Tag Archives: interviews

Zac Efron’s full body transformation (Men’s Health)

Men’s HealthIt’s a warm southern California morning, and I’m meeting Zac Efron in Studio City at a place called Weddington Golf & Tennis. With a name that stuffy, I expect marble and money. The course turns out to be public, with a plastic-cup snack bar where a waitress, without looking up, informs the 24-year-old movie star that she doesn’t take credit cards. They’ve reserved us a private tee, which is approximately 4 feet away from the adjacent public one.

Here at the practice range, Efron—in T-shirt, oversized cap, shorts, and Vans—strolls around in disarming anonymity, though to be fair, it’s hard for even the preeminent teen pinup of the 2000s to attract notice in a crowd that includes this many codgers in lavender pants. After talking and meandering (not especially well) through a bucket of golfballs, we encounter Roger Dunn, a California golf-shop magnate who gives lessons wearing a Panama hat and smoky sunglasses. We’d heard that Dunn is just shy of his 50th year of teaching, and he’s been introduced to us as a man of considerable local repute. Mostly Dunn has something to teach, and Efron is drawn to that.

Read the full article at Men’s Health.


Interview — Mac McAnally: Buffett’s sideman has some stories he could tell

Island Packet — Mick Jagger has Keith Richards, Bruce Springsteen had Clarence Clemons. Jimmy Buffett’s onstage foil/sidekick has for decades been a very large, congenial ginger named Mac McAnally.

With a massive helmet of Hagar the Horrible-thick hair, dry-rubbed Southern wit and considerable tallness, McAnally does not exactly fit into the Caribbean-escapist vibe conjured up by Buffett’s beach blanket blowouts.

But since the 1990s, the Mississippi native has served as Buffett’s onstage counterpoint, guitarist and producing and writing partner. (He also has, during performances of “It’s 5 O’Clock Somewhere,” served as Alan Jackson.)

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Interview: Gillian Welch on perfectionism, fireworks and why even metalheads think she’s dark

Metromix — Gillian Welch is a band, one that features Gillian Welch on vocals and guitar and partner Dave Rawlings on guitar, and that is how Gillian Welch has worked for years.

It’s the honey voice of Welch that usually first pulls listeners into the duo’s spare, warm songs. But nearly two decades into a friendship forged at the Berklee College of Music over a shared love of very old music, Welch and Rawlings have evolved into an extraordinary duet machine, one that blends crackling acoustic music, Appalachian folk traditions and bluegrass into an effortlessly rich rural sound.

Such synergy is hard to maintain in real life and harder to maintain in music (we’re still not entirely sure if Simon and Garfunkel like each other). But part of Welch and Rawlings’ persistence as a duo comes their perfectionism and pragmatism. “We’re perfectionists of a certain stripe,” she says. “We’ll take all kinds of haphazard and accidental things in recording, but with the songwriting I feel like we inhabit this really sparse, almost puritanical world, and there just isn’t very much that fits in that world.”

Read more at Metromix.

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Interview: Tom Jones: ’24 Hours’ and counting

Billboard/Reuters — Pop star Tom Jones’ new album is the 68-year-old’s first U.S. release in 15 years and, practically speaking, his American comeback — in the studio, anyway; he still performs more than 200 shows a year.

“I’ve been thinking about this album for a long time now,” Jones says of “24 Hours,” due November 25 on S-Curve Records. “I’ve had success worldwide, but with albums that were never released in America.” (His last album, 2000′s rock-covers collection “Reload,” moved 5 million copies in Europe, but labels found its roster of British-leaning duet partners off-putting, so it never came out stateside.)

Unlike artists like Johnny Cash and Neil Diamond, Jones isn’t using the comeback pedestal to deliver a stark, acoustic, depth-of-the-soul thing; this is a characteristically splashy, bombastic, large-sounding platter of future-retro swagger in the vein of the Amy Winehouse-led throwback-soul movement. (It was produced by British duo Future Cut, which has been behind recent tracks by Kate Nash, Lily Allen and Estelle.)

Witness these couplets from “Sugar Daddy,” a vaguely dirty come-on at the record’s center: “I been singing this song before you were born”; “I’ve got male intuition/I’ve got sexual ambition”; “You don’t send a boy to do a man’s job.” The best part: The Welsh singer got U2′s Bono and the Edge to write that for him after a night of drinking in a Dublin pub.

• Sample “24 Hours” at the Official Online Home Of Tom Jones.

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Interview: Gnarls Barkley are aware of their own oddness and uniqueness. Can you dig it?

Billboard — The title of Gnarls Barkley’s sophomore record is the first, and probably last, funny thing about it.

If the band’s 2006 debut, “St. Elsewhere,” seemed to sail in from some neighboring planet — a pop disc that smeared itself with psychedelic weirdness, a vague sense of the creepy and a knockout Violent Femmes cover — the follow-up is a much trickier trip to the dark side. (“I’m not doing so good,” a serious-sounding Cee-Lo Green intones on the otherwise effervescent opening track, “Charity Case.”)

But where there’s darkness there’s light, Green says. And as Gnarls Barkley — Green’s musical partnership with Danger Mouse — prepares for the April 8 release of its highly anticipated sophomore set for Downtown/Atlantic, “The Odd Couple,” he’s making sure to keep focused on both.

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Click here for the print edition.

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Billy Joel hosts “Christmas in Fallujah”

billy-joel.jpgNEW YORK (Billboard) — Billy Joel has broken his self-imposed retirement from pop for the second time in a year, but he’d almost rather you didn’t know that.

The second new Joel-penned single since his last pop album, 1993′s “River of Dreams,” is called “Christmas in Fallujah” and hits iTunes December 4.

There are two major differences between it and the classics that have made him one of the best-selling artists of all time. First, there’s no piano on it, and second, there’s barely any Billy Joel on it, either. Read the Billboard story here.


Interview: Snoop Dogg rolls out the ‘Blue Carpet’

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Billboard / Reuters — “You’re about to witness the eighth wonder of the world,” Snoop Dogg intones about “Tha Blue Carpet Treatment,” his eighth record and one focused squarely on the street-level gangsterism that fueled his rise from the hoods of Long Beach, Calif., to the top of the game.

“It’s not about what I’m doing or where I want to go,” he says. “I put all that aside for this one. I just wanted to make a record that feels good for the hood.”

In prescribing his “Treatment,” which Geffen released November 21, Snoop faced an editor’s nightmare: whittling a rumored 300 recorded tracks down to 21, which he did by adhering to those gangsta criteria.

There are quite a few VIPs walking down the carpet with him: R. Kelly provides a gooey-caramel hook on “That’s That”; the Game contributes a call for gangland unity on “Gangbangin’ 101″; B-Real adds Latin flavor on the Pharrell-produced call for black/brown unity on “Vato”; and Stevie Wonder lends vocals and harp to the redemptive “Conversations,” a sort-of remake of Wonder’s “Have a Talk With God.”

But the set’s most eyebrow-raising appointments come from the family doctor: Dr. Dre, with whom Snoop had not collaborated in five years. The most potent of their three co-headlining tracks is “Imagine.” Over a vintage-Dre beat of minimalist bang and twinkling piano, the pair envisions hip-hop both in an alternate universe (“Imagine Biggie with his son/Imagine ‘Pac being called ‘Pop’ by one”), and never having been born (“Imagine Russell still struggling/no Def Jam, just another n—a hustlin”‘).

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Asked what persuaded him to ask the Dr. for a house call, Snoop says simply, “Overdue. We waited long enough. My last two records were good without him. But it’s better when I work with him.”

But soliciting Dre’s involvement is a tricky proposition, because, as Snoop says, fans are looking for them to “make magic every time. When we started, wasn’t nobody expecting nothing. Now people expect some brilliant s–t from us. And 90% of what we do is magic. The rest, you’ll never hear it,” he says with a laugh.

Snoop admits to loving the work that comes with dropping an album and reclaiming his place. “I’m like an overseer,” he says. “You can say I come at the game from the perspective of a giant or a boss, but at the same time, I still play with these youngsters out there.”

How, you might ask, does he pull that off? “I do me,” he says, with a ready laugh. “When I do other stuff, the s–t doesn’t work. All I gotta do is be Snoop Dogg.”
True to form, “Blue Carpet” kicks off a Snoop-centric media blitz that will last for several months. He’s co-authored a book with David E. Talbert, “Love Don’t Live Here No More: Book One of Doggy Tales,” part one of a purported series centering on an aspiring rapper growing up in Long Beach. And next spring, he’ll star in “A Woman’s Touch,” a feature film he says will have the following effect: “Every black woman in America will love me,” he says, laughing, then breaks into a little Jennifer Holliday: “You’re gonna lo-ove me.”

“I don’t want to give anything away, but it’s something I’ve never done before,” Snoop says of his lead role. “I’m coming straight at the women with this. It’s not gangsta, not hood. It’s strictly for the ladies.”

A look, maybe, at the sensitive side of Snoop? “Nah, not sensitive,” he says with a laugh, “but an awareness that they are who they are. You know, in my songs it’s usually ‘bitches and hoes.’ But I wanted to make something specifically for them.”


Interview: Grace Potter’s magic

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Florida Times-Union — If the name Grace Potter and the Nocturnals sounds familiar, maybe it’s because you caught the band opening for Robert Cray on Thursday night at the Florida Theatre. Or opening for Soulive a few weeks back at Freebird. Or opening for Cray last year. Or on the bill for this year’s Springing the Blues festival.

They call what the New England-based performer is doing “market saturation.” They also call it still a really good way to get people to remember your name.

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• Grace Potter and the Nocturnals – Nothing But The Water (1).mp3

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All of 22 with an infectious giggle, Grace is out to make herself the world’s most famous Potter since that magician kid, gig by gig.

Reached en route to a New Orleans show on what sounds like a beast of a van ride (“We’re not a tour bus band yet,” she says with a laugh), Potter lets on that it’s a big night. She even bought herself a present for the occasion: a 1957 Gibson she picked up in Austin, Texas, a day prior.

“I only pay money in towns that I like,” she said. “I’m a Gibson girl, so I went in for a vintage one. I love it. It’s a really sexy little thing.”

Potter played guitar when she started about a year ago, but she spends most of her time these days behind the Hammond organ, which, not counting a crazy good a cappella performance of Nothing But the Water, is the main thing you take away from one of the band’s shows.

“According to the guys in the band,” she laughs, “there are no chicks in the country that knew how to play it. They said, ‘Come on, it’ll set you apart from all the sad girls with pianos.’ So it’s sort of become the centerpiece of the band.”

Potter gets compared to Norah Jones, but where Jones’ supple voice tends to quietly kiss her notes, Potter goes full steam ahead with her funky blues/rock, hence slots opening for Dave Matthews, Trey Anastasio and Derek Trucks. The production speaks to that, as well – she and the guys (guitarist Scott Tournet, drummer Matthew Burr and bassist Bryan Dondero) recorded their most recent, Nothing But the Water, in a New England barn. The work is a mix of gospel and funk and rock and plenty of the blues that helped secure her place in the Springing the Blues festival this weekend.

Jacksonville enjoys a special place in Potter’s heart. It was here that her band first opened for the relentlessly touring Cray last year, a performance that, by most accounts, brought down the house.

“[The 2005 Cray concert] was one of the most big-deal shows we ever had,” she says. “We were such a baby little band, and he called us up and said, ‘Hey, here’s a random opportunity to play in front of 2,000 people.’ “

Until that show, Potter says, the band stuck mainly around its northeastern base. They formed at St. Lawrence University in New York, when they all met regularly to do what music people do when it’s too cold: plunder whatever vinyl shops they can find and sit around and play records.

Potter was into Joni Mitchell and Patty Griffin (“Total chick music” she says), but she already knew that wasn’t her direction. When she met “the boys,” she found her heart was in something a little more rocking.

“We all got into the same sounds, late ’60s and early ’70s rock that nobody, for whatever reason, was paying attention to anymore,” Potter said.

And once the band started picking up, she quickly pulled the plug on school – “I’d always planned on not going for the full four years,” she jokes – and the band relocated to its native Vermont, where it still makes its base.

“If we’re not touring, we all kind of sit around there. And if there’s no money to buy groceries, we have my mom make us up some catfish soup.”

There’s a little more money now. The band recently signed to Hollywood Records, which will re-release a spiffed-up version of Water on May 2.

“It’s not really a big-shot deal, but it’s a great opportunity for us to open up creatively and brush off this record that was recorded two years ago to see if there’s something about it that’s worth putting out again.”

Plus, it’s a pretty great prologue to a summer that’ll include a stop on Bonnaroo and more touring. World domination is still a ways away for the muggle Potter. But at least maybe her mom can take a break from whipping up the catfish soup.


Interview: Roger Taylor and Queen, plus and minus

“We’re not gonna look too much like old men [on stage],” says Queen drummer Roger Taylor, of the band’s first tour with Bad Company singer Paul Rodgers and without, notably, Freddie Mercury. “Thankfully we still have our hair and are not enormously overweight.” (It is important to note that talking about bands who still have their hair carries extra weight when said band includes Brian May.) Taylor on why Queen wants to continue to rock you.


No, really, the Yellow Wiggle is on the phone

102284_300Florida Times-Union — Several things tend to happen when you’re 30, have a bouncing toddler at home and find yourself talking to an actual Wiggle.

First, you make a blithering idiot of yourself offering thanks. Profusely. You want to buy him coffee, or a giant pie, or a car. I’m not sure how to accurately convey this to the kid-less, but the Wiggles are one of the planet’s most brain-meltingly catchy and profoundly addictive children’s entertainers.

March up to the nearest parent, mention the phrase “fruit salad” and watch the chemical reaction that happens to the part of that person’s brain that controls melody retention.

The Wiggles are Greg Page, Jeff Fatt, Anthony Field and Murray Cook; in the band, they’re known by first name and shirt color. The Australian natives will perform twice Sunday at the Jacksonville Veterans Memorial Arena.

I discovered them thanks to my friends’ daughter Marie, who spent most of her time sprinting around things until the Wiggles came on, at which point she’d come to a screeching, Road Runnerlike stop (boooiiing!), like someone had just turned on the gravity.

“Somebody told me that once, and I asked, ‘How old is your child?’ ” said Page, the red-shirted Wiggle who plays guitar. “And they said 6 months! At 6 months, if they’re stopping to watch the Wiggles, that’s pretty incredible.”

The second thing that happens when you talk to a Wiggle: you think, wow, if Marie knew I was talking to a Wiggle, she’d probably punch me in the kneecaps until she could wrestle the phone away.

Third, you think, wow, he’s speaking Adult, which is a very bizarre development when everything you’ve ever heard from this guy involves a dinosaur named Dorothy and an extremely personable pirate named Captain Feathersword.

But Page speaks Adult well, and the success of the Wiggles is no accident.

“Kids are smart,” Page said about the Wiggles’ mission. “A lot of people don’t recognize that, but likewise people sometimes don’t see what we do as educational, they look at it as just entertainment. Everything we do has to meet the criteria of: What are children getting out of it? There has to be something that’s developmentally appropriate.”

Page describes the 70-minute live show as a “combination of rock concert and theater and some old pantomime kinds of bits,” all with messages that are key to their material — three of the guys have degrees in early childhood education.

“We were all studying to become teachers, but we had musical backgrounds, as well,” Page said of the Wiggles’ first days. “We recorded one CD, and then the record company wanted another, and it just grew from that. There was no long-term plan of any sort. We really just wanted to do something for kids.”

And they have, for 15 years. They travel overseas to visit American families about three months out of the year, and use the rest to spend time with their own (Page, Field and Cook all have children; Fatt is “the bachelor of the group,” Page laughs).

Which begs the question: If your dad is a Wiggle, does that mean you essentially rule the playground?

Page laughs the idea off but does admit that when his daughter was 2, she ambled up to a crowd of kids at the park and introduced herself by saying, “My daddy sings songs!” — “Like it was her way of breaking the ice,” he said. “Like a you-might-know-my-daddy kind of thing.”

At 7 months, he added, she could spot the Wiggles logo at stores and on posters, point and say “Dada!”

The best part of being a Wiggle, he said, is fostering that connection, seeing families respond to an experience they can share together. Particularly, he said, the dads.

“In Australia, men are supposed to be macho, but at Wiggles shows, the dads get involved. Doing hula dances, things men typically wouldn’t be expected to do, they don’t mind doing at a Wiggles show because it’s a bonding experience.”


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