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I didn't know that Ray worked for Conan. I wonder if that has helped Lindsey get a spot on the show. Heaven knows he hasn't been on Letterman. Michele |
#77
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Bravo! Best comment on the thread yet!
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Wow. Some of these comments are pretty intense. Everyone is entitled to an opinion, but really, things are not always as they seem. And people are a lot more complex than what is written about them, or what another artist may say about them, or even what they say about themselves. I guess the thing to remember is that these are mere mortals, with issues and short-comings like everyone else.
As for the watchdogs, everyone has their buffers who protect them, whether it's friends, family, teachers, etc. The real difference here is that these people are paid to keep the distance, and they have a lot more to concern themselves with than the average person. And a lot more at stake if they don't. And finally, it's unfortunate that some people throughout their lives continue to battle drug and alcohol addiction, as well as mental illness. Often they do not want help, or are unable to understand that something should be done in their best interest. So despite how much you might want to help them, or how many attempts have been made, sometimes you just can't save someone, as heartbreaking as that is.
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"I Don't Need Doctors, Nurses & Babysitters, I Need Love . . ." |
#79
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When and why did this happen?
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"I've already done everything you are doing." sn "But the most important thing was what was on her mind." sn "Think About It" ("Before You Go") sn |
#81
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But expecting people you knew 30 years ago to still be as close as you felt they were 30 years ago? Naw, dude. And expecting people who employed you 30 years ago to still take care of you financially? Double naw. You were perfectly happy with the situation back when you were part of their entourage, you just don't like it now because you're not a part of it anymore. And you're not some friend from back home that they abandoned when they hit the big time, you weren't a kid when it happened, you were a grown man and you're a part of the music business - you had the opportunity to get yours. (Also, that thing about Richard Dashut working for three years without a check is just weird to me. Why would he keep working for him? As someone who works freelance in a creative field...it doesn't matter how good a friend you think someone is, you don't get a paycheck from them, you don't work for them anymore. You learn that quick, so if Richard really worked for Lindsey for no money, that's crappy on Lindsey's part but that's ultimately Richard's fault.) Quote:
ETA: Okay, just read the entire interview and I don't think it's as "scathing" as the original post made it sound...that thing where he says "I may sound wacko, but living through something like that and being a part of a thing, you feel like you’re family, and you’re not a family. Fleetwood Mac was not generous “parents.” They’re pretty selfish; so many people that were part of the family have since been discarded. It’s sad. But, there is no responsibility from the band even though we were so close." I think he basically gets that the way they felt back then wasn't reality, and he's just remarking on what a bummer it is that things have changed. (Richard working for Lindsey without a paycheck is still d-u-m dumb, though.) Last edited by egg cream; 03-31-2012 at 10:49 AM.. |
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After watching the 'Destiny Rules' documentary and reading 'Say You Will'-era interviews (Lindsey wanted Mark Needham, Lindsey got Mark Needham. Lindsey wanted the heavier songs up front in the album's running order, Lindsey got the heavier songs up front. Lindsey wanted a double-album, Lindsey got a double-length album. Lindsey wanted to tour for two years, Lindsey got a two-year tour), and then reading this interview with Ken (Lindsey/Lindsey's management discouraged anyone in the band from participating. Lindsey's management shot down the use of audio outtakes for the e-book.), it's interesting that so many fans feel that Stevie calls the shots in Fleetwood Mac.
I'm not saying that she never throws her weight around -- I just tend to think, from all the evidence, that she's not the one who holds all the cards. |
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Michele |
#84
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In all seriousness, I've sometimes wondered if those stories -- and the digs at Lindsey in the press -- are the only ways she feels she can get his attention. ("Ok, if you're going to ignore me in band meetings, I'm going to tell People magazine that you're the Ayatollah of a rock'n'rollah.") |
#85
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I'm just not sure Ken wants to be friends with all of them again. (He may even think they're all varying degrees of toxic in person.) I think he just wants them to answer his e-mail when he has a business idea. That's why I wrote what I did about all their various managers and personal assistants, and why I reiterate that those people serve exactly the same function as the mid-managers in the workplace. It's those people--those twits "doing their jobs"--who obstruct the attempts to hook up. Those people--Karen and whatnot--don't even know who he is and don't know that he engineered the albums that ultimately resulted in their own jobs. When I hear ledgies complain about how Stevie or the band never releases a batch of demos or concerts or any of the other ideas that get floated by fans or guys like Ken, and then defend the job that Karen and all the others do, I groan in frustration. Don't you guys realize that all that stuff you want probably never gets released because the personal-assistant/manager never let word of all the demand for it reach the boss?! By the way, there's a company that now owns the footage of the 1982 US Festival and is actively scouting for licensing opportunities. Do you think the Fleetwood Mac managers will ever let their bosses know that there's any demand for this? You get three guesses. Sometimes the band itself apparently does answer Ken's e-mail. He brought up two examples in his interview (the TV shows about "Rumours"), but he also managed not too long ago to get them to listen to and approve the 5.1 DVD-Audio of "Rumours." So I conclude that when the business proposition appeals to them, they call. As we've all seen, they just don't seem to be interested in marketing their past in a way that's different from rereleasing "Rumours" in some way. They're not interested in live albums from long ago (about 15 years ago, Ken asked the ledgies to compile a list of old concert video and other footage in order to get something pulled together for sale, but that fizzled) or old demos and documentaries. They don't seem to be much interested in books, either. Wouldn't it be funny if they ever needed his help with marketing their past or their old albums--and he didn't bother answering the e-mail?
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moviekinks.blogspot.com |
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Michele |
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#90
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Yeah, Mama definitely knows when to hold 'em and knows when to fold 'em.
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