Ôîðóì » ÂѨ Î ×ÀÐËÈ » ËÅÍÒÀ ÍÎÂÎÑÒÅÉ ÒÎÌÀ ÏÅÒÒÈ - 5 » Îòâåòèòü
ËÅÍÒÀ ÍÎÂÎÑÒÅÉ ÒÎÌÀ ÏÅÒÒÈ - 5
Goldenday: Íîâîñòè, ôàêòû, èíòåðåñíûå ñòàòüè, ôîòî è ïð.
stvol:  ñåòè ïîÿâèëñÿ íîâûé ñåðâèñ êüþâèêè. Âîò ÷òî îí âûäà¸ò íà çàïðîñ Petty: http://www.qwiki.com/q/#!/Tom_Petty
Voldar: Randall Marsh – New Music and Website Mudcrutch drummer Randall Marsh has a new EP, video and website! Head on over to randallmarsh.net to see the latest site updates, plus the video for "Tiny Town" from the new "Crazy World" EP. The video was shot in and around Bushnell, FL by Randall and original Mudcrutch photographer Red Slater. You can also listen to the entire "Crazy World" EP on the site. The EP is available now for download at iTunes Store and Amazon , and on CD at CD Baby. http://www.tompetty.com/news/title/new-music-and-website-from-randall-marsh http://www.randallmarsh.net/
Voldar: Âåñòè ñ ðîäèíû. TomPetty:TheEnigma Tom Petty, the man who wouldn’t back down, hangs over Gainesville, as an ethereal haze—always there, yet not always perceptible. By all accounts, he hasn’t returned to the city since the documentary Runnin’ Down a Dream filmed his performance at the O’Connell Center in 2006. Efforts to tie his art to the city haven’t always worked out either. The legend that “American Girl” was about a coed who committed suicide off Beaty Towers was vehemently denied in the book “Conversations with Tom Petty,” printed in 2005. He called it an urban legend and said, “That’s just not true at all. The song has nothing to do with that.” Yet, still, he is the city’s icon. Emmitt Smith was not born here or Tebow or Wuerffel. No one of his stature can walk through Gainesville bearing the title: homegrown. Buster Lipham, owner of Lipham Music, recalled the last time Petty visited his store. It was about 15 years ago. “He had a straw hat on; he had his hair pulled down, kind of in front of his face,” Lipham said. After finishing with a customer, Lipham approached his old friend and former employee, but Petty’s security guard intervened, placing a large hand on his chest. “(Petty) said, ‘This is my body guard’; I said, ‘You don’t need a bodyguard in Lipham Music Company’; he says, ‘Well, Buster he goes with me wherever I go… they pull at my hair; they pull at my clothes,’” Lipham recalled. So he invited Petty back to his office for some privacy. They entered the room; Lipham shut the door, but it was immediately pushed open by Petty’s muscle. Lipham was incredulous. “It was weird,” he said. Flashback to the young Petty. Marty Jourard knew him well. His band Road Turkey often opened for Petty’s Mudcrutch from 1973-1974. Stan Lynch, of Road Turkey, would later join the Heartbreakers. One night, while taping a radio commercial, the bands realized they shared a similar sense of humor—really sarcastic and ironic, Jourard said. That bonding forged a friendship that remained as they played together, and slowly, Petty began to differentiate himself. “You knew there was something going on with Petty at the time because of his songs,” Jourard said. “It wasn’t like he was this phenomenal singer or showman; I mean, you know, he was just a regular old hippie; we all were.” At the time, Jourard said, “he was writing five, six, eight originals that sounded great.” That made him unique because very few others were writing songs. Members of these bands were like siblings then; they were constantly mocking each other—all in good spirit. “We would make fun of the way Petty would aim the mike down when he would sing,” he said. “We’d just goof on him.” Showing his talent for leadership, Petty had assembled Mudcrutch. “He was really good at organizing… he was a main guy in Gainesville,” Jourard said. As a rocker though, his trim physique could work to his detriment. “He was one of the guys… that was getting hassled by rednecks and big football player dudes,” Jourard said. Now he has his own football player dude. But where does he fit into the pantheon of great rock ‘n’ roll artists? William McKeen, a rock historian and journalism professor at Boston University, sees Petty as a traditionalist. “I put him in the category with Bruce Springsteen, Bob Seger, John Mellencamp, sort of heartland musicians,” McKeen said. “Even though he’s from Florida, he’s very traditional in a way,” McKeen also likened Petty’s sound to that of Roger McGuinn, the Byrds’ lead singer. “(Petty) is a guy that really reveled in being a rock star and producing albums like ‘Southern Accents’ (which) was the sort of album an artist in the ‘60s would have produced,” McKeen said. Meanwhile, Indian University Bloomington rock ‘n’ roll historian and music professor Glenn Gass puts him elsewhere. “I think one of the nice things about Tom Petty is he doesn’t really fit in anywhere,” Gass said. “He came along with new wave and punk really… he didn’t get socked in that sort of niche and obviously he’s proved to be much more than that,” Gass said. He also appreciated Petty’s work because it acted as a counterbalance to another genre. “You have to go back to disco and the stranglehold that it held to remember how wonderful his early songs sounded—yes, right, guys with guitars in their hands playing real drums,” Gass said. “It was joyous.” http://www.gainesvilletoday.com/2011-august/2011/07/28/tom-petty-the-enigma/
Voldar: Ðàéàí Àäàìñ ãîòîâèò íîâûé àëüáîì Àìåðèêàíñêèé òðóáàäóð Ðàéàí Àäàìñ (Ryan Adams) çàêàí÷èâàåò ðàáîòó íàä ñâîèì íîâûì ñòóäèéíûì àëüáîìîì, ïîñëåäîâàòåëåì èçäàííîãî â 2008-ì ãîäó «Cardinology».  èíòåðâüþ èçäàíèþ Q Magazine 36-ëåòíèé ìóçûêàíò ðàñêðûë íåêîòîðûå äåòàëè ïðåäñòîÿùåãî ðåëèçà. Ïî ñëîâàì Ðàéàíà, åãî íîâàÿ ïëàñòèíêà áóäåò íîñèòü íàçâàíèå «Ashes & Fire» è âêëþ÷èò â ñåáÿ 12 «ýëåãàíòíûõ êàíòðè-ðîê-êîìïîçèöèé».  ðàáîòå íàä ýòèì äèñêîì â ñòóäèè åìó ïîìîãàëè Íîðà Äæîíñ (Norah Jones) è îðãàíèñò ãðóïïû Tom Petty And The Heartbreakers Áåíìîíò Òåí÷. Ïðîäþñèðîâàíèåì çàïèñè çàíèìàëñÿ Ãëèí Äæîíñ, ñîòðóäíè÷àâøèé ðàíåå ñ The Rolling Stones è The Who. Äàòà ðåëèçà «Ashes & Fire» ïîêà íå îïðåäåëåíà. Íàïîìíèì, ÷òî ïîñëå ðîñïóñêà â 2009-ì ñâîåé ãðóïïû The Cardinals Ðàéàí Àäàìñ íå äàâàë êîíöåðòîâ âïëîòü äî ìàðòà ýòîãî ãîäà. Âî âðåìÿ ýòîé ïàóçû ìóçûêàíò ïîäãîòîâèë è âûïóñòèë äâà èíòåðíåò-ðåëèçà: êâàçè-ìåòàëè÷åñêèé «Orion», à òàêæå êîìïèëÿöèþ ðàðèòåòîâ The Cardinals «III/IV». http://music.com.ua/news/alternative/2011/08/02/33649.html
Voldar: Ïîêëîííèêè ðàñêîïàëè ïàðó øêîëüíûõ ôîòîê Òîìà. Åãî øêîëüíàÿ ãðóïïà Epics
Voldar: Ó Òîìà îêàçûâàåòñÿ åñòü ñâîé êðóíåð,êîòîðûé èñïîëíÿåò åãî ïåñíè,çà âñþ òâîð÷åñêóþ êàðüåðó. Petty, almost, performs A tribute to Tom Petty will hit the stage at the Charlie White Theatre this weekend. Petty: a solo tribute to Tom Petty showcases the talented guitarist/vocalist, Frank Murray, performing an intimate, yet energizing show that features acoustic and electric renditions of 30 years of Tom Petty hits. Murray has an uncanny visual, musical and vocal similarity to Petty and many times after a performance will have to explain to members of the crowd that he is not Tom Petty. Purchase a ticket for the Petty solo show and get $5 off the Petty full band tribute slated for the Mary Winspear Centre this fall. http://www.bclocalnews.com/vancouver_island_south/peninsulanewsreview/entertainment/126435593.html
Voldar: Îòðûâîê èç ñòàòüè î Warren Zanes. Montclair author and educator Warren Zanes creates new musical life for himself ROCK REUNION Zanes has known Tom Petty since his Del Fuegos days: Petty was a supporter of the band, hiring them to open shows and guesting on their 1987 “Stand Up!” album. They hadn’t seen each other in more than a decade, though, when Zanes wrote a 2003 book on Dusty Springfield’s “Dusty in Memphis” album (part of the 33⅓ series of paperback explorations of classic albums) and Petty’s management company contacted him, saying Petty would like to take him to dinner. When they met, Petty told him he loved the book so much he read it twice, and that it inspired him to write “Down South” (which wound up on his 2006 “Highway Companion” album). They stayed in touch, and Zanes edited “Tom Petty and the Heartbreakers: Runnin’ Down a Dream,” the coffeetable book released in conjunction with the 2007 Peter Bogdanovich-directed documentary of the same name. He also wrote liner notes for the 2009 Petty and the Heartbreakers boxed set, “The Live Anthology.” Then Petty approached him with the idea of writing a biography. “He just came to me and said, ‘You know, I’ve always turned down the book idea, but I want to do it. It’s your book, but I’ll help you wherever I can,’ ” Zanes says, adding that he’s now “pretty deep in the process” of writing it. Yet another golden opportunity came when Zanes was asked to participate in the Harrison documentary, which couldn’t be more eagerly anticipated by Beatles fans. Scorsese, after all, has received nearly as much acclaim for his music documentaries (including “The Last Waltz,” “No Direction Home: Bob Dylan” and the Rolling Stones concert film “Shine a Light”) as he has for his other movies. Among Zanes’ interview subjects were Beatles producer George Martin, Harrison’s Traveling Wilburys bandmate Jeff Lynne, bassist and visual artist Klaus Voorman, and Monty Python members Eric Idle and Terry Gilliam “You’re getting lots of time with these people, because of the Scorsese factor,” says Zanes. “Everybody’s really giving themselves to this, I think, with the mind-set that this is going to be the big George document. They’re very emotional interviews. It was definitely a privilege for me to be doing it, and I learned a lot about George along the way.” http://www.nj.com/entertainment/music/index.ssf/2011/08/montclair_author_and_educator.html
Voldar: Åù¸ îäíà ñòàòüÿ î âîçìîæíîì èçìåíåíèè çàêîíà î àâòîðñêèõ ïðàâàõ ïîñëå 35 ëåò . Bruce Springsteen and Billy Joel Could Soon Own Their Own Classic Albums There’s a little bit of light in the darkness for artists like Bruce Springsteen, Billy Joel, Tom Petty, Bob Dylan and the Eagles, thanks to copyright laws that will soon allow them to regain control of their famous master recordings. Copyright laws were revised in the ‘70s to give artists the right to regain control of their output via “termination rights.” Albums become eligible 35 years after they are released. The New York Times reports that albums from 1978 will be the first to gain that eligibility, which makes Springsteen’s ‘Darkness on the Edge of Town’ and Billy Joel’s ‘52nd Street’ two of the most notable moneymaker whose ownership could soon change hands. There’s two hitches though – first is that artists must file two years in advance of the eligibility date in order to claim their albums and the royalties that go along with them. Artists also have the ability to claim ownership of individual songs, which is something that Dylan, Petty, Bryan Adams and others have already begun pursuing. Second, and more concerning to the artists, the record labels aren’t exactly willing to let these cash cows walk out of the door without a fight: “We believe the termination right doesn’t apply to most sound recordings,” states Steven Marks of the lobbying group Recording Industry Association of America. Artist advocate and Eagles principal Don Henley, a founding member of the Recording Artists Coalition, says that “the recording industry has made a gazillion dollars on those masters, more than the artists have. So there’s an issue of parity here, of fairness. This is a bone of contention, and it’s going to get more contentious in the next couple of years.” Representatives for both Springsteen and Joel have declined comment on any plans that their artists might have to take advantage of these copyright issues. The United States Copyright Office processes those termination claims manually, which makes it impossible to get concrete information regarding how many artists have filed to date. Songwriters Guild of America president Rick Carnes says “year after year after year you are going to see more and more songs coming back to songwriters and having more and more influence on the market. We will own that music, and it’s still valuable.” http://ultimateclassicrock.com/bruce-springsteen-billy-joel-album-rights/ ãóãëåïåðåâîä Òàì â íåìíîãî ñâåòà â òåìíîì öàðñòâå äëÿ õóäîæíèêîâ, êàê Áðþñ Ñïðèíãñòèí , Áèëëè Äæîýë , Òîì Ïåòòè , Áîá Äèëàí è îðëû , áëàãîäàðÿ çàêîíàì îá àâòîðñêèõ ïðàâàõ, êîòîðûå ñêîðî ïîçâîëÿò èì âîññòàíîâèòü êîíòðîëü íàä ñâîåé èçâåñòíîé çàïèñè ìàñòåð. Çàêîíû îá àâòîðñêîì ïðàâå áûëè ïåðåñìîòðåíû â 70-õ, ÷òîáû äàòü õóäîæíèêàì ïðàâî âîññòàíîâèòü êîíòðîëü íàä ñâîåé ïðîäóêöèè ÷åðåç "ïðåêðàùåíèå ïðàâ." Àëüáîìû ïîëó÷èòü ïðàâî ÷åðåç 35 ëåò ïîñëå èõ âûõîäà. Íüþ-Éîðê Òàéìñ îò÷åòû , ÷òî àëüáîìû ñ 1978 ãîäà ñòàíåò ïåðâûì, ÷òîáû ïîëó÷èòü, ÷òî ïðàâî, ÷òî äåëàåò Ñïðèíãñòèíà 'Òüìà íà îêðàèíå ãîðîäà "è äâà Áèëëè Äæîýëà '52-ÿ óëèöà» èç ñàìûõ çàìåòíûõ ïðèáûëüíîå äåëî, âëàäåëåö êîòîðîãî ìîæåò âñêîðå èçìåíèòüñÿ ðóêàõ. Òàì äâå çàìèíêè, õîòÿ - Ïåðâîå, ÷òî õóäîæíèêè äîëæíû ïîäàòü äâà ãîäà äî äàòû ïðàâà äëÿ òîãî, ÷òîáû çàÿâèòü î ñâîèõ àëüáîìîâ è ðîÿëòè, êîòîðûå âûõîäÿò âìåñòå ñ íèìè. Õóäîæíèêè òàêæå èìåþò âîçìîæíîñòü ïðåòåíäîâàòü íà ñîáñòâåííîñòü íà îòäåëüíûå ïåñíè, êîòîðàÿ ÿâëÿåòñÿ òî, ÷òî Äèëàí, Ïåòòè, Áðàéàí Àäàìñ è äðóãèå óæå íà÷àëè ïðåñëåäîâàòü. Âî-âòîðûõ, è áîëåå, îòíîñÿùèõñÿ ê õóäîæíèêàì, çâóêîçàïèñûâàþùèõ íå ñîâñåì ãîòîâû äîïóñòèòü, ÷òîáû ýòè äîéíûõ êîðîâ âûéòè èç äâåðè áåç áîÿ: "Ìû ñ÷èòàåì, ÷òî ïðåêðàùåíèå ïðàâà íå ðàñïðîñòðàíÿþòñÿ íà áîëüøèíñòâî çâóêîçàïèñåé," çàÿâëÿåò Ñòèâåí çíàêîâ èç ëîááèñòñêîé ãðóïïû àññîöèàöèÿ çâóêîçàïèñûâàþùèõ êîìïàíèé Àìåðèêè . Âûñòóïàþò Õóäîæíèê è îðëû ãëàâíûé Äîí Õåíëè , îäíèì èç ó÷ðåäèòåëåé êîàëèöèè Çàïèñü õóäîæíèêîâ, ãîâîðèò, ÷òî "Çâóêîçàïèñûâàþùàÿ èíäóñòðèÿ ñäåëàëà Gazillion äîëëàðîâ íà òåõ ìàñòåðîâ, áîëüøå, ÷åì õóäîæíèêè. Òàê ÷òî âîïðîñ î ÷åòíîñòè çäåñü, ñïðàâåäëèâîñòè. Ýòî ÿáëîêî ðàçäîðà, è îí ñîáèðàåòñÿ ïîëó÷èòü áîëåå ñïîðíûì â áëèæàéøèå ïàðó ëåò ". Ïðåäñòàâèòåëè êàê Ñïðèíãñòèí è Äæîýë ñíèçèëèñü êîììåíòèðîâàòü êàêèå-ëèáî ïëàíû, ÷òî èõ õóäîæíèêè, âîçìîæíî, ïðèäåòñÿ âîñïîëüçîâàòüñÿ ýòèìè âîïðîñàìè àâòîðñêîãî ïðàâà. Copyright âåäîìñòâî ÑØÀ îáðàáàòûâàåò ýòè ïðåêðàùåíèå ïðåòåíçèé âðó÷íóþ, ÷òî äåëàåò íåâîçìîæíûì, ÷òîáû ïîëó÷èòü êîíêðåòíóþ èíôîðìàöèþ î òîì, êàê ìíîãèå õóäîæíèêè ïîäàëè íà ñåãîäíÿøíèé äåíü. Âåðñèþ Ãèëüäèè Àìåðèêè ïðåçèäåíò Êàðíç Ðèê ãîâîðèò, ÷òî "èç ãîäà â ãîä çà ãîäîì âû áóäåòå âèäåòü âñå áîëüøå è áîëüøå ïåñåí âîçâðàùàÿñü ê êîìïîçèòîðîâ è âñå áîëüøå è áîëüøå âëèÿíèÿ íà ðûíîê. Ìû áóäåì ñîçíàòüñÿ, ÷òî ìóçûêà, è îíà ïî-ïðåæíåìó öåííû. "
Voldar: Êëèï Ñòèâè è Òîìà,êàê óâåðÿþò,ðàíüøå íå âûëàäûâàëè. Stevie Nicks & Tom Petty 'Stop Draggin My Heart Around'' http://www.youtube.com/watch?feature=player_embedded&v=XmktGqdiLWk#!
Voldar: Pastor Links Sermons to Rocker Tom Petty ERMA — The music of rocker Tom Petty is not generally thought of as the topic of Sunday sermons and his hit songs are not generally played in church. Those passing by the intersection of Seashore and Tabernacle roads may have noticed “The Gospel & Tom Petty,” posted as the sermon title on Tabernacle United Methodist Church’s sign. Rev. Michael P. Smith, age 32, grew up with the music of Tom Petty as did almost anyone who has listened to rock ‘n roll radio since Petty’s debut album in 1976. Smith said he was inspired to start the series after watching a Tom Petty concert on television. Certain lyrics from Petty’s songs caught the pastor’s attention, items that were biblical truths. He said while Petty probably did not intend to communicate Biblical truth, “I found my faith nurtured by his poetry and how he expressed certain themes.” “All truth is God’s truth,” continued Smith. Smith’s 11 weeks of sermons this summer each use a different Petty song, which began with “Free Falling” on July 3 and wrapping up the series on Sept. 11 with “Runnin’ Down a Dream.” The sermons begin with a snippet of a Petty song played from a CD. As an example, in Petty’s song “The Refugee,” the lyric tells the listener “You don’t have to live like a refugee.” Smith found a link to the Bible’s story of the prodigal son and Ephesians 2:11-22, speaking of how salvation breaks down barriers and walls of hostility. Smith said the Bible also speaks of how to treat a stranger in the land. How do his congregation’s most senior members relate to Petty? Smith said some were not familiar with the blonde-haired rock star and some members asked, “What in the world are you doing?” Half way through the sermon series, some church members have told Smith they began downloading Petty’s music to preview his next sermon. He listed all the song titles in advance. Smith said preparing the Petty sermons have been among the most creative and fun experiences he has experienced as a pastor. He said the sermons show how the message of Jesus Christ translates into everyday life. Smith recalls as a child listening to “Breakfast with the Beatles” on the radio while riding to church with his mother. The lives of many of the rock n’ roll generation were shaped more by the themes of John Lennon than the Apostle John or Paul McCartney rather than the Apostle Paul, said Smith. Smith said God can speak truth to an individual and may use a random person to do so. “We’ve seen a lot of people this summer begin to decide to give church a second chance,” he said. Smith said his sermons are presenting the gospel, hence the title “The Gospel & Tom Petty.” Those attracted by the sermon title have come into the church and found people there who will love them and not judge them, he said. “People have responded by saying ‘I want to give God a second chance in my life,’” said Smith. What would Smith say to Petty if he met the rock star? “You can say things in a much more creative way than I ever could,” Smith said he’d tell Petty. Smith said he would also tell Petty that he helped communicate love, truth and beauty in a way that has supplemented and helped connect his life with Biblical truth, which has helped him grow in his faith. The Petty song “Runnin’ Down a Dream,” connects to Tabernacle United Methodist Church’s 208th anniversary and where the church hopes to be in 2020, said Smith. He said the church has a dream to see lives changed, to see the community transformed and to see the church renewed. “We want people to become fully devoted followers of Jesus Christ,” said Smith. http://www.capemaycountyherald.com/article/religion/erma/75512-pastor+links+sermons+rocker+tom+petty
Voldar: Íà ðàäèîñòàíöèè click989 çàäàþòüñÿ âîïðîñîì óêðàëè ëè NOAH AND THE WHALE ìåëîäèþ ó Òîìà. Plagiarism: Noah And The Whale VS Tom Petty Here we have a couple of songs, one by Noah and the Whale and the other by Tom Petty. If you listen to the music you can hear similarities between the two. Judge for yourself though, listen and let us know! Tom Petty – “Don’t Come Around Again” Noah and the Whale – “L.I.F.E.G.O.E.S.O.N.”:
Goldenday: Ïîõîæå, ÷òî ïåñíþ äåéñòâèòåëüíî ñïëàãèàòèëè: ñëèøêîì ìíîãî ñîâïàäåíèé.
Voldar: Autographed 'Long After Dark' LP is Part of Blues Foundation Auction Tom Petty has once again provided The Blues Foundation with a unique item for their monthly auction. This time he has autographed the 1982 LP 'Long After Dark', an item surely suitable for framing! http://www.tompetty.com/news/title/autographed-long-after-dark-auction-to-benefit-the-blues-foundation
Voldar: Ïîõîæå ó Ìàéêà ñî çäîðîâüåì íàëàæèâàåòñÿ. Behind the Scenes with Stevie Nicks Relaxed in black and looking ever the rock star, Stevie Nicks proves she's still got it in these just released behind-the-scenes photos for her new music video, For What It's Worth. The song is the second single off Nicks' first studio album in ten years which was released early this May. The Fleetwood Mac legend produced and co-wrote much of the CD In Your Dreams with Dave Stewart of Eurythmics fame. Keep an eye out for Stewart and Mike Campbell of Tom Petty + The Heartbreakers who make a special cameo in the video. Don’t miss Stevie when she Performs live in Central Park this Friday on Good Morning America. http://www.etonline.com/music/113729_PICS_Stevie_Nicks_Films_For_What_It_s_Worth/index.html?photo=1
SLQ: Èç Rolling Stone çà ñåíòÿáðü 2011
Voldar: ×åòûðå íîâûõ ïåñíè ýòî êîíå÷íî õîðîøî,à âîò òî ÷òî åù¸ îäíîãî òóðà íå îáåùàþò,íå ðàäóåò.
Goldenday: Îãîð÷àòüñÿ ðàíî, ïîæèâ¸ì - óâèäèì. Ãëàâíîå - íà÷àëî ïîëîæåíî.
Voldar: Petty Fest 2011 Returns to New York City in October Once again Petty Fest will take place in New York City this Fall. This year's event has expanded to two nights - At the Music Hall of Williamsburg on October 5th and at the Bowery Ballroom on October 6th. Artists currently confirmed to appear include: Norah Jones, Nicole Atkins, Jesse Malin, Har Mar Superstar, Ryan Miller (Guster), Will Forte, Jody Porter (Fountains Of Wayne), Jessie Baylin, Sammy James Jr. (The Mooney Suzuki), Cory Chisel, The Sheepdogs, Ben Trokan (Robbers On High Street), Antony Ellis (5 O’Clock Heros), Tad Kubler (The Hold Steady), Josh Lattanzi (The Lemonheads, The Candles), Jack Dishel, Justin Long, Alia Shawkat and Jonny Corndawg. Several additional guests are expected! Check out TomPetty.com's coverage of last year's Petty Fest here! Tickets for both events can be purchased beginning Thursday September 1 at Noon Eastern here: October 5 - Music Hall of Williamsburg October 6 – Bowery Ballroom http://www.tompetty.com/news/title/petty-fest-2011-returns-to-new-york-city-in-october-
SLQ: Èíòåðåñíûé êóñî÷åê èç îäíîé ñòàòüè, àâòîð êîòðîé ðàññêàçûâàåò î ñâîåì îïûòå îáùåíèÿ ñ ìóçûêàíòàìè . "Sometimes when you request an interview, publicists will try to strike a deal. It typically works like this: “Yes, you can interview [insert name of well-known musician here], if your publication also agrees to also do an interview with [insert name of lesser-known musician here].” Sometimes this is even applied within a band. Around the time Stevie Nicks’ “Stop Draggin’ My Heart Around” was a hit, I wanted to interview Tom Petty about songwriting and rhythm guitar. At the time, I didn’t even have any Heartbreakers albums, although I liked some of their songs. A deal was struck: If we wanted to interview Tom Petty for Guitar Player, we had to run his image on the magazine’s banner and do a companion feature on the band’s other guitarist, Mike Campbell. I was happy to agree, since Campbell plays beautifully. Flew down to L.A., took a cab to the Beverly Hills office of a super manager, and had a great hour-plus conversation with Campbell, who seemed delighted to be getting some coverage. As we spoke, I could see Tom sitting on a couch in another room. Once we’d finished, the publicist came in to inform me that I would not be interviewing Tom. I called her bluff: “We agreed to publish articles on both musicians. If I don’t get to interview Tom, I’m pulling the article on Mike, and you can explain to him why this happened.” Flustered, she left the room for a few minutes. She returned and said, “You can talk to Tom for 15 minutes – that’s it. And no questions about drugs or sex.” A few minutes later Tom walked in. “I guess they’re afraid I’m gonna ask you the wrong questions,” I said. “Oh, yeah?” Petty said. “Fuck ’em.” He locked the door behind him and pulled his chair so close to mine that our knees touched. “How’s your sex life?” he began. “Great,” I responded. “Getting some good drugs?” “Yes,” I answered. “Good. We can talk about anything you want.” Ignoring the knocks on the door, Petty went on to give me a no-nonsense 45-minute interview. I found him to be exceptionally charismatic and walked out of that room a diehard Tom Petty fan, which I remain to this day." Ñòàòüÿ öåëèêîì: http://jasobrecht.com/interview-musicians/
SLQ: Òîì íà ïðåìüåðå ôèëüìà THE HOLLIES: LOOK THROUGH ANY WINDOW 1963 - 1975 . Thu, September 22
ïîëíàÿ âåðñèÿ ñòðàíèöû