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Miguel grew up in apartment 24 on Third and Centre in San Pedro, somewhere he calls “the most obscure place in L.A.” He was raised a Jehovah’s Witness, and remembers him and his brother, Nick, who he calls his best friend, being intensely sheltered by his mother. “Anyone who’s here for the one-dimensional version of me is not really here for me.”
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At 37, Miguel finally feels free to explore personal and spiritual depths.
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Mac Robinson, a longtime friend and producer on the project, calls it a “full revision of everything that he’s learned, everything he’s been through.” The album, his first in six years, is sonic proof that he is plotting his way through problems: an exploration of the condition of pain and its relationship to progress. His new album, out this fall, charts the “manic nature of growth,” Miguel says. But Miguel is just not in a place where he has the luxury to care anymore. The narratives and ideas Miguel’s fans have placed on him - sex god, romantic, angel, millennial women’s collective husband - are plenty. Still, public moments and perceptions have a way of cloaking celebrities in a kind of mythology that’s hard to shake.
#AGONY AND ECSTASY QUOTES HOW TO#
artist taps into the ways in which God shows up, and how to honor that in real time. Image Mia Carucci’s sonic collage of heaven and Earth “It was a scary and freeing experience and emotion to go through because it’s such a light switch,” he says. “How far can I go in demonstrating how far I’m willing to go for art, for conversation? I couldn’t have known how committed I was to the real purpose of this s- until I had hooks in my back.” He remembers feeling the weight of his body draped over the metal as heavy as the fear and control he was being urged to let go of.
“Initially it was a bit of, ‘What is the most extreme way to push outside of what’s expected?’” Miguel says. It’s meant to be a spiritual test, or meditative ritual, and for Miguel, an exercise in trust. It came after a session doing body suspension, the ancient body modification practice where large metal hooks are placed in the back from which the participant is hung. In June, he posted a picture of his back on Instagram, brick red blood stains running down his white tank top. It was not long ago that he went rock climbing for the first time in preparation to scale 30 floors up a building for a Sony campaign. Miguel has made a practice of pushing his body to the physical limits in the last year through a lot of “fully immersive, visceral experiences” that “may speak to some sort of wanting to not feel numb,” he says. But you get the sense he won’t be moving on until he makes it.
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Surveying the scene - a cavernous space with vaulted ceilings that’s giving club more than gym, full of hot, sporty types with chalky hands - Miguel says he can just come back. He’s attempted it multiple times and still it’s evaded him. With his hands on his hips and head cocked, wearing a black cutoff tank and stretchy black shorts, he’s been assessing this wall at the Hollywood Boulders climbing gym for at least an hour, tracing the constellation of green handholds and footholds, imagining different possibilities, charting alternative courses. Miguel, the songbird from San Pedro whose voice has transcended genres and generations, is transfixed with one problem in particular: A3.
Different problems require specific combinations of mental and physical agility. In bouldering, a “problem” is another name for a course the climber can take. Check out the whole issue - the “New York” issue, if you’re reading between the lines - here. This story is part of “Discourse,” a fresh look at the dire state of the bicoastal conversation - free from corniness and cliches.
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