Jack White really wants everyone to stop talking about that .

Jack White of the White Stripes and Raconteurs performs in support of his solo LP Blunderbuss.


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Jack White is already a legend in my books, and I can see him only getting better.


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Jack White performs with the Electric Mayhem on The Muppets  Courtesy of the artist  hide caption

I'm Shakin'

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Jack White at the Paramount / photos by David James Swanson

Childhood: Jack White was born into a large family, in which he was the youngest of 10 siblings. His parents, Teresa and Gorman Gillis both worked for the Roman Catholic Archdiocese. His mother was secretary to the Cardinal and his father was a maintenance man. Jack was an altar boy, like all of his brothers before him.

During their discussion, White touched on the growth of Third Man Records, the significance of playing MSG, how he tailors his shows night-to-night, “Seven Nation Army” becoming a sports arena anthem, as well as what young Jack White was like.

Jack White Performing LivePhoto credit: Rui M Leal / WENN

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In the past, White has let bitterness overwhelm him to fairly unedifying effect: the White Stripes' least enjoyable album by some distance was 2005's , a dour howl of haughty outrage at virtually everyone who wasn't Jack White. What saves Lazaretto from a similar fate is that it possesses both a sense of humour – White introduces That Black Bat Licorice's fiddle solo with the wry announcement that it's merely a continuation of his grumpy fulminations, "the same damn thing with a violin" – and a sense of perspective. Entitlement shifts from peevishness to what sounds like self-admonishment: "Not one single person on God's golden shore is entitled to one single thing," he sings. "Who is the who that is telling who just what to do?" asks the concluding Want and Able, sweetly undermining the how-dare-you finger-wagging that's preceded it. And that's another way in which Lazaretto mirrors White's public apology: it's a rather more complicated business that it first appears.

as there been a public apology more obviously delivered through gritted teeth than Jack White's recent ""? At risk of being accused of the "tabloid journalism" White so decries at its conclusion, it's hard to avoid the sensation there's something just a tiny little bit passive-aggressive about, say, its wilfully superfluous extending of good wishes not merely to the Black Keys, but the Black Keys' record label, the Black Keys' producer, every musician who's ever worked with the Black Keys and, in the final paragraph, literally every musician who's ever achieved any degree of success whatsoever at any point in the history of the world. Perhaps this is a terrible misjudgment of tone, but it somehow doesn't seem like the work of a man ruefully reconsidering his opinions. Rather, you somehow picturing him typing it – or writing it on palimpsest vellum with a quill or however Jack White drafts his public apologies in a suitably period manner – with his face like a beetroot and his mouth pursed in a cat's bum of disapproval.