This is from an article wondering where all the pop eccenctrics have gone:
From the Gazette Live:
Who are the eccentrics of yesteryear that you love so? For me John Lennon took on America with his views on Vietnam. Not eccentric, but at least he broke from the norm. Keith Moon drove cars into swimming pools - that’s eccentric; David Bowie pretended to be an alien for years, which is bona fide bonkers; and that fella from Fleetwood Mac chased his bandmates through the hills with a loaded shotgun.
Learn with Taku:
Atlanta Daily World
Atlanta native and Grammy Award-winning drummer Sonny Emory will kick off the third year of his drumming camp for students study with the pros and learn new percussion tricks and techniques.
During the one-week specialty camp, students will explore and discover the musical techniques for success with Emory and his staff of professional working musicians. The camp brings together local faculty and guest instructors from a variety of musical styles, including Latin, jazz, classical, rock, pop and soul. Students will learn teamwork, discipline and self-esteem, along with the art and craft of drumming techniques.
For the first time, Emory is collaborating this year with Georgia Tech's Music Technology Group at one of the nation's top research universities, allowing students to not only learn percussion skills, but also be exposed to the latest in music technology.
Students 11 years old and up are invited to take classes and clinics with some of the world's greatest drummers, including Emory, Cindy Blackman, who has played with Lenny Kravitz; Taku Hirano, who has played with Fleetwood Mac and Stevie Nicks; Gene Lake, who has played with David Sanborn and Me'Shell Ndege Ocello; Oscar Seaton Jr., who has played with Lionel Richie; Marcus William, who has played for Tyler Perry; and Teddy Campbell, who has played with the American Idol Band and for Al Jarreau and Rod Stewart.
The Jammy's May 2008
The evening’s hosts were the guitarist Warren Haynes and the singer Grace Potter, who recently toured in a package featuring Gov’t Mule (his band) and the Nocturnals (hers). They opened the program with a well-honed medley of “Find the Cost of Freedom,” a song by Crosby Stills Nash and Young, and “Gold Dust Woman,” a Fleetwood Mac tune. Mr. Haynes soloed with casual fire, and Ms. Potter sang in a soulful wail.
But odd collaborations are closer to the Jammy ethos than road-tested partnerships. Hence the spectacle of a young band called Rose Hill Drive backing both the Hasidic dancehall rapper Matisyahu and the guitarist Leslie West, of Mountain. Another up-and-coming group, Tea Leaf Green, teamed up with the guitarist Glenn Tilbrook of Squeeze.
The Jammys propose a catholic vision of Jam Land, encompassing not only shaggy guitar rock but also hip-hop, reggae, blues, whatever. So there was a decent, well-intentioned jazz segment led by Mr. McConnell, featuring the venerable drummer Roy Haynes. Then came an eclectic and nearly ecstatic set by the New Orleans funk band Galactic, variously backing the classic-soul organist Booker T. Jones; the retro-soul vocalist Sharon Jones (no relation); and the rappers Chali 2na and Doug E. Fresh.
For those who care: Vivica Fox attended this event.
Entertainment Design November 2000
Production Designer Bruce Rodgers talks about getting to work with FM for The Dance:
The first project that Rodgers feels put him on the map as a solo
designer was Fleetwood Mac's reunion special. "I got a call from
Carol Donovan [ from MTV] to put my name in the hat for it," he
explains. "But they were very clear about not coming in with
preconceived ideas or sketches, because the band wanted to talk to us
first. I did a couple of nights' worth of sketches while listening to
their music. Of course, I grew up with Fleetwood Mac, too, so I came
up with an idea of a Mobius curve. It made sense to me because of the
complete circle they were making through their hell."
When Rodgers went to meet with the band, they immediately asked him
if he had sketches to show them. "I said, No, I wanted to get your
ideas first.' They told me they didn't really have any ideas, so I
sketched the Mobius curve right in front of them and explained how it
represented them and the times they had lived through and the time
continuum and all that. I truly felt all that, and they could tell.
So they went for it."
“It came to my awareness early on that if you employ managers and tour managers you end up spending an awful lot more money than you need to. You'd get booked into hotels just because they had the best commission, not because they were near the show or the airport. I also got fed up with the idea that you'd have roadies to pack and carry your suitcases. You can sometimes draw from the murky depths this amazing ability to actually get on the right aeroplane yourself.” Anderson has been managing himself since the midSeventies, his wife, Shona, does the books and his son, James, is promoting the British leg of the current tour.
It helps if you started at the Marquee Club in 1968
Not much use to today's Facebook hopefuls but as Anderson points out: “Deep Purple, Fleetwood Mac, Yes, King Crimson, Jethro Tull all began there and are still working. It was an incredibly inventive era, one that perhaps we're only beginning to really appreciate now.”
Fans age with a band. “Whether they like it or not, Duran Duran's core audience is now 40-year-old mums,” Anderson says. But contrary to rumour, Tull fans are not all middle-aged gents in real-ale T-shirts. “We are not constricted by a particular age group. We have a lot of Asians but not many black people. It's mixed gender but not so mixed that we have a lot of gays. There are bands with a strong gay following, which makes a difference to the numbers.” Clearly all those years in tights and codpiece did not work.
Anderson famously ran a successful salmon-farming business in Scotland, now sold. Hobbies include growing hot chillis and the study and conservation of the 26 species of small wildcats in the world.
“I don't want to live in my stately home in the country and have Waitrose deliver to me. On Friday morning I'll be with my wife in the Toyota Prius at Cirencester Waitrose. That's part of being out there.”
Anderson doesn't travel on the tour bus, preferring to journey alone on the train. “What you encounter on the frequently dodgy streets around stations is a way of keeping in touch with British society.”
It's like playing that game "telephone" in school. You sit students in a circle and have one after the other whisper a story into the ear of the person next to them. By the time you get to the end of the line, the story being told is wildly different from the one that you started with.
It was when he met up with his old roommate Gordon Mills in 1966, who was then manager for Tom Jones, that the singer's career began to climb.
Mills suggested a new stage name would be far more marketable and so the 30-year-old decided to change his professional name to "Engelbert Humperdinck," borrowing the moniker from the classic German opera composer of the same name. The composer was most famous for the opera "Hansel and Gretel."
In celebration of his 40th anniversary, last September, Humperdinck released "The Winding Road" (Alliance/IDN), a new CD featuring songs he calls "contemporary British classics," all written by the likes of James Blunt, Eric Clapton, Elton John, John Lennon, Paul McCartney, Christine McVie and Sting.
To go along with his new album, Humperdinck also launched his new 100-city world tour which kicked off in Nevada earlier this year. He'll be centerstage tonight at the Star Plaza Theatre in Merrillville.
Crossroads @ 9pm
Sara Evans is a little bit country and Maroon 5 is a little bit rock-and-roll, but there's plenty of common ground as tonight's show illustrates. Here they collaborate on Evans' "I Could Not Ask for More" and "Some Things Never Change," as well as Maroon 5's "This Love," "She Will Be Loved" and "Won't Go Home Without You." They also cover a song that was originally a duet by Stevie Nicks and Don Henley: "Leather and Lace."
Ghost Whisperer @ 8pm
Melinda Gordon tries to help the dead communicate with loved ones, `but sometimes the messages she receives are intense and confusing. Tonight, she looks into a 1979 murder trial prosecuted by her father, hoping to find a connection to his disappearance.
[This was an article on buildings around the Thames that tourists visited. This excerpt mentions that Christine McVie is neighbor to Kate Bush]
Independent (London), September 25, 1999
By this stage of our Open House explorations, my spouse was freely expressing her view that London had an excess of surrealism avant la lettre, so we switched to modern architecture. Our first stop was in Camberwell, where we popped into an erstwhile button factory that had been converted into the open-plan home and practice of an architectural couple. It looked divine, but the "crunchy" nature of the district caused a few problems during the alterations. "It took a little longer than we planned because of invasions by burglars," explained Selina Eger.
After clanking up the industrial metal stairs, we emerged into a kitchen and roof garden ("Very nice," salivated Mrs W) with a vista of Victorian spires and office blocks. "God and mammon," observed our hostess. Mrs Eger was particularly proud of her staircase balustrades made from the corrugated plastic customarily used for greenhouse roofing. "My husband argued against it," she remarked, "but I won."
Afterwards, we whizzed along to another architectural studio in Battersea. Responsible for such modest projects as Stansted Airport, the refurbished Reichstag, the new Canary Wharf tube station, not to mention a proposed Volcano Theme Park in California, Foster & Associates operates from a single room - though you can forget any idea of an artist's garret. This atelier happens to be a great, airy space 60 metres long by 24 metres wide. Like his fellow architects in Camberwell, Sir Norman literally lives above the shop. He occupies the penthouse of a block built over the studio. Kate Bush and Christine McVie are his stellar neighbours.
Seen through the wall of plate-glass, the Thames was elegant, stylish and grey, as if it too had been designed by Sir Norman and his chums. In the vast studio, screen-savers on the seemingly infinite rows of VDUs flashed up images of Foster buildings. So peaceful and spacious, I remarked to our architect guide. "You should see it on Monday morning when we've got 470 people in here," he replied.
Under the high ceiling hung odd circles of material. "A new design of loudspeaker," explained our guide. Envisaging all these top-flight creative types beavering away to the strains of Radio Two, I asked what these fancy- pants tannoys were used for. "Oh announcements," our guide replied. " 'It's Norman's birthday, please come for a drink.' That sort of thing."
[This article mentions that Chris could not contribute to Starart, a book of celebrity artwork, because she lost most of her drawings while traveling.]
Excerpt from the Globe and Mail (Canada), December 18, 1979
Miss Chesher, who was born and raised in Calgary, has a background as
a commercial artist (she spent a year in Toronto at Ryerson) and a
photographer of rock concerts, experience which she needed to edit,
design, and finally publish Starart. The idea for the book came to her
during a down period after her move to Los Angeles. I was lying on this
foam-rubber mattress in this half-empty apartment of a friend in West
Hollywood, and the idea came down like a lightbulb. Right away, I made up
a list of people I wanted. Most of them are in the book.
Some of those who aren't on that list were people like Christine McVie
of Fleetwood Mac. She liked the idea a lot, but she had lost most of her
stuff with all her travelling. John Lennon was also considered. He got as
far as asking Klaus Voormann the spelling of my name so he could consult
his astrologer. But I was happy with the people I had and decided not to
pursue it. Working her way up to the superstars like Joni Mitchell - I
knew I was dealing with the big time when I had to deal with the
manager's assistant before talking to the manager - Miss Chesher
collaborated with the musicians on a format with which they could all
Seems like Don was only one of the boys of summer. This baseball coach remembers going to high school with Stevie.
From the Mercury News article on Gary Cunningham, college baseball coach:
Cunningham played baseball at Menlo-Atherton, where he fondly remembers sitting behind a pretty girl named Stevie Nicks in his senior English class. Nicks later sang with the group Fleetwood Mac; Cunningham went on to letter at San Jose State in 1969 and 1970.
I adore Grace Potter & the Nocturnals! I would've LOVED to see that - how was it?
Edit: I had to look for it immediately:
Song of the Day: ‘Silver Springs’
May 16th, 2008 ·
The history behind this classic Fleetwood Mac song that failed to make the cut on ‘Rumours’ due to its length is clearly evident in the moment at the end of the song when Stevie Nicks turns to face Lindsey Buckingham on guitar and directs the lyrics, written to him, directly at him.
It’s goosebump-inducing stuff, a real chill scene from a mesmerising live concert. To my mind no other band has the emotional history (or baggage) that Fleetwood Mac do, and it definitely contributes to the visceral impact of their music.
Variety, November 17, 1997
HEADLINE: Vintage recording studio still cranking out the hits
BYLINE: ROBERT KOEHLER
Walk the labyrinthine halls of the famous Village Recorder recording studio, now know as the Village, and you can spot the tell-tale signs. The sound booths with the diagonally slatted wood paneling that screams 1970s. Rooms custom-designed by Fleetwood Mac lead singer Stevie Nicks to show off her gypsy look. A light display creating the convincing illusion of a Pacific Ocean sunset.
The walls are lined with gold and platinum discs of the recordings made here, from Bob Dylan and the Band's "Before the Flood" to the Rolling Stones' "Goat's Head Soup," from Steely Dan's "Can't Buy a Thrill" to Supertramp's "Breakfast in America."
The Village, as it's identified in stained glass on the facade of its Masonic Temple home in West Los Angeles, is a must on any tour of '70s pop history --- the prototypical musicians' hangout when the gravitational center of rock shifted from London and New York to Los Angeles.
But, as Village CEO Jeff Greenberg acknowledges, the mecca had become a forgotten way-station in recent years, "not at all the first choice of studio for artists when they were looking around L.A." Just as formerly bustling film studio complexes have fallen into decline, so had the Village. Two years ago, owner Georde Hormel, heir to the Hormel meat empire and a jazz musician himself, made changes.
Step one was bringing in Greenberg, a music industry veteran with an enormous range of experience, from concert promoter to International Creative Management agent. "Georde wanted somebody who understood artists, and knew how to cater to their special needs," Greenberg says. Step two, as Greenberg says, was "cleaning out the place of people --- there were way too many people here for what was needed, and it made for a noisy, distracting environment for artists to work. You can walk these halls now and hardly see anybody, and that's by design."
Step three included redesigning the interior and beefing up the legendary studio complex's array of equipment --- now including a vintage Neve 8048 console with 72 channels for studio A, one of the few in the world whose walls are lined with solid lead. Each studio is stuffed with creature comforts to make musicians and engineers feel at home --- crucial, notes Greenberg, "since they may be living and working here for days and weeks at a time." One lounge area, for instance, uncannily re-creates the mood of an old English parlor room.
Now, reports Greenberg, talent is flocking to the Village, and "our schedule is booked solid for months in advance. Like the concert business, openings will suddenly occur. We have not had many days of vacancy, though, that is for sure."
While '70s loyalists such as Robbie Robertson and Jeff (Skunk) Baxter are long-term tenants, '90s bands ranging from the Smashing Pumpkins to Nine Inch Nails are Village dwellers, making this site of pop history more than a museum.
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