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After she went back to Florida, she continued writing songs with Jamie, by sending her ideas overseas to London, where he lived.

She became very exhausted and ill, so after saving money, Mosshart moved to London and the duo officially started.

The tour for The Kills’ third album, (Domino), ended only days earlier, and she has just gotten off a flight from Japan. I expressed an interest to Jamie in working with him.

Supermodel Kate Moss can be credited with a lot of things: making shorts with Wellies a thing, being a leading figure in the Models Dating Rock Stars movement and of course, being the most chronic wardrobe malfunction-er of all time.

Hince explains in the article how Moss lured him over the edge while they were still dating... ‘Or my priorities went right.’ Jamie and Kate channel a modern-day Mick and Bianca Jagger, re-creating the couple's 1971 backseat wedding portrait by royal photographer Lord Lichfield.

"It's nice to see my bandmate happy," Alison Mosshart shrugs off the paparazzi pressures that come with her bandmate marrying the most recognisable supermodel of his generation.

"I woke up, thought f*** it, and scrambled enough money together for a plane ticket," she explains.

She finally approached him, after which they started playing around with some music ideas.

No doubt because of the girl-boy pairing as well as the sound, they have also been compared with The White Stripes, something flattering but misleading: "It's kind of true, because we're both rooted in the blues, and they kicked open the door for our type of bands - who wouldn't want to be compared with The White Stripes - but we are different, for a start we have a drum machine." The way Mosshart explains it, this drum machine that might be considered a cop-out to help keep a lesser band to keep in time, is actually an extra challenge leaving them fully exposed on stage.

I'm absolutely not slagging off on rock journalism, it just doesn't interest me as a musician what people write about me.

For this interview at The Mercer hotel in New York last December, she arrives with bangs covering her face and a cigarette hanging from her lips. So we’ll work separately, even in the same room, where we can see but not hear each other. [Tabloid readers] work in offices or something and probably don’t have a real connection to the arts. MOSSHART: We get along great, despite people making up stories that we don’t. BLASBERG: So she’s not some skank who stole your style? The weird part was that all of the driver’s things were on the bus, too—his jacket still on the back of the seat and the keys still in the ignition. BLASBERG: You’ve obviously reached them, because I’m here! It would be nice if we were though, just for a minute, so we could pay off this house and be free. We just did this collaboration with Yves Saint Laurent, for a fragrance.

She takes a menthol drag and lets out a loud, phlegmy treble cough, a sound an acute Kills fan might recognize as an opening note of the tune “Cheap and Cheerful,” in which Mosshart begs: “I want you to be crazy ’cause you’re stupid, baby, when you’re sane.” To watch her perform it live, you’d think she was exorcizing some pretty hateful demons. They don’t care, they just read these magazines on the train. He left the motor running, and the generator died when the gas finally ran out. He’s not dead, because I keep hearing he’s stolen more buses. I also was told that he went on a three-day coke bender with a hooker—apparently that’s also his thing. If you weren’t playing music, what would you be doing? I’ve thought about this—I say write books, or draw pictures. BLASBERG: Just sell a bunch of jingles to a beer company.