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  #16  
Old 07-12-2017, 05:26 PM
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I uploaded the main part here
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awesome, thanks so much for posting!!
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Thank you very much Danielle, you're precious as always.
Thank u Danielle. Everything you post here and on FB turns to gold.
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  #17  
Old 07-12-2017, 07:18 PM
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He was a real sob to Patty Griffin, whose music I adore, so I"m not a big fan.
Kevin
Was Jimmy Iovine disrespectful to Patty Griffin? Do tell. If so, that's a crime. Patty Griffin is, arguably, one of the greatest American songwriters who ever lived. I'm sorry, but there are very few people who can come close to Patty Griffin's songwriting ability. She's in the same class as Dylan, Lennon, McCartney, Mitchell and Wonder.
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  #18  
Old 07-12-2017, 10:16 PM
bombaysaffires bombaysaffires is offline
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when do subsequent episodes of the documentary series air?
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  #19  
Old 07-13-2017, 02:59 PM
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Originally Posted by bombaysaffires View Post
when do subsequent episodes of the documentary series air?
If you have HBO you should be able to watch it on demand.
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  #20  
Old 07-16-2017, 01:33 PM
pryderi pryderi is offline
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Imagining Stevie trying to listen from the basement is absolutely hilarious.
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  #21  
Old 07-27-2017, 07:56 AM
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Stevie Nicks Recording 'Edge of Seventeen' Is Some of the Best Studio Footage I've Ever Seen

One of the highlights of The Defiant Ones—HBO’s four-part documentary about music magnate Jimmy Iovine, Dr. Dre, and the music and culture that launched their careers—is the trove of studio footage the filmmakers were able to access.

In retrospect, it’s astonishing that someone had the wherewithal, in 1980, to film Stevie Nicks in the studio recording her first solo album, or to capture J.J. Fad cutting their first one with Dr. Dre in 1998. Of course documentation for posterity’s sake was important, but some of this stuff was caught in the Beta era, when cell phones were still just a funny idea somebody put on The Jetsons. You wonder, watching Eazy E record his vocals for “Boyz In Da Hood,” did these groups intuit they were destined for greatness? It’s all very astonishing, and while I normally find studio footage somewhat boring and extraneous, I have been utterly glued to every clip from The Defiant Ones as both a time capsule and a tangible, thrilling bit of pop music history.

That’s where this clip comes in. “Edge of Seventeen,” from Stevie Nicks’s first post-Fleetwood album Bella Donna, is one of the greatest documents of her voice that exists, an iconic example of her range and emotion. And so watching her actually cut the vocal part, as her then-boyfriend Jimmy Iovine bopped around alongside her, is totally illuminating: the sheer force with which she delivered her vocal made her entire body quiver, and the feeling beneath it seems to tremble too, manifested fully in her vibrato rasp.

Perhaps it’s the lifelong witch mythology around Nicks—I just rewatched American Horror Story: Coven, so please forgive—but visually it could be interpreted as a conjuring, and I have newfound admiration for a song that is already burned into the cultural fabric as one of the greatest rock singles ever cut. Watch it above, and blessed be.



http://themuse.jezebel.com/stevie-ni...the-1796921774
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  #22  
Old 08-03-2017, 07:33 AM
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WHEN DR. DRE AND JIMMY IOVINE COLLIDE, THE END RESULT FEELS … UNSETTLING

The Defiant Ones is the weirdest thing I’ve seen on TV in some time. A four-part HBO docuseries about the fruitful business union of Jimmy Iovine and Dr. Dre, it starts out like typical showbiz puffery (let’s hire a bunch of people to say how great we are!), then it gets really good (as does most anything involving SoCal rock and hip-hop in the ’80s), before finishing off with a boring final hour in which Dre and Iovine all but fellate each other. Hardly essential viewing, it’s also not a waste of your time. In fact, if you need a place to vent all your summertime anger, The Defiant Ones is highly therapeutic.

I almost didn’t make it through the first 15 minutes. Unless you consider Apple’s multibillion-dollar deal with Beats Electronics, the headphones company co-founded by Dre and Iovine, to be a significant development in 21st-century history, The Defiant Ones doesn’t exactly kick off with a bang. There’s lots of hot air blowing from the likes of Bono and Will.i.am and Eminem, the latter of whom spouts crap like, “Jimmy Iovine is the levitator, Dr. Dre is the innovator.” Director Allen Hughes aims for profundity with slick editing and Ennio Morricone’s theme from The Untouchables. But nothing can ease the fact that Iovine is one of those senior-aged billionaires who still wears a baseball cap backwards—i.e. a profoundly annoying presence.

Things get interesting once the focus turns to Dre. Whether he’s fiddling with the tracks for Marvin Gaye’s “I Want You” inside his home studio or blasting Nirvana and Kraftwerk while lounging in his tropical compound, Dre comes off as utterly likeable—a music lover who just happened to get stinking rich doing what he loves. The section about his early DJ days is a trip. Recalling the moment when Dre seamlessly mixed the Motown classic “Please Mr. Postman” with a new beat (“Jive Rhythm Trax 122”), club owner Alonzo Williams says, “It was like some musical, magical sh*t. People were still groovin’. They were groovin’ confused, though!” Dre also apologizes for assaulting TV host Dee Barnes in 1991: “Any man who puts his hands on a female is out of his f*cking mind. And I was out of my f*cking mind at the time.”

It’s tough being a woman in Iovine’s world, too. As a budding engineer/producer, he puts up with Springsteen spending three weeks just to get a drum sound right. But when Stevie Nicks dares to express a thought, he jumps down her throat and says she’s acting like “group of lawyers.” Then he fills Nicks’ debut, Bella Donna, with platinum males (Tom Petty, Don Henley), convinced she’s going to come out with “this beautiful record with lace and veils and candles all over it, and one one’s gonna hear it.” (She was only the star of the biggest-selling band in the world, Jimmy.) Much worse, due to their secret romance, he makes her hide in the basement when Tom Petty comes over! Isn’t Iovine due for an apology of his own? Nope, all the women in his life—Patti Smith, Gwen Stefani, the wives—just wax about his genius and how it needs room to flower.

The last hour of The Defiant Ones loads up on blowhard malarkey—Dre is “the best that ever was,” he and Iovine built Beats “from nothing”— so much that your mind inevitably wanders onto other topics. Like, what is it that makes Dre so endearing and Iovine so grating? By show’s end, Dre is a changed man. Iovine, meanwhile, remains an eternal douche.



https://lasvegasweekly.com/ae/2017/a...ls-unsettling/
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  #23  
Old 08-03-2017, 12:30 PM
bombaysaffires bombaysaffires is offline
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Quote:
Originally Posted by SisterNightroad View Post
WHEN DR. DRE AND JIMMY IOVINE COLLIDE, THE END RESULT FEELS … UNSETTLING

The Defiant Ones is the weirdest thing I’ve seen on TV in some time. A four-part HBO docuseries about the fruitful business union of Jimmy Iovine and Dr. Dre, it starts out like typical showbiz puffery (let’s hire a bunch of people to say how great we are!), then it gets really good (as does most anything involving SoCal rock and hip-hop in the ’80s), before finishing off with a boring final hour in which Dre and Iovine all but fellate each other. Hardly essential viewing, it’s also not a waste of your time. In fact, if you need a place to vent all your summertime anger, The Defiant Ones is highly therapeutic.

I almost didn’t make it through the first 15 minutes. Unless you consider Apple’s multibillion-dollar deal with Beats Electronics, the headphones company co-founded by Dre and Iovine, to be a significant development in 21st-century history, The Defiant Ones doesn’t exactly kick off with a bang. There’s lots of hot air blowing from the likes of Bono and Will.i.am and Eminem, the latter of whom spouts crap like, “Jimmy Iovine is the levitator, Dr. Dre is the innovator.” Director Allen Hughes aims for profundity with slick editing and Ennio Morricone’s theme from The Untouchables. But nothing can ease the fact that Iovine is one of those senior-aged billionaires who still wears a baseball cap backwards—i.e. a profoundly annoying presence.

Things get interesting once the focus turns to Dre. Whether he’s fiddling with the tracks for Marvin Gaye’s “I Want You” inside his home studio or blasting Nirvana and Kraftwerk while lounging in his tropical compound, Dre comes off as utterly likeable—a music lover who just happened to get stinking rich doing what he loves. The section about his early DJ days is a trip. Recalling the moment when Dre seamlessly mixed the Motown classic “Please Mr. Postman” with a new beat (“Jive Rhythm Trax 122”), club owner Alonzo Williams says, “It was like some musical, magical sh*t. People were still groovin’. They were groovin’ confused, though!” Dre also apologizes for assaulting TV host Dee Barnes in 1991: “Any man who puts his hands on a female is out of his f*cking mind. And I was out of my f*cking mind at the time.”

It’s tough being a woman in Iovine’s world, too. As a budding engineer/producer, he puts up with Springsteen spending three weeks just to get a drum sound right. But when Stevie Nicks dares to express a thought, he jumps down her throat and says she’s acting like “group of lawyers.” Then he fills Nicks’ debut, Bella Donna, with platinum males (Tom Petty, Don Henley), convinced she’s going to come out with “this beautiful record with lace and veils and candles all over it, and one one’s gonna hear it.” (She was only the star of the biggest-selling band in the world, Jimmy.) Much worse, due to their secret romance, he makes her hide in the basement when Tom Petty comes over! Isn’t Iovine due for an apology of his own? Nope, all the women in his life—Patti Smith, Gwen Stefani, the wives—just wax about his genius and how it needs room to flower.

The last hour of The Defiant Ones loads up on blowhard malarkey—Dre is “the best that ever was,” he and Iovine built Beats “from nothing”— so much that your mind inevitably wanders onto other topics. Like, what is it that makes Dre so endearing and Iovine so grating? By show’s end, Dre is a changed man. Iovine, meanwhile, remains an eternal douche.



https://lasvegasweekly.com/ae/2017/a...ls-unsettling/
sooooooooo this !!!

Why she continually tolerated this kind of sh&t from her producers over her career amazes me.

i get why she tolerated sh&t from Lindsey in early days because she needed him to help get her music across.

I get why she tolerated it to SOME extent with Jimmy [on Bella Donna anyway] because it was her first foray outside the band and everyone had that dumb f*ck notion that no one would listen to more than 3 songs from her.....

But really, over time, I wish she'd kicked more producers' asses.

She has grown in this regard if you watch her on the IYD doc.... but let's be honest, Dave isn't as douchey as some of her other producers and isn't going to snark back at her. I guess her pushing back on Lindsey "you wouldn't say that to Bob Dylan" is a form of growth too.... but she still referred to a famous man, instead of "dude, I'm STEVIE NICKS and I've sold multi platinum solo records writing just like this so I hear you, I don't plan to change it, move on" (which I guess she feels she did, just in her own way)
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Last edited by bombaysaffires : 08-03-2017 at 12:32 PM.
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  #24  
Old 08-05-2017, 01:59 PM
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Originally Posted by bombaysaffires View Post
sooooooooo this !!!

Why she continually tolerated this kind of sh&t from her producers over her career amazes me.

i get why she tolerated sh&t from Lindsey in early days because she needed him to help get her music across.

I get why she tolerated it to SOME extent with Jimmy [on Bella Donna anyway] because it was her first foray outside the band and everyone had that dumb f*ck notion that no one would listen to more than 3 songs from her.....

But really, over time, I wish she'd kicked more producers' asses.

She has grown in this regard if you watch her on the IYD doc.... but let's be honest, Dave isn't as douchey as some of her other producers and isn't going to snark back at her. I guess her pushing back on Lindsey "you wouldn't say that to Bob Dylan" is a form of growth too.... but she still referred to a famous man, instead of "dude, I'm STEVIE NICKS and I've sold multi platinum solo records writing just like this so I hear you, I don't plan to change it, move on" (which I guess she feels she did, just in her own way)
I think she still listens to stuffy men way too much. I wish she would pull a Beyonce and create something amazing just because she feels like it, drawing on all of her creative prowess and viable music connections to do it! Instead she goes on about money and the music business. Record labels no longer own the music business and she needs to stop listening to them IMHO.

And speaking of Beyonce, did they feature her husband Jay-Z in this series? He called out Jimmy Iovine in the track "Smile" on his new album. Apparently he had this to say about him in 2015 (regarding Apple vs. streaming service, Tidal):

You have a long-standing relationship with Jimmy Iovine. Have you been in contact with him since the news has started trickling out?

Yeah, of course. My thing with Jimmy is, “Listen, Jimmy; you’re Jimmy Iovine, and you’re Apple, and truthfully, you're great. You guys are going to do great things with Beats, but … you know, I don’t have to lose in order for you guys to win, and let’s just remember that.” Again, I’m not angry. I actually told him, “Yo, you should be helping me. This is for the artist. These are people that you supported your whole life. You know, this is good.”


Source: http://www.billboard.com/articles/ne...vine-interview

Unfortunate that someone who has been known to help artists his entire career has become a stuffy billionaire as referenced in an article in a previous post.
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