The second season of Real Housewives of Beverly Hills does not premier until September 5 on Bravo TV. But fortunately for my wife (who is a huge fan of any Bravo/Housewives programming [except for Miami, which she skipped entirely]) I ran across this two-minute preview clip. My favorite snippet in this clip? That someone owns a boat called “Trilogy IV”.
So apparently someone at Rolling Stone thought its reading audience was dying for a Styx reunion. So they tried to stir up the possibility, by interviewing Tommy Shaw–and most recently, Dennis DeYoung.
And this is a bad interview–made mostly weak by poor editing. So DeYoung was a wiseass on the phone interview: shocking. But did we have to read every stupid joke he made? Here’s a snippet (interviewer questions in bold):
Thanks for calling.
Am I getting you at a bad moment? You having sex or something? You’re in the office, right?
Ha, yeah. I can talk.
Where are you calling from?
I’m calling from a telephone.
Gotcha. How’s your tour going?
Well, Andy, whenever they want a middle-aged white guy to sing high, I raise my hand. We do about 50 to 60 shows a year, depending on my prostate.
So how’s that doing these days?
Well, actually for man my age – I’ve seen worse.
So, I was reading . . .
I deny it! I deny all allegations, your honor! That maid is a liar!
Hard to believe that Rolling Stone stretched this Q&A to two unreadable pages.
Article first published as Interview: Musician Richard Drummie on Go West’s Latest Releases, Upcoming Tour on Blogcritics.
”]Of the bands I loved in the 1980s, there are few bands that produced music that I still enjoy as much today as I did when I first heard them. Go Westis on that short list of bands I still love to listen to whenever I get the chance.
So when I found out that one-half of the Go West duo, guitarist and vocalist Richard Drummie (shown in photo on right with guitar), was willing to do a brief email interview I was ecstatic. The band is having an incredibly busy 2011, withabout the recently released Frame by Frame DVD, which collects all of the band’s many promotional music videos; the third installment in the three-part 3D CD release; and most importantly, the upcoming 3D Live Tour, which kicks off in December. Be sure to read to the end of the interview, where full tour details are provided. My thanks to Drummie for the interview.
Tim O’Shea: The Frame by Frame DVD collection includes the two of you sharing recollections of making the videos, were you surprised how the memories (you’ve done a lot of music and a lot of living since some of those videos) came flooding back and you started recalling long-forgotten nuances.
Richard Drummie: Yes I was surprised. That’s what made it fun to do. We didn’t sit down together and watch the videos first and make notes of what would be interesting or funny, we just pushed go and off we went.
So last night Brian Williams appeared on The Late Show with David Letterman telling a damn funny Regis Philban story–and revealed that he could do a quite solid imitation of the “Ripa co-host”.
Tonight I found an amazing treasure trove archive of free live music–with the recording artists’ permissions. To quote Internet Archive:
Welcome to Internet Archive’s Live Music library. etree.org is a community committed to providing the highest quality live concerts in a lossless, downloadable format. The Internet Archive has teamed up with etree.org to preserve and archive as many live concerts as possible for current and future generations to enjoy. All music in this Collection is from trade-friendly artists and is strictly non-commercial, both for access here and for any further distribution. Artists’ commercial releases are off-limits. This collection is maintained by the etree.org community.
And so without further hype, here is Mike Doughty Live at Petrillo Music Shell – Taste of Chicago on 2006-07-04 (July 4, 2006)
I am sure Kenneth Branaugh has talked about his family and formative years before, but for some reason I found this recent MakingOf interview with him (conducted by Christine Aylward) to be quite engaging.
Consider this excerpt from the interview (about his younger days):
So I decided to start finding out what that meant. I come from a background where there’s no show biz, no entertainment background. I mean, we’re all Irish, so everybody sung and told stories and did things. Family do’s were always full of people who’d got a bit of a turn in them. They could do a poem or a song or something. But the road to understanding how I could, from a working-class background – Belfast originally, and then to Redding, which is about 40 miles west of London and where I lived, suburban Enfield – it was a big jump to make.
Article first published as Interview: Musician James Lee Stanley on All Wood and Doors on Blogcritics.
James Lee Stanley is a musician that clearly considers and explores music in extremely unique ways. His musical curiosity is fully evident in his latest project with Cliff Eberhardt, All Wood and Doors, an acoustic guitar exploration of classic Doors songs. The 12-song project, which was released this month by Beachwood Recordings, has support and involvement from two Doors members (John Densmore and Robby Krieger). The release (described at Stanley’s site as “An amazing collection of Doors tunes played on acoustic guitars and laden with soulful vocals and joyous harmonies”) also has the involvement of numerous talented musicians including Peter Tork, Timothy B Schmit, Laurence Juber, Paul Barrere and Chad Watson. Stanley was kind enough to discuss this project with me, as well as his new solo release (Backstage at the Resurrection) in the following email interview.
Tim O’Shea: While John Densmore and Robby Krieger were complimentary of the project and expressed interest in working with you two on this Doors collection, I am wondering if there was part of you that was intimidated by the prospect of working with them?
James Lee Stanley: I was certainly thrilled to have not only their blessings, but also their contributions; however I don’t recall feeling any intimidation. After playing music all my life and recording 25 other CDs and producing many other artists, soundtracks, scoring TV shows, writing musicals, performing, and session work, it just seemed like more musicians coming together for the sake of the music. And they were both, congenial, professional and just fun to hang with. I was not only honored to be with them, but had a great time.
I have never been to Coney Island, and now I wish I had gone there sometime in the 1980s or 1990s. There is a do-it-yourself quality (seemingly intentional toward the end) on the audio to this New York Times piece on changes for seven businesses at Coney Island.
In the past I have expressed my admiration for all things James Garner, and The Rockford Files in particular. Today, I was watching an episode of Rockford Files from season 1 on Netflix Instant (it is also available via Hulu), Tall Woman in Red Wagon.
Watching this particular episode, I was struck at how slow (compared to present day) the narrative pacing was with show’s back then. Watching shows from this era demand a certain level of patience, admittedly. But I love the pacing, I appreciate the storytelling nuances that are possible when the time is available. For instance, in the scene excerpt below, Rockford is trying to gain control of the situation, by closing the door while talking to the doctor he’s trying to gather information from. He almost loses that hard-earned rapport when his client offends the doctor, asking a detail of his credentials, an effort that Rockford admonishes thereby regaining the doctor’s trust. As for the question of the doctor’s credentials, I love the reveal at the end of this scene, that required a shift in the scene. Again, compared to present day storytelling, the pacing is glacial. But the details revealed are just exquisite to me.