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Conor oberst dating winona ryder

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During our time together, his longtime publicist was always present, as was a second audio recorder for his own reference.

The controversy comes at an especially difficult moment for Oberst.

At 34, Oberst is an at times unsettling vision of himself at 20, the unlikely, porcelain-skinned pin-up that launched a thousand Live Journals.

He is still delicate in build, still armed with an inky mess of fantastically disheveled, famously sculpted hair.

“For whatever reason, some of my old records are totally a high-school thing: You come to high school and someone hands you one.

I know that to be true because I get the royalty statements.

For better or worse, my stuff is all out in the open.

And if you have any interest in what I do, or my songs, or the records I make, you can follow the whole trail.

It is not a major reinvention, but a work of immense beauty that both transcends pre-existing narratives and suggests that, even as an adult, Oberst can still connect. “Well, my first record was actually a cassette,” he says. His father played in a series of classic-rock cover bands on weekends and when the younger Oberst became especially fond of Ritchie Valens’ “Donna” by way of the 1987 film , he was brought out to deliver lead vocals with the band behind him. While still a sophomore in high school, he enthusiastically gathered his friends — then in college — to form Commander Venus, a post-hardcore outfit that would, for the first time, find them touring outside of Nebraska and landing on the same label as Creed.As part of a highly concentrated, four-day press blitz in New York, he and Bartolomei are making the radio rounds, uptown and down, satellite and online.One half of the room’s walls are stacked floor-to-ceiling with vintage speakers; the other, where CNET hosts an online show dedicated to gadgets, has been decorated with old legos, Nintendo cartridges, and a model of the Delorean.“No one knows better than me what it’s like to have a second life within a career,” says Jenny Lewis, a friend, Rilo Kiley frontwoman, and former child actor whose film and television work during the late ’80s and early ’90s has followed her for years. I want to hear what he’s going to be writing when he’s an old man.”Under the lights again at CBS, now seated alone, Oberst clears his throat. Soon after, he learned some chords and covers with the help of his father and “pretty immediately,” Oberst was gravitating towards writing his own material. “There was definitely a novelty effect to being that young and performing,” says Oberst, who was the band’s gangly, bespectacled frontman.“Can you imagine what it’s like to play indie-rock shows in basements where people are yelling ? Just having to get through that and present your work regardless, when people grew up watching you? His next-door neighbor at the time was an older kid named Bart, and most days, he and next-door neighbor, Ted Stevens, would let Oberst watch and listen to their band practice in Bart’s basement, “just so stoked to hear rock music that loud and close.” Stevens, later of Cursive, was the first friend with whom Oberst shared his originals, songs like “Purple Chin,” “Over It,” and “Space Invaders,” a particularly prescient number about “the video game-slash-emotions.” That early material, Stevens says, “was as rough as you could expect from a 12-year-old: a little awkward, squeaky, and laden with seventh-grade humor.” But he offered to bring his four-track over to Oberst’s house to record what would become , a cassette release they wanted to sell at their local record store and one for which they would also start their own label: Lumberjack, which would later become Saddle Creek, a deeply loyal collective of friends and friends’ bands, inspired by pioneering punk-rock institutions like Dischord in Washington, D. “I don’t know: Maybe a lot of breaks that I got did come because I was so young. He starts screaming when you put a microphone in front of him.'”Youth would certainly galvanize his subsequent, early work in Bright Eyes, the shape-shifting songwriting project with which Oberst will likely forever be synonymous.“Strumming so much that it started to disintegrate.