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  #1411  
Old 10-17-2017, 02:37 PM
Richard B Richard B is offline
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EXCLUSIVE: How George Harrison babysat Bob Dylan, Tommy Lee nearly froze on a glacier, Sinatra grabbed Dean Martin’s butt and Stevie Nicks almost fell off a roof: Rock photographer tells the stories behind music’s most iconic pictures

And Preston admits he almost killed Fleetwood Mac’s Stevie Nicks on an At Home shoot for People magazine.
‘She was living in Venice, California, at the time and she had a condo on the top floor of a six-story building right on the sand in Venice Beach and we had a great shoot, she couldn’t have been easier.

‘But I still wanted that one last killer photograph and I said almost at the same time as she said: “Why don’t we go up on the roof and shoot as the sun is going down?” I thought it was a fantastic idea.
‘She had put on this white outfit with long sleeves of fabric that really caught the wind like a sail on a sailboat. The second I put the camera to my eye the wind starts kicking up. She is posing and the sleeves are going all over the place, and I realize about three frames in that the wind is going to be blowing so hard that one gust and she could be blown right off the side of the building, six stories down, which would have ruined Time Life’s insurance department’s day.
‘There was only one thing to do because we were getting great photos and the sun waits for no man and it was going down. So I made an assistant of mine lie on his stomach out of frame and I said “You hold on to that white boot — you do not let go.”
‘And that is what he did. She stayed in one place and we got great pictures. But that is why you don’t see her boots in the pictures. There could be no full-length shot.’


Full Article w/ Lot's of Photos:
http://www.dailymail.co.uk/news/arti...etty-Rose.html
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  #1412  
Old 10-17-2017, 09:40 PM
MikeInNV MikeInNV is offline
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Quote:
Originally Posted by Richard B View Post
EXCLUSIVE: How George Harrison babysat Bob Dylan, Tommy Lee nearly froze on a glacier, Sinatra grabbed Dean Martin’s butt and Stevie Nicks almost fell off a roof: Rock photographer tells the stories behind music’s most iconic pictures

And Preston admits he almost killed Fleetwood Mac’s Stevie Nicks on an At Home shoot for People magazine.
‘She was living in Venice, California, at the time and she had a condo on the top floor of a six-story building right on the sand in Venice Beach and we had a great shoot, she couldn’t have been easier.

‘But I still wanted that one last killer photograph and I said almost at the same time as she said: “Why don’t we go up on the roof and shoot as the sun is going down?” I thought it was a fantastic idea.
‘She had put on this white outfit with long sleeves of fabric that really caught the wind like a sail on a sailboat. The second I put the camera to my eye the wind starts kicking up. She is posing and the sleeves are going all over the place, and I realize about three frames in that the wind is going to be blowing so hard that one gust and she could be blown right off the side of the building, six stories down, which would have ruined Time Life’s insurance department’s day.
‘There was only one thing to do because we were getting great photos and the sun waits for no man and it was going down. So I made an assistant of mine lie on his stomach out of frame and I said “You hold on to that white boot — you do not let go.”
‘And that is what he did. She stayed in one place and we got great pictures. But that is why you don’t see her boots in the pictures. There could be no full-length shot.’


Full Article w/ Lot's of Photos:
http://www.dailymail.co.uk/news/arti...etty-Rose.html
Caption under the photo: STEVIE NICKS 1981 ‘I knew Stevie was beautiful and talented but I didn’t know how hysterically funny she is. To this day I tell her if this rock ‘n’ roll thing doesn’t work out you could be a stand-up comic. This was taken on the roof of her building in Venice, California. Because of the high wind my assistant is grabbing her ankle. That’s why it is not a full-length shot.’
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  #1413  
Old 10-18-2017, 09:41 AM
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The Voice': See Team Adam Hopefuls Cover Tom Petty and Stevie Nicks
Battle Round performance pits Adam Pearce against Whitney Fenimore on "Stop Draggin' My Heart Around"



The Voice's Battle Rounds kicked off last night with a diverse set of songs ranging from Ariana Grande to Bob Dylan, but Adam Levine's team members Adam Pearce and Whitney Fenimore inadvertently landed the most timely tribute of the evening with Tom Petty and Stevie Nicks' "Stop Draggin' My Heart Around."

http://www.rollingstone.com/country/...-nicks-w509267
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  #1414  
Old 10-18-2017, 02:16 PM
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How Heather Parry Is Helping Live Nation Bring Lady Gaga, Puff Daddy And More To The Screen

Baltin: What is the dream biopic?
Parry: There’s a lot, [David] Bowie, I really want to do Beastie Boys, anybody that has an interesting story to tell. And then there are people that are still doing their thing and you can’t even touch it. I think Stevie Nicks, back on tour. But David Bowie, for me, he had an incredible life. I’d love to do that.

https://www.forbes.com/sites/steveba.../#4b25a6ac1c96
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  #1415  
Old 11-07-2017, 06:55 AM
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Introducing 'Oath': FIRST Agency Partners with Verizon for Brand Launch
FIRST Global Events Agency partners with Verizon to launch Oath with a glam kick-off party in Cannes featuring a concert with Stevie Nicks.

FIRST Global Events Agency partners with Verizon to launch Oath, the new brand combining AOL and Yahoo. The experiential activations got started at the Cannes Lions Festival of Creativity in June, where some 1,300 guests enjoyed a kick-off party complete with a concert by rock goddess Stevie Nicks. Photos by Menbar Photos.

Tim Armstrong meets Stevie Nicks
Oath CEO Tim Armstrong poses for photos with rock goddess Stevie Nicks.



http://www.specialevents.com/corpora...n-brand-launch
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  #1416  
Old 11-08-2017, 06:36 AM
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StreetAngel86 StreetAngel86 is offline
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Quote:
Originally Posted by MikeInNV View Post
Caption under the photo: STEVIE NICKS 1981 ‘I knew Stevie was beautiful and talented but I didn’t know how hysterically funny she is. To this day I tell her if this rock ‘n’ roll thing doesn’t work out you could be a stand-up comic. This was taken on the roof of her building in Venice, California. Because of the high wind my assistant is grabbing her ankle. That’s why it is not a full-length shot.’
that story about the boots is the most amazing story.
i am pretty sure if he killed stevie that day he would have been in VERY big trouble they are really some of her best photos though. stunning.
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  #1417  
Old 11-09-2017, 08:41 AM
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Paul Buckmaster, Essential Arranger for David Bowie and Elton John, Dead at 71
String arranger masterminded Rolling Stones, Harry Nilsson, Carly Simon and Taylor Swift songs


Just as pop singing wasn't the same after Elvis or the guitar didn't recover after Hendrix, neither was rock orchestration the same after Paul Buckmaster, the half-British, half-Italian string arranger who died Tuesday at age 71 of undisclosed causes. Even if his name doesn't ring any bells (or, more appropriately, triangles), the records Buckmaster arranged and orchestrated will. Starting with his work on David Bowie’s "Space Oddity," Buckmaster's alternately lush and brooding string arrangements enriched, deepened and darkened pop records for nearly 50 years.

If that sounds like an exaggeration, consider just some of the records featuring his arrangements. In Buckmaster's hands, string sections on rock records weren't schmaltzy. They were trippy and panoramic (the Rolling Stones' "Moonlight Mile"), dark and brooding (Elton John's "Madman Across the Water," the Stones' "Sway"), stately (Harry Nilsson's "Without You," John’s "Levon"), high-stepping (Simon's "You're So Vain"), and lush without being overbaked (Taylor Swift's "Back to December"). The muted French horns and other woodwinds that underscored Guns N' Roses "Madagascar" made that the moist listenable song on the messy Chinese Democracy.

By his own admission, Buckmaster wasn't the most obvious candidate for arranger to the (rock) stars. His mother was a concert pianist, and as a child, he studied cello in private school in London. He didn't even learn how to arrange records until after his schooling. But accidental or not, his timing couldn't have been better. By the mid-1960s, rockers were eager to stretch out the music as much as possible (or as much as could fit onto a side of an LP), and layering strings atop guitars and rhythm sections suddenly didn't seem as anti-rock an idea as a decade before.

First as a touring cellist with the Bee Gees and former Manfred Mann singer Paul Jones, Buckmaster found himself drawn into a very different musical world, and his ghostly work on "Space Oddity," followed a year later by his orchestrations on several tracks on the Elton John album (particularly "Your Song" and "Sixty Years On"), established Buckmaster as the stringman of choice.

From that point on, Buckmaster seemed to be everywhere. "I don't think Paul has gotten the credit he deserves," John told Rolling Stone in 1973. "He's influenced so many string writers, especially the Elton John album; everybody pinches off Paul Buckmaster. Like Lennon on Imagine, I'm not saying he pinched it, but he used a lot of strings on 'How Do You Sleep?' I think nobody really used strings until Buckmaster came along and showed them you can use strings without having them being sugary and awful."

Not everyone agreed: To the Grateful Dead's grousing, Buckmaster was recruited to orchestrate the title song suite of the band's Terrapin Station, which managed to turned those morsels of songs into the Dead's most glorious shot at prog. And who else could have bathed Stevie Nicks in strings the way Buckmaster did on "Beauty and the Beast" from The Wild Heart?

Although he was largely associated with the classic rock era, Buckmaster hardly slowed down; in recent years, he worked with not only GNR and Swift but Train, Brandi Carlile, Faith Hill and others and moved into movie scoring with Twelve Monkeys.

But it will be his rock work for which he'll best be remembered, and rightly so: In his hands, and those of his violinists and conductors, Buckmaster made the possibilities of rock seem even more infinite.


http://www.rollingstone.com/music/ne...-at-71-w511370
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  #1418  
Old 11-09-2017, 04:30 PM
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'Rock 'n' Roll Perspectives': New photo show features top moments in Cleveland concerts, 1970 - 2017 (photos)



CLEVELAND, Ohio - Tina Turner is leaning against the wall. Stevie Nicks is hanging out around the corner with Taylor Swift and Bono.

Across the room, some of Cleveland's greats await - Michael Stanley and Stiv Bators and Pere Ubu.

And, oh yeah, there's David Bowie. In 1972. At his first show in Cleveland, at the Music Hall.

These musical legends - dead and alive - have come together for a knockout photo show from two of the city's top concert photographers. "Rock 'n' Roll Perspectives: Anastasia Pantsios and Joe Kleon" opens Friday night and runs through Sunday at Loftworks Gallery on East 40th Street.

"Rock 'n' Roll Perspectives" features almost 200 black-and-white and color photos from nearly half a century of rock 'n' roll in Cleveland: 1970-2017.

Pantsios, one of the city most lauded concert photographers, got into covering live music during the heyday of rock 'n' roll in the city. A native of Chicago, she moved to Cleveland in 1970 to study theater and lighting design at Case Western Reserve University.

Drawn to the flair of the emerging '70s rock scene, Pantsios would often take the bus downtown to see shows. She took her Cannon with her.

"In those days, you could just walk right into a show with your camera and start taking pictures; there were no rules," she says. "None of this three-songs-only-from-the-soundboard photography" she adds, referring to the restrictions most photographers of live shows face today.

And what shows she walked into! Pantsios had moved to the right place at the right time.

In the heyday of WMMS FM/100.7 as well as Cleveland's punk scene, she was fortunate to see and shoot early shows by the likes of T-Rex, Iggy Pop, the Rolling Stones, the Ramones, U2 and Madonna.

Rising local stars of the '70s, from the Michael Stanley Band to the Dead Boys and Pere Ubu, were also frequent subjects of her lens. A close-up of a sweaty Stiv Bators leaning into the mic is one of the highlights of the exhibit.

Her first published work was in the CWRU Observer, "but I can't recall what it was," she says. "I do know the first shot I had appear on a cover was in a Cleveland underground publication called The Star, which had its office in an old clock repair building on Payne [Avenue] at East 30th [Street], across from where Asian Town Plaza is now. It was a photo of Todd Rundgren at Music Hall, and that shot will be in the show."

Over the years, Pantsios' work has appeared in Rolling Stone, Spin, the Village Voice, Esquire, Creem, Hit Parader, Circus, People, USA Today, The New York Times, the Toronto Sun and The Plain Dealer, as well as numerous books and box sets.

Pantsios had the good fortune, and forethought, to check out one of the most important shows in local rock history: David Bowie's first show in Cleveland at the Music Hall in 1972. She captures Bowie in all his Ziggy Stardust glory, long, lean and magical in his gilded suit.

"David Bowie was so theatrical. You couldn't help be drawn to him," she says.

Pantsios has several Bowie shots from over the years that will be on display at the show. Other legends memorialized early in their careers include a bold young Chrissie Hynde, a lithe Iggy Pop in 1973, baby-faced U2 striking a pose, Led Zeppelin at Public Hall, Alice Cooper and his guillotine and a boisterous Ramones. Pantsios also has thoroughly documented Cleveland favorites the Michael Stanley Band over the years.

Not that she's stuck in the past. Her collection also includes some striking shots of Pearl Jam, Linkin Park and other newer acts. But by the '90s, Pantsios was slowing down in her concert photography. It wasn't the same situation anymore - where you could walk in with a camera, take as many shots as you wanted and often even get backstage access.

"Everything was becoming so restrictive," she says. "The labels and artists really try to control what you do now."

That's not the only change, she says. "Back in the day, a roll of film for 36 color pictures could cost $25. You really had to evaluate how many photos an act was worth, and really edit yourself as you worked."

Just about the time Pantsios was slowing down with concert photos, Joe Kleon was getting started. Credit Art Bell.

Yes, Art Bell, the paranormal-believing broadcaster.

Kleon, a classic rock fan - Rush is his favorite band - had worked as a DJ at WNCX and other stations over the years. Following the loss of a job in 2002, he invested in a camera to take on his honeymoon to Mexico.

Though he had only ever taken "about 200" photos previously, he was inspired. When he got home, he happened to hear on the radio that Bell was looking for photos of Mayan ruins for his website. He sent some in; Bell liked them so much they were featured on his home page, and a career was born.

Soon, Kleon was a photographer spinning his classic rock connections into a new job of taking photos of his favorite acts.

Though today's era is far different from the time Pantsios came up - "we don't get a lot backstage access and things like that" - Kleon has made a name shooting some of the biggest rock and pop acts of the day.

Rush, KISS, Bruce Springsteen, Justin Bieber, Taylor Swift ... he's shot them all, for Cleveland Scene magazine and other local and national publications.

"The rock acts are my favorite, but people really seem to like the pop photos," says the photographer. "Which makes sense. A middle-aged father may not want to buy a Bruce Springsteen photo to hang on his own wall, but he will buy his daughter a Taylor Swift one.

"After all, when I was a teenager, I was putting pictures of my favorite stars up on the walls."

Today, Kleon is the one taking the pictures that go on the walls - and that's fine with him. "I like to be in the background," he says.

This weekend, though, these two photographers will step out of the pit and into the much-deserved spotlight.

PREVIEW

Loftworks Gallery

What: The exhibition "Rock 'n' Roll Perspectives: Anastasia Pantsios and Joe Kleon."

When: Friday through Sunday. There will be a reception from 5 to 9 p.m. Friday. On Saturday, Jim and Eroc classic rock duo will perform from 3 to 6 p.m., and the exhibit will be open 2-8 p.m. Sunday's hours are noon to 5 p.m.

Where: 1667 East 40th St., Cleveland.

Admission: Free. Go to loftworksgallery.com.



I suggest taking a look to the photo gallery because there are many very beautiful pictures:http://www.cleveland.com/entertainme...ves_new_p.html
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  #1419  
Old 11-16-2017, 08:22 AM
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Billy Corgan: The Fact That So Many Living Rock Legends Are Not Making New Music Is Just Wrong
"Sentimentality and the melancholy that goes with sentimentality, that's a big business."


The Smashing Pumpkins mastermind Billy Corgan discussed the fact that many living rock legends - such as Fleetwood Mac's Stevie Nicks or The Who's Pete Townsend which he took as examples - haven't released any new music for many years, saying on Q (via Alternative Nation):

"I think our culture - and I'm including our bigger culture here in the west - sentimentality and the melancholy that goes with sentimentality, that's a big business.

"Unfortunately, I would argue at this point the sentimental crowd and the business behind the sentimental crowd, it's like the reboots of the movies.

"Let me use a perfect example. Stevie Nicks is one of my favorite songwriters, one of my favorite singers of all time.

"The world should be begging her for more new songs. She's walking this planet, she still sings great, she still looks great.

"It's like, 'Hey, can you play 'Rhiannon' one more time?' It's like, 'How about write a new song, and we'll listen to that, and we'll listen to 'Rhiannon'?' That's where we get off the wrong detour.

"I'm arguing against the fact that now that the average musical star's life has a longer shelf life.

"It's no longer 'I hope I die before I get old.' Pete Townshend was just through Chicago doing 'Quadrophenia' with Eddie Vedder and an orchestra, right? So these works live on.

"But Pete Townshend is one of the greatest living songwriters in the world, there should be more interest in his new work than the past. It should be proportionate - that's going to be my argument until the day I die.

"I think people will one day kick themselves that they didn't take more advantage of these great living artists - and I mean LIVING in capital letters - and use that vitality.

"Pete Townshend should be documenting, and I'm sure he is, he should be documenting every stage of his life, not just when he put on skinny trousers. You know what I'm saying?"




https://www.ultimate-guitar.com/news...ust_wrong.html
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