don't go on comments and stuff. If I looked for it, I'd probably not come out of the house.

The reason I decided to become a busker and not a YouTube artist is that I wanted to play live. I wanted to play on the street. On the street, I put myself in positions where, in the middle of the night, drunk and disorderly people are everywhere, and still, no one has yelled or said profanities like they do online. 

If you decide to stop on the street, that's your call. You can walk on, just like you can swipe away. But no one yells out s*** before they leave in front of everyone because they're held accountable, right in the moment, for what they do. Online stuff is really tricky. Everyone is like a warrior.

I hope the good outweighs the bad for you in this business.

Yeah, it does. It does. I just feel like it's getting to the point where a whole bunch of artists are going to start talking about it. It's a good thing to bring up. We have a voice. Whether I'm the biggest artist in the world or the smallest, I think it's really important to mention it. I always tell my friends that kindness stops bullies.

Give me a line on  Welcome To The Madhouse  that carries special weight for you.

I would say the bridge of "Dark Waters": "I don't see the world I got / But I keep rolling on / 'Cause I am never happy with enough / Until I'm drowning from it all." That song I wrote at the point where "Dance Monkey” had just gone No. 1, so I was at the peak of my "Holy s***!"-ness. My first billboard in Times Square. I had just gone to the States and played sold-out shows. I had just started a Europe tour as well.

And then, I got to a point where—I don't know why, but I was so sad. Maybe because my dreams as a busker, I had been pulled from that really quickly. Like, "Cool, we had fun. Let's do this." I didn't know why I was so sad. I kept trying to do more and more things, like "This will make me happy," but then it wasn't. I think I needed to be home and be grounded and see my friends. I got picked up and flung around the world. But that's where that line comes from.

Do you have a message for your trolls and haters?

I love you! Hopefully, we can meet in person one day. I just announced a U.S. tour, so if you want to come meet me in person, that's fine. Tickets are open for everyone. We don't discriminate at Tones And I shows. Also, I hope you listen to the album if you haven't. It isn't all the same, so I guess there's a song for—I'm not going to say everyone—the majority of you if you listen and pay attention. I had fun making it and I hope you guys enjoy it.

That's very magnanimous of you. No implied threat in there.

[ Knowing laugh .] No, no. No, no.

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Out of the Centre

Savvino-storozhevsky monastery and museum.

Zvenigorod's most famous sight is the Savvino-Storozhevsky Monastery, which was founded in 1398 by the monk Savva from the Troitse-Sergieva Lavra, at the invitation and with the support of Prince Yury Dmitrievich of Zvenigorod. Savva was later canonised as St Sabbas (Savva) of Storozhev. The monastery late flourished under the reign of Tsar Alexis, who chose the monastery as his family church and often went on pilgrimage there and made lots of donations to it. Most of the monastery’s buildings date from this time. The monastery is heavily fortified with thick walls and six towers, the most impressive of which is the Krasny Tower which also serves as the eastern entrance. The monastery was closed in 1918 and only reopened in 1995. In 1998 Patriarch Alexius II took part in a service to return the relics of St Sabbas to the monastery. Today the monastery has the status of a stauropegic monastery, which is second in status to a lavra. In addition to being a working monastery, it also holds the Zvenigorod Historical, Architectural and Art Museum.

Belfry and Neighbouring Churches

Located near the main entrance is the monastery's belfry which is perhaps the calling card of the monastery due to its uniqueness. It was built in the 1650s and the St Sergius of Radonezh’s Church was opened on the middle tier in the mid-17th century, although it was originally dedicated to the Trinity. The belfry's 35-tonne Great Bladgovestny Bell fell in 1941 and was only restored and returned in 2003. Attached to the belfry is a large refectory and the Transfiguration Church, both of which were built on the orders of Tsar Alexis in the 1650s.  

To the left of the belfry is another, smaller, refectory which is attached to the Trinity Gate-Church, which was also constructed in the 1650s on the orders of Tsar Alexis who made it his own family church. The church is elaborately decorated with colourful trims and underneath the archway is a beautiful 19th century fresco.

Nativity of Virgin Mary Cathedral

The Nativity of Virgin Mary Cathedral is the oldest building in the monastery and among the oldest buildings in the Moscow Region. It was built between 1404 and 1405 during the lifetime of St Sabbas and using the funds of Prince Yury of Zvenigorod. The white-stone cathedral is a standard four-pillar design with a single golden dome. After the death of St Sabbas he was interred in the cathedral and a new altar dedicated to him was added.

Under the reign of Tsar Alexis the cathedral was decorated with frescoes by Stepan Ryazanets, some of which remain today. Tsar Alexis also presented the cathedral with a five-tier iconostasis, the top row of icons have been preserved.

Tsaritsa's Chambers

The Nativity of Virgin Mary Cathedral is located between the Tsaritsa's Chambers of the left and the Palace of Tsar Alexis on the right. The Tsaritsa's Chambers were built in the mid-17th century for the wife of Tsar Alexey - Tsaritsa Maria Ilinichna Miloskavskaya. The design of the building is influenced by the ancient Russian architectural style. Is prettier than the Tsar's chambers opposite, being red in colour with elaborately decorated window frames and entrance.

At present the Tsaritsa's Chambers houses the Zvenigorod Historical, Architectural and Art Museum. Among its displays is an accurate recreation of the interior of a noble lady's chambers including furniture, decorations and a decorated tiled oven, and an exhibition on the history of Zvenigorod and the monastery.

Palace of Tsar Alexis

The Palace of Tsar Alexis was built in the 1650s and is now one of the best surviving examples of non-religious architecture of that era. It was built especially for Tsar Alexis who often visited the monastery on religious pilgrimages. Its most striking feature is its pretty row of nine chimney spouts which resemble towers.

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