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Tipper Gore versus the Filthy Fifteen : why the PMRC s war on vulgar rock failed
telegraph.co.uk - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from telegraph.co.uk Daily Mail and Mail on Sunday newspapers.
Тайные пороки великих испанцев: в Москве открылась выставка, посвященная Гойе и Дали
woman.ru - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from woman.ru Daily Mail and Mail on Sunday newspapers.
Prince’s right-hand woman on life with a legend: ‘He never took advantage – but I had to leave’
The first song engineer Susan Rogers worked on with Prince sparked a moral panic – and things only got more intense from there
19 May 2021 • 5:00pm
Prince and Susan Rogers worked together on Purple Rain, Around The World In A Day, Parade and Sign O’ The Times
Credit: Bill Marino
In 1982, David Crosby used to smoke crack in Susan Rogers’ workshop at Rudy Records studio in Hollywood. Amid a haze of pale blue smoke, the singer spent minutes staring at a black and white picture of Prince affixed to the wall. As artists such as Bonnie Raitt, Jackson Browne, Art Garfunkel and the Eagles shot the breeze in the sound room, he would take down the poster and crumple it in his hands. In response, time and again Rogers flattened it out and put back in place.
The Last Laugh: Little Jimi Prince rocks at Clarissa’s Living Memorial
Clarissa Davis was dying.
Her cancer had returned with a vengeance after a blessed two and half year remission and she chose not to ride out yet another brutal round of chemo and to instead die at home.
Clarissa had gotten the idea to have a living memorial service after she had attended one for a high school friend who’d died seven years prior. The idea was not to wait until you were dead and gone to have all kinds of people say nice things about you, but to do it while you were still topside.
Foo Fighters: Medicine at Midnight review – music for toilet breaks at their gigs Alexis Petridis
There are artists who survive through perpetual reinvention, constantly surprising their audience at every turn, and then there are artists who trade in reliability. Twenty-six years into their career, Foo Fighters very much belong to the latter category.
Every two or three years a new album comes out, promoted by a tour of the world’s biggest venues, and magazine covers featuring Dave Grohl pulling the face he pulls on magazine covers: brow furrowed, teeth bared. It’s not a comparison you hear very often, but there’s a sense in which they’re the American version of Oasis: a putatively alternative band dealing in a punk-ish take on rock classicism and beloved of people who presumably want to know exactly what they’re getting before they shell out for, or at the very least stream, a new album.
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