The daughter of Philip M. Hatfield (a radiologist) and The Boston Globe fashion critic Julie Hatfield, Hatfield was born in Maine and grew up in the Boston suburb of Duxbury. She acquired a love of rock music during the 1970s, having been introduced by a babysitter to the music of the seminal Los Angeles punk rock band X, which proved a life-changing experience. She was also attracted to the music of more mainstream artists like Olivia Newton-John and The Police, perhaps explaining the dialectic in her later music between sweet, melodic "pop" songs and more hard rock oriented material. Visualizing herself as a singer since her high school years, Hatfield sang in school choirs and briefly played in a cover band called The Squids, which played Queen and Rush songs.
Hatfield began her solo career following the Blake Babies' breakup in 1991, releasing her first solo album Hey Babe in 1992. The album was one of the highest selling independent albums of 1992. Hatfield recruited a rhythm section comprised of former Moving Targets and Bullet LaVolta drummer Todd Phillips, and Thudpucker bassist Dean Fisher, and thus becoming The Juliana Hatfield Three.
Hatfield achieved alterna-rock stardom with the release of 1993's Become What You Are (recorded under the group name The Juliana Hatfield Three). Several songs from the album received regular airplay on major North American rock stations, with Hatfield's song "My Sister" becoming the biggest hit of her career with the video becoming an MTV staple. Another one of her songs ("Spin the Bottle") was used in the soundtrack of the Hollywood film Reality Bites (1994). Hatfield also made the cover of Spin magazine. Hatfield's popularity coincided with the success, in the mid-1990s, of many other female musicians (such as Liz Phair, PJ Harvey, Belly, Letters to Cleo, Velocity Girl, The Breeders, Hole, Veruca Salt, Poe, Throwing Muses, Magnapop, Bettie Serveert). Although she has always maintained that her gender is of only incidental importance to her music, Hatfield was pleased to have been invited, in 1997, to tour with the first Lilith Fair, a prominent all-female rock festival founded by singer Sarah McLachlan. Hatfield was profiled in a number of girls' magazines at this time and was embraced by many pre-teen and teenage girls as a role model due to the positive way she addressed serious issues faced by young women in her songs and interviews. About this period she says: "I was never comfortable with the attention. I thought it had come too soon. I hadn’t earned it yet." She gained notoriety in 1992 for saying that she was still a virgin in her mid-twenties in Interview magazine. In a 1994 interview for the magazine Vox she said she was surprised by the effect 'outing' herself had: "I think there are a lot of people out there who don't care about sex, but who you never hear from, so I thought I should say it. The magazine I did the interview for is full of beef-cake hunky guys and scantily-clad models, so I thought it would be really funny to say that I didn't care about sex in a magazine that's full of sex and beauty - but no one really got the joke."
In 1995, following the success of Become What You Are she released her followup album, Only Everything, in which she "turned up the volume and the distortion and had a lot of fun". One reviewer describes it as "a fun, engaging pop album". The album spawned another alternative radio hit for Hatfield in Universal Heart-Beat. The video featured Hatfield as an overly demanding aerobics instructor. Prior to the tour for 'Only Everything', Hatfield released Phillips and brought on Jason Sutter (American Hi-Fi, Chris Cornell, Jack Drag), as well as Ed Slanker (Thudpucker, Tinsel) on 2nd guitar, and Lisa Mednick on keyboards. Two weeks into the tour, Hatfield canceled the tour citing exhaustion, and took a month long break. Sutter was replaced by once again drummer Phillips, and touring resumed with Jeff Buckley as the opening act.
In 1996 she traveled to Woodstock, New York where she recorded tracks for God's Foot, which was to be her fourth solo album (third if not counting Become What You Are, which was recorded with the Juliana Hatfield Three), intended for 1997 release. Containing some of Hatfield's finest work to date, the album was unfortunately put on indefinite hold by her record company due to a disagreement with Hatfield. Only substandard bootleg versions of these songs (which do not meet Hatfield's approval) have surfaced and she has rarely featured them in her subsequent live performances.
During this time Hatfield left Atlantic Records and ventured back into indie-world. She recorded a six song EP titled Please Do Not Disturb, along with Todd Phillips and Ed Slanker, and with new bass player Mikey Welsh (Weezer). The EP produced by Hatfield features a tender song "Trying Not To Think About It" which is a tribute to the deceased musician Jeff Buckley who was a friend of Hatfield's. The EP was released on Bar/None Records in 1997.
Following the traumatic experiences surrounding God's Foot and her departure from Atlantic Records, Hatfield recorded the album Bed in 1998 in six days, about which she says on her website: "It sounds as raw as I felt. It has no pretty sheen. The mistakes and unattractive parts were left in, not erased. Just like my career. Just like life."
In 2000, she released Beautiful Creature, an album which was among the most critically well-received of her career. This album left the rockier side of Hatfield's musical personality unexpressed, however, so at the same time she also recorded Juliana's Pony: Total System Failure with Zephan Courtney and Mikey Welsh, which she describes as "a loud release of tension", with "lots of long sloppy guitar solos. And no love songs...a not-at-all attractive reaction to the ugly side of humanity, specifically American culture" The two albums were initially released in a set as a pair. Juliana's Pony: Total System Failure was however received very badly by the critics, who much preferred the acoustic songwriting on Beautiful Creature. On Beautiful Creature Hatfield worked with Austin-based musician Davíd Garza who co-produced much of the album. Wally Gagel a producer for Sebadoh and Tanya Donelly helped Hatfield record her most electronica influenced songs "Cool Rock Boy" and "Don't Rush Me" which added texture to the otherwise acoustic album.
2002 saw the release of Hatfield's first "best-of" album. The album, titled Gold Stars 1992-2002: The Juliana Hatfield Collection, featured the singles from her solo albums. It also contained two of the songs from the previously unreleased God's Foot, a cover of Neil Young's Only Love Can Break Your Heart, as well as four new recordings.
In 2004 Hatfield released In Exile Deo, which was arguably an attempt at a more commercial sound, with input from producers and engineers who'd worked with Pink and Avril Lavigne. Hatfield did however produce the album herself with David Leanord receiving co-production credits on "Jamie's In Town" and the bright rocker "Sunshine'. The critics loved it, with a couple calling it her best work since the start of her solo career.
By contrast, the 2005 album Made in China was released on her own new record label, Ye Olde Records, and has a much rawer feel. John Doe of the band X described the disc as "A frighteningly dark & beautiful record filled w/ stark, angular, truly brutal songs & guitars. This is surely a 'Woman Under the Influence', though I'm not sure of what". Reviews were very mixed, with some liking the lo-fi sound, but others seeing it as slackness.
In December 2005 Hatfield toured the United States with the band X, whom she idolized during her teenage years.
In 2006, Hatfield released her first live album. Titled The White Broken Line: Live Recordings, the album featured performances from her tour with X. This was Hatfield's third release for her record label.
Hatfield's 9th studio album, How To Walk Away was released on August 19, 2008 on Ye Olde Records. The album's heartfelt subject on the break-up of a relationship resonated with critics, who gave the album largely positive reviews, with some hailing it as her best album since In Exile Deo.
On September 29, 2008 it was followed by her memoir, When I Grow Up.
Hatfield returned 2 years later as her 10th studio album Peace & Love was released on Ye Olde Records, February 16, 2010. The album's composition, arrangement, performance, production, engineering and mixing was solely credited to Hatfield.
There's Always Another Girl was released on August 30, 2011 again independently on her Ye Olde Records label.
In 2013, she joined with Matthew Caws (of Nada Surf) to form the duo Minor Alps.
In 2014, The Juliana Hatfield Three reunited two decades after it disbanded. Hatfield, drummer Todd Philips, and bassist Dean Fisher began practicing new material for an album, which would be their first together since Become What You Are in 1993.
In 2015, Hatfield and American musician Paul Westerberg formed the duo The I Don't Cares.
http://www.julianahatfield.com/
You Are the Camera
Juliana Hatfield Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Stretch like a panther
Throw off the covers
Run to the mirror, my lover
Admire this face
It could help to save the world
This body must be seen to be believed
My back and torso like a man ray photo
We are improvising me.
You are the camera
You try to seduce me
You are the camera
You love me
I make love to you
You are the camera.
I practice different smiles
I rehearse different lines
Like the perfect comeback or an eloquent speech
Let's take a walk on the street on the stage
Don't say anything
Just follow me
Don't leave
Save me for posterity
What do I want to be seen buying?
I write in my diary
Only what I want you to read.
You are the camera
A reason for living
You are the camera
I need you to need me
(I need you to justify my life)
You are the camera.
We sit down on the couch
On the left or on the right?
What is my good side?
Come in for a close-up
Fresh breath, perfect makeup
Are we gonna kiss on the mouth like I read about?
I look right at you and see myself and I'm in love.
You are the camera
A reason for living
You are the camera
In the presence of greatness
You are the camera
I disappear what you're not here
You are the camera.
In Juliana Hatfield's song "You Are the Camera," the singer wakes up, stretches, and admires their own body in the mirror. They see themselves as a work of art, with a back and torso "like a man ray photo." The singer practices different smiles and reheashes different lines, wanting to present the best version of themselves to the camera. They even write in their diary only what they want the camera to see. The camera, in this song, symbolizes the singer's desire to be seen and loved by others. They need the camera to justify their existence and give them a reason for living.
Throughout the song, there is a sense of performative intimacy. The singer and camera seem to be engaged in a dance, moving closer and closer to each other. They sit on a couch, debating which side is their good side, and the singer wonders if they will kiss the camera like they have read about in movies. The camera becomes a stand-in for a lover, with the singer making love to it, and needing it to need them in return.
Overall, "You Are the Camera" is a commentary on our modern obsession with appearances, social media, and the desire to present the best version of ourselves to the world. It's a plea for validation and love, and a recognition that we are all performing for the cameras in our lives.
Line by Line Meaning
Wake up naked
I start each day with a feeling of vulnerability.
Stretch like a panther
I embrace my physicality and strive for grace and strength like a wild animal.
Throw off the covers
I am eager to expose myself to the world.
Run to the mirror, my lover
I look to myself for validation and love.
Admire this face
I take pride in my appearance and recognize its ability to attract attention.
It could help to save the world
My beauty has the power to influence and inspire others.
This body must be seen to be believed
My physical form is so exceptional that it needs to be witnessed to be fully comprehended.
My back and torso like a man ray photo
My curves and angles are so striking that they resemble the surreal compositions of Man Ray's photography.
This is a scene
My life is like a movie set where each moment is carefully constructed for maximum effect.
We are improvising me.
Although I project an image of control, I am still searching for my true identity and purpose.
You are the camera
I am constantly aware of how others view me and try to present myself in the most flattering way possible.
You try to seduce me
I am not passive in this interaction - I actively seek attention and admiration from the camera's gaze.
You love me
My image is a reflection of the camera's artistic vision and desire, creating a symbiotic relationship between us.
I make love to you
Each pose and expression is a physical manifestation of my connection to the camera and its operator.
I practice different smiles
I experiment with various expressions to find the most effective way to convey the desired emotion or message.
I rehearse different lines
I prepare in advance for each interaction, crafting witty responses or poignant statements to impress the camera.
Let's take a walk on the street on the stage
My life is a performance, whether in public or private, and I am constantly aware of the presence of an audience.
Don't say anything
I control the narrative and dialogue to ensure that only what I want to be seen or heard is captured.
Just follow me
I am the director of this scene, with the camera as my actor and the operator as my co-director.
Don't leave
I fear being alone or unobserved, and strive to maintain the camera's attention at all times.
Save me for posterity
I want to leave a lasting impact with my image, ensuring that it will be remembered and admired for generations to come.
What do I want to be seen buying?
Every action or purchase is an opportunity to shape my identity and image in the eyes of others.
I write in my diary
I keep a personal record of my thoughts and feelings, but only reveal what I want to be known by others.
Only what I want you to read.
I carefully curate my public image to ensure that it aligns with my desired persona and perception.
In the presence of greatness
The camera elevates my status and importance, making me feel significant and powerful.
I disappear what you're not here
Without the camera's gaze, I feel lost and insignificant, fading into the background of everyday life.
Lyrics © Universal Music Publishing Group
Written by: JULIANA HATFIELD
Lyrics Licensed & Provided by LyricFind
Addy Revolution
The theme song for the youtube generation?
rolijoymisho MoreL
Atmosphere