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J'ai entendu un truc sur David Bowie
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noisy-synthesizer
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MessagePosté le: Lun 11 Juin - 16:48 (2012)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant

Dans l'émission de guillaume Durand hier sur Paris Première.

Guillaume Durand :"Aujourd'hui, si tu vas voir un producteur de TV et que tu lui dis que tu veux organiser un concert de David Bowie, le gars va flipper et il va appeler Gérard Lenormand Shocked . Alors que si tu vas voir François Pinault et que tu lui dis que tu veux organiser un concert de Bowie ça va l'intéresser".

propos illustrant le fait que l'avenir de la production musicale passera sans doute par le branding (sponsorisé par des marques donc) ou le mécénat.


A noter une phrase de Mick Jagger citée par Philippe Manoeuvre :"Les musiciens ont été riches de 1962 à 1999"


Dernière édition par noisy-synthesizer le Mer 13 Juin - 08:46 (2012); édité 1 fois
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MessagePosté le: Lun 11 Juin - 16:48 (2012)    Sujet du message: Publicité

PublicitéSupprimer les publicités ?
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cm


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MessagePosté le: Mar 12 Juin - 06:19 (2012)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant

...

Dernière édition par cm le Dim 1 Sep - 08:07 (2013); édité 1 fois
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MessagePosté le: Mar 12 Juin - 14:17 (2012)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant

noisy-synthesizer a écrit:
Guillaume Durand :"Aujourd'hui, si tu vas voir un producteur de TV et que tu lui dis que tu veux organiser un concert de David Bowie, le gars va flipper et il va appeler Gérard Lenormand Shocked . Alors que si tu vas voir François Pinault et que tu lui dis que tu veux organiser un concert de Bowie ça va l'intéresser".





Je comprends pas le sens de cette phrase ?
Pourquoi aucun producteur télé ne serait intéressé par un concert de Bowie ?
  Confused

Cela veut-il dire que Bowie n'a plus aucun succès, il est passé de mode ?
_________________
"Ce n'est pas parce que les choses sont difficiles que nous n'osons pas, c'est parce que nous n'osons pas qu'elles sont difficiles" (Sénèque)


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noisy-synthesizer
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MessagePosté le: Mar 12 Juin - 17:24 (2012)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant

Replay a écrit:

noisy-synthesizer a écrit:




Guillaume Durand :"Aujourd'hui, si tu vas voir un producteur de TV et que tu lui dis que tu veux organiser un concert de David Bowie, le gars va flipper et il va appeler Gérard Lenormand Shocked . Alors que si tu vas voir François Pinault et que tu lui dis que tu veux organiser un concert de Bowie ça va l'intéresser".










Je comprends pas le sens de cette phrase ?
Pourquoi aucun producteur télé ne serait intéressé par un concert de Bowie ?
  Confused

Cela veut-il dire que Bowie n'a plus aucun succès, il est passé de mode ?





Guillaume Durand est fan de Bowie. Il voulait dire que la TV commerciale  fonctionne uniquement sur l'audimat et très peu sur la qualité des artistes et surtout ne veut pas prendre de risque.
Il parlait sans doute des grandes chaînes et pas d'Arte ou des chaînes satellites.
Pour lui les musiciens de qualité devront se faire "sponsoriser" , comme les sportifs ou bénéficier de généreux mécénats comme les artistes de la Renaissance

Bowie est sans doute moins bankable que Gérard Lenormand pour TF1. Aussi étonnant que ça paraisse mais pour TF1 il faut surtout éviter que Tata Jeannette ne zappe sur une autre chaîne.
Une bonne soirée retro années 70 avec "la ballade des gens heureux " et Paolini est content.

Notre Bobo aurait toute sa place, lui, dans une soirée retro 80 mais ils lui demanderaient sans doute de ne chanter que "Let's dance" ou"China girl" à la rigueur.
Mais heureusement pour nous, notre Bobo est beaucoup trop snob pour accepter un truc pareil.
quoiqu'il a bien été interviewé par Sabatier avec des questions du genre "Vous aimez la France ?"

Cela dit c'est pas un très bon calcul, l'audience de TF1 n'arrête pas de se casser la gueule depuis 10 ans/ Mr. Green


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MessagePosté le: Mar 12 Juin - 17:51 (2012)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant

J'aimerais bien retrouvé cette interview de Nagui qui parle de l'audience de taratata dans les années 90.

Il dit avec amertume que la plus faible audience fut celle avec Bowie en invité.

Les artistes qui intéressent les producteurs TV sont ceux qui vendent beaucoup d'albums et ont une actualité.

Si Durand parle de Gérard Lenormand je suppose que c'est parcequ'il a sortie en compagnie de jeunes artistes de renom un album de reprises de ses standards.

Album qui effectivement a plutôt bien marché. Enfin moi je l'ai pas.... Shocked

Ou sinon pour le sponsoring, ce mode d'investissement a quand même évolué. Il n'y a pas que les mécènes comme au temps jadis très fortunés et élitistes, il y a
maintenant aussi les internautes qui misent sur le projet artistique de certains. Le mécénat se démocratise. 


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noisy-synthesizer
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MessagePosté le: Mar 12 Juin - 18:14 (2012)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant

cm a écrit:

Il y a déjà des années que ce phénomène existe. Les marques de Bières , de Sodas et d'alcool en tout genre sont les mécènes des Tournées et festivals. Sans oublier les plus riches et entreprise privé de ce Monde qui organisent des concert privés. Les Rolling Stones invités par la Deutch Bank à Barcelone il y a quelques années exclusivement pour son personnel et ses clients VIP. C'est du Marketing et une façon de montrer son pouvoir.


Au moment de sa faillite, Lehman Brothers était mécène officiel (parmi d'autres) de l'Opera de Paris.
Le mécénat a cet avantage sur le "branding" que c'est plus discret. Tu vois pas Figaro débarquer sur scène avec un T-shirt "Coca-cola"


Qui dit branding, dit audimat dit publicité.
Est-ce que les marques accepteront de sponsoriser et d'accompagner un jeune groupe inconnu pendant 3 ou 4 albums comme le faisaient les maisons de disques au temps de Mathusalem ? et sans intervenir sur les choix artistiques ?


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MessagePosté le: Mar 12 Juin - 19:15 (2012)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant

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Dernière édition par cm le Dim 1 Sep - 08:07 (2013); édité 1 fois
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MessagePosté le: Mar 12 Juin - 20:07 (2012)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant

Merci pour ces précisions, je comprends mieux à présent ce que voulait dire Durand.
Tout cela ne m'étonne guère finalement...
Je rejoins son point de vue, et le votre.

_________________
"Ce n'est pas parce que les choses sont difficiles que nous n'osons pas, c'est parce que nous n'osons pas qu'elles sont difficiles" (Sénèque)


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MessagePosté le: Mar 12 Juin - 23:09 (2012)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant

noisy-synthesizer a écrit:
Replay a écrit:
noisy-synthesizer a écrit:



Guillaume Durand :"Aujourd'hui, si tu vas voir un producteur de TV et que tu lui dis que tu veux organiser un concert de David Bowie, le gars va flipper et il va appeler Gérard Lenormand Shocked . Alors que si tu vas voir François Pinault et que tu lui dis que tu veux organiser un concert de Bowie ça va l'intéresser".












Je comprends pas le sens de cette phrase ?
Pourquoi aucun producteur télé ne serait intéressé par un concert de Bowie ?  Confused

Cela veut-il dire que Bowie n'a plus aucun succès, il est passé de mode ?







Guillaume Durand est fan de Bowie. Il voulait dire que la TV commerciale  fonctionne uniquement sur l'audimat et très peu sur la qualité des artistes et surtout ne veut pas prendre de risque.
Il parlait sans doute des grandes chaînes et pas d'Arte ou des chaînes satellites.
Pour lui les musiciens de qualité devront se faire "sponsoriser" , comme les sportifs ou bénéficier de généreux mécénats comme les artistes de la Renaissance

Bowie est sans doute moins bankable que Gérard Lenormand pour TF1. Aussi étonnant que ça paraisse mais pour TF1 il faut surtout éviter que Tata Jeannette ne zappe sur une autre chaîne.
Une bonne soirée retro années 70 avec "la ballade des gens heureux " et Paolini est content.

Notre Bobo aurait toute sa place, lui, dans une soirée retro 80 mais ils lui demanderaient sans doute de ne chanter que "Let's dance" ou"China girl" à la rigueur.
Mais heureusement pour nous, notre Bobo est beaucoup trop snob pour accepter un truc pareil.
quoiqu'il a bien été interviewé par Sabatier avec des questions du genre "Vous aimez la France ?"

Cela dit c'est pas un très bon calcul, l'audience de TF1 n'arrête pas de se casser la gueule depuis 10 ans/ Mr. Green




Tiens Guillaume Durand et Bowie... ça me rappelle une émission, vers 2003 pour le reality Tour, ou le Guillaume en question s'est bien fait casser par Bowie...


GD : "Nous savons que vous appréciez la chanson française"...
DB : "Je vous arrête tout de suite, il y a 2 grands chanteurs français... Jacques Brel et Johnny Halliday... et ils sont tous les 2 belges" Mort de Rire




Que ça fait du bien à ma Belgitude, tout ça...


Et d'ailleurs Sabatier s'est prit une bonne tôle aussi o) Remember..


"Vous aimez la France ?"
"Wii surtouw Beauwne" 
"Bohn - (sais pas comment ça s'écrit d'ailleurs) ?? Mais c'est en Allemagne"
"No, No, Beaune... pour le vin"


J'adore.


Il me manque grave...


Cela dit, c'est peut-être mieux que d'écouter Iggy Pop reprendre Joe Dassin - enfin devrais-je dire "Karaoker" et si tu n'existais pas... Putain quoi ! IGGY !!! Please !!!
_________________
It's happening now, not tomorrow !


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noisy-synthesizer
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MessagePosté le: Mer 13 Juin - 00:04 (2012)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant

Mister_Ed a écrit:

noisy-synthesizer a écrit:

Replay a écrit:
noisy-synthesizer a écrit:



Guillaume Durand :"Aujourd'hui, si tu vas voir un producteur de TV et que tu lui dis que tu veux organiser un concert de David Bowie, le gars va flipper et il va appeler Gérard Lenormand Shocked . Alors que si tu vas voir François Pinault et que tu lui dis que tu veux organiser un concert de Bowie ça va l'intéresser".














Je comprends pas le sens de cette phrase ?
Pourquoi aucun producteur télé ne serait intéressé par un concert de Bowie ?  Confused

Cela veut-il dire que Bowie n'a plus aucun succès, il est passé de mode ?









Guillaume Durand est fan de Bowie. Il voulait dire que la TV commerciale  fonctionne uniquement sur l'audimat et très peu sur la qualité des artistes et surtout ne veut pas prendre de risque.
Il parlait sans doute des grandes chaînes et pas d'Arte ou des chaînes satellites.
Pour lui les musiciens de qualité devront se faire "sponsoriser" , comme les sportifs ou bénéficier de généreux mécénats comme les artistes de la Renaissance

Bowie est sans doute moins bankable que Gérard Lenormand pour TF1. Aussi étonnant que ça paraisse mais pour TF1 il faut surtout éviter que Tata Jeannette ne zappe sur une autre chaîne.
Une bonne soirée retro années 70 avec "la ballade des gens heureux " et Paolini est content.

Notre Bobo aurait toute sa place, lui, dans une soirée retro 80 mais ils lui demanderaient sans doute de ne chanter que "Let's dance" ou"China girl" à la rigueur.
Mais heureusement pour nous, notre Bobo est beaucoup trop snob pour accepter un truc pareil.
quoiqu'il a bien été interviewé par Sabatier avec des questions du genre "Vous aimez la France ?"

Cela dit c'est pas un très bon calcul, l'audience de TF1 n'arrête pas de se casser la gueule depuis 10 ans/ Mr. Green






Tiens Guillaume Durand et Bowie... ça me rappelle une émission, vers 2003 pour le reality Tour, ou le Guillaume en question s'est bien fait casser par Bowie...


GD : "Nous savons que vous appréciez la chanson française"...
DB : "Je vous arrête tout de suite, il y a 2 grands chanteurs français... Jacques Brel et Johnny Halliday... et ils sont tous les 2 belges" Mort de Rire




Oui enfin c'est quand même Bowie qui a déclaré en ce beau soir du 25 Septembre 2002 au Zenith :"My real name is David robert Piaf " Cool


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noisy-synthesizer
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MessagePosté le: Mer 13 Juin - 08:49 (2012)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant

ulysses a écrit:

J'aimerais bien retrouvé cette interview de Nagui qui parle de l'audience de taratata dans les années 90.

Il dit avec amertume que la plus faible audience fut celle avec Bowie en invité.



Bonne émission d'ailleurs et le courant passait bien entre eux mais pendant cette période Bowie n'était pas très grand public, moins qu'avec Heathen qui avait cartonné dans nos charts quand même.


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noisy-synthesizer
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MessagePosté le: Mer 13 Juin - 08:53 (2012)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant

ulysses a écrit:



Ou sinon pour le sponsoring, ce mode d'investissement a quand même évolué. Il n'y a pas que les mécènes comme au temps jadis très fortunés et élitistes, il y a
maintenant aussi les internautes qui misent sur le projet artistique de certains. Le mécénat se démocratise. 

Tout à fait et c'est une piste intéressante.


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MessagePosté le: Mer 13 Juin - 13:50 (2012)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant


ICONIC: The Ziggy Stardust cover after Terry Pastor worked his magic



BOWIE, ZIGGY STARDUST AND ME
BY STEVEN RUSSELL
Wednesday, June 13, 2012
6:31 AM

It’s a special time for David Bowie fans – the 40th anniversary of the album that made him a glam-rock phenomenon. STEVEN RUSSELL meets the Suffolk-based artist who helped him on the way .


GARBOESQUE: the Hunky Dory cover


IT’S the early 1970s and illustrator Terry Pastor gets an invitation from an artist pal. This mate had been a schoolfriend of a musician called David Robert Jones, who had grown up to become David Bowie. The singer had made three albums, and single Space Oddity had got to number five in the charts in the summer of 1969, but he hadn’t yet secured a permanent hold in public consciousness.

Now another LP was in gestation. The friend couldn’t do the cover for Hunky Dory – it wasn’t really his style – so would Terry like to do the honours? Yes, he would.

A black and white studio portrait of Bowie duly arrived, taken by Brian Ward, and the artist set to work to give it his own stamp. The singer had a “slightly fey sort of pose and longish hair”, says Terry – apparently, Bowie had taken a Marlene Dietrich photographic book along to the shoot – and that provided the inspiration. Terry reddened the musician’s lips, made his hair yellower and added some eye-shadowing, “although I didn’t want to go over the top and make it overtly androgynous, because at the time Bowie wasn’t really projecting that image yet”.

Hunky Dory – featuring songs such as Life on Mars and Changes – was released a week before Christmas, 1971, and the singer evidently loved the cover.



THOSE WERE THE DAYS: Terry Pastor in 1973


So much so that Terry Pastor was commissioned to shape the look of the next album. It was this record, The Rise and Fall of Ziggy Stardust and the Spiders from Mars, that would truly propel David Bowie along the path to fame.

By the February of 1972 Terry had moved to a cheap but handy basement studio beneath the Royal Opera House in Covent Garden, where most of his neighbours were fellow creative types.

Again, photographs arrived, taken by Brian Ward. The image on which Terry worked his magic showed Bowie standing in Heddon Street, just off London’s Regent Street. With a guitar slung from his shoulder, foot on a step, he stood under a lamp, next to cardboard boxes piled outside the premises of furrier K. West.

Terry reckons he must have spent about a working week, all told, on hand-colouring and tweaking the photograph – using the paintspraying airbrush technique popular at the time, and hand-tinting with inks and photo-dyes, to create impact.


DON'T NUDGE: A recent limited edition print called Pinball-O-Rama


“For his jumpsuit I went for that turquoise because it’s a very contrasty colour – a colour in the centre that’s completely different to the reddy browns and the yellows.”

In reality, the suit had been green. Bowie wore it later on the BBC 2 TV show The Old Grey Whistle Test.

“Certainly with the turquoise and the yellow hair, he” – Bowie – “stands out quite well. I think at the time his hair wasn’t blond; it was a mousey/blond colour.

As well as enhancing the image, Terry airbrush-painted the titling on the front. On the back of the cover he used Letraset – letter transfers, basically – to list the tracks. That was “as good as typesetting, but fiddly”.


BIKES AND BEAUTIES: A limited edition Terry Pastor print entitled Cubic Inches


He remembers the phone ringing one day. It was David himself. “He asked ‘How’s the cover going?’ I said it was all right. I’ve finished the front and I’m doing the back. ‘Oh, there’s a back?’ Yeah, with the phonebox. ‘Oh, I didn’t know there was going to be a back cover as well. Can’t wait to see it!’”

In those freer and easier days, Terry hadn’t been given a detailed artistic brief for the job, for which he thinks he probably received about £200.

“It wasn’t ‘corporate’ in those days!” he smiles. “David Bowie was virtually unknown, so there was no pressure on me to pull something out of the bag because he was a big star. He became a big star about six months after that LP came out. He became mega. But prior to that I often used to bump into him, or he’d be round the studio or something.

“I think if I’d thought ‘My god! David Bowie! I’m not worthy’, I would have tightened up so much that it wouldn’t have come out well.”


STARMEN: Trevor Bolder, Mick Woodmansey and Terry Pastor


As it was, Terry gave the completed cover to the singer’s manager . . . and moved on to his next bit of work.

The LP was issued on June 6, 1972, and reached number five in the UK charts. One single was released: Starman peaking at number 10. David Bowie and his invented alter ego, Ziggy Stardust, rode the tide of glam rock, caught the zeitgeist, and became famous.

The artist/illustrator wondered if Bowie’s success might bring commissions from other folk keen on mimicking the look. But it didn’t. And life moved on.

It’s only in fairly recent times, perhaps the last decade, that the artwork for The Rise and Fall of Ziggy Stardust and the Spiders from Mars achieved iconic status. Fans had their pictures taken in Heddon Street and sought out the phonebox.

Terry’s had emails from Bowie fans over the years, asking things like “Did he stand there because of that . . .”, “Does that mean something?”

“They read all sorts of things into it, and actually I don’t think it means anything. It’s just an image that looks quite nice!”

Two years ago, the cover was among 10 selected by the Royal Mail for a set of classic album cover stamps.

And, would you believe, a gallery in the midlands is now offering a Ziggy Stardust album cover print, signed by Bowie, for £1,450.

At the end of March, landowner The Crown Estate unveiled a plaque to the (fictional!) Ziggy Stardust on 23 Heddon Street. Back in 1972, the area was a bit grungy; now, it’s one of W1’s foody quarters – a pedestrianised courtyard offering al fresco dining.

Former Spandau Ballet guitarist and songwriter Gary Kemp, a Bowie fan, did the honours. He said “Ziggy was the ultimate messianic rock star, and with him David Bowie successfully blurred the lines not just between boys and girls but himself and his creation. Bowie was Ziggy, come to save us – and I bought him hook, eyeliner and haircut.”

Also at the VIP breakfast were Mick Woodmansey and Trevor Bolder, original members of Bowie’s Spiders From Mars band, and Terry Pastor.

The artist/illustrator has found himself in demand, being interviewed in his Long Melford home by Kemp for a BBC Radio 2 programme to mark the 40th anniversary, and by Ultravox’s Midge Ure for a Radio 4 slot going out later this year.

Terry’s work is also likely to be included in a David Bowie exhibition opening in London’s Victoria and Albert Museum next year.

Today, the artist can’t help smiling about it all. It’s hard for him to evaluate his Ziggy Stardust design because he was too close to it. “It’s like you never enjoy a meal you’ve cooked yourself as much as one somebody else has prepared!

“People have said to me ‘I suppose that was the turning point for you . . .’ Well, it was just another job. The thing I do find fascinating about the fact it’s become ‘so iconic’, and that people talk about it, is I’ve never been asked to do anything like it since! You’d have thought someone would have said ‘Can you do a David Bowie-type thing . . . ?’

“In all the years I’ve worked as an artist and illustrator, and had a portfolio as a professional shop window, I’ve never featured either of those LPs.” Why? “I never thought much of them – never thought they were that important: because they were coloured-up photographs, and I’m more an artist than I was a re-toucher. I thought ‘Well, no-one’s really taken much notice of that stuff . . .’”

In fact, a lot of it was down to chance,

“The two remaining members who were in his band, Trevor Bolder and Woody, were saying that at the time that was shot it was a rainy, damp night, and quite cold. The band and David did some shots in the studio. Then Brian said ‘Let’s just go out and do a quick shot outside.’

“It was such a horrible night the other guys said ‘Oh no, we’re not going out there; it’s too cold,’ so just David went. That’s why he’s on his own. There’s a chance that had it been a warm night, in the summer, you’d have had the whole band standing out in the street.”

As it was, it was January. Brian Ward had rented a space upstairs in the building as a makeshift studio, and had already shot 17 pictures on Royal-X Pan black and white film when he persuaded Bowie to step out onto Heddon Street.

“It was lucky it was a damp night,” says Terry, “because you’ve got the wet reflection in the road, which gives the whole thing a little bit of atmosphere.” And Bowie being alone works better than being in a group, as he was, really, the exotic focus.

“Trevor was saying that, when they did the LP, they didn’t even think it would sell! But you never know with things, do you? You never know you’ve got a hit until you’ve got a hit.”

Ironically, too, Terry wouldn’t become a dyed-in-the-wool David Bowie fan, though he recognises the talent. His heart and soul had already been captured by rock and roll. As a lad, he’d listen in bed to Radio Luxembourg. Little Richard was his big idol.

“I did think Hunky Dory and Ziggy Stardust were very good albums musically: very strong. The fact it’s become an iconic cover isn’t because of my artwork, in a sense, but because it was a very strong album musically, and the cover worked with it very well. So it was a kind of symbiotic relationship.

“If it had been a turkey of a record, the cover would have gone into obscurity as well. It’s the psychology of how people perceive things. It’s like Van Gogh hardly sold a painting during his lifetime, and years later they’re worth millions of pounds. How does that work?!”

Terry admits he didn’t then have a sense that Bowie was on the cusp of making it big. He was “Very nice. A clever guy, but straightforward. Didn’t seem to have a ‘side’ to him. Not pretentious.”

The singer hadn’t yet developed fully the androgynous look hinted at in those album covers, though it was about to happen. “He was fairly exotic, but not too much!”

Terry remembers how, if one went into a pub with David Bowie in the early 1970s, he wouldn’t really attract attention at that stage.

“Once I was in a pub with him, next to the studio, and Bowie went totally unnoticed. At the same period, I was in a pub with Tony Visconti [the record producer and Bowie collaborator] and Mary Hopkin [the singer, and Visconti’s wife], and everyone knew them.”

Terry hasn’t seen Bowie since the early 1970s. “Because of his situation, I never thought of him as a rock star – just my mate’s friend, David!”

Cadillacs to Jeffrey Archer: an artist’s life

TERRY Pastor’s story begins in rural Surrey in 1946. His father was Austrian and Terry assumes his grandparents must have come to England from Vienna having seen the writing on the wall earlier than most. His father was a successful paper merchant in the City and also wrote scripts for Billy Cotton, the bandleader and entertainer.

Terry’s mother was artistic and her son seemed to have inherited her talent, drawing from the minute he could hold a pencil. “She’d go shopping once a week and always come back with a drawing book, which I’d fill before the end of the weekend. There was something about having a virgin piece of paper and a nice pencil.”

He also remembers the American National Geographic magazines from the 1950s, with their adverts for exotic vehicles such as Cadillacs, with huge fins. “I was really blown away by these cars, which we didn’t have.” In fact, Americana helped shape his outlook. The artist recalls pictures of beautiful and futuristic-looking Zenith radios, with their wood and chrome and dials – “beautifully designed. Again, the kind of thing you just didn’t see in this country. It fascinated me, that American culture – although I don’t suppose I knew it was American. It was just exciting – as was the music of the time”.

British life also made an impression. The youngster loved the Eagle comic, with Dan Dare and the cutaway centrespreads showing the technology of the age. Then there was Journey into Space and The Goon Show on BBC radio, neither of which he could miss. “Those three things were the highlights of my week.”

When his father died rather early, Terry and his mum moved from their big house to a nearby cottage. Until 1962 it had no electricity, relying on gaslights. Leaving school at 15, Terry got a £3-a-week job with a publicity company in London’s Fleet Street. It was a studio linked to an ad agency and did a lot of film posters. He was there three years and didn’t much like it, though he developed his skills and learned about techniques such as airbrushing.

He remembers saving for months to buy a thick book on the fantastical 15th/16th Century painter Hieronymous Bosch – not the usual kind of thing coveted by 15-year-olds!

Then, in 1964, he was sacked. “They didn’t give me a particular reason. I just don’t think I fitted in. I had long hair and looked like a Rolling Stone. Hard to believe that now! They were very much a business that was stuck in the past, really.” And would soon disappear, too.

So Terry turned to painting and some commercial work, finding a gallery at Croydon, near where he lived with his mother, before moving to London. He lived initially in Queensway, by Hyde Park, and rented a mews flat with a garage for a small sum. Unthinkable now, considering how prices have rocketed. He got an agent in about 1970 and became very busy with illustration work, earning two Art Director of America awards.

The ’70s and ’80s were dominated by advertising illustration work through agencies such as J Walter Thompson. Some jobs in 1973 or so would pay about £500 – good money.

There were also magazine spreads, book jackets and album covers for artistes such as the Beach Boys and The Sweet. Book jackets included covers for Len Deighton and Leslie Thomas novels – and lots for new editions of Jeffrey Archer stories.

“I met him a little while ago at a gallery. He was doing a talk about buying art. He said ‘Hello, I’m Jeffrey Archer.’ I said ‘I know who you are. I did all your book jackets with Hodder & Stoughton.’ He said ‘Ah, happy days . . .’”

Painting went onto the backburner in the 1970s and ’80s because Terry was so busy with commissioned illustration work. In recent times he’s enjoyed being able to give it more attention.

He’s busy producing limited-edition prints. His subject matters are generally determined by what he likes and finds interesting. The influence of the pop art movement is clearly there. Terry works mostly with digital tools these days, such as the computer program Photoshop, but does sometimes use the airbrush technique that served him so well.

So how did he and wife Carol, a cook and food writer, come to live in Suffolk? Well, when he lived in London he used to collect stuffed animals. Their house in Long Melford, home for 12 years now, used to be a taxidermist’s premises from which Terry would buy items.

“Now I’m living here! How bizarre is that!”

But we’re getting ahead of ourselves. Back in London, home was a flat in Swiss Cottage. When his son was born, it was clear more space was needed. Such were property prices that the cost of an abode in north-west London with one more room was the same as a huge house in Norfolk. Terry had a couple of friends there and moved up in 1981.

“Bit mad, I suppose,” he grins. Mind you, it was a 17-room Georgian house with three acres and a swimming pool not far from Norwich. Who’d turn that down? “I think we paid £59,000 for it. In those days Norfolk was very cheap!” Long Melford was always a favourite place to visit. Once his son had left home, the Norfolk house seemed a bit too big. In Long Melford, the house they liked – the former taxidermist’s – had become a storeroom for an interior design business. Offers to buy it were rejected, so a cottage was rented nearby. Four or five months later, the chance to buy came.

Web link: www.terrypastor.co.uk

East Anglian Daily Times


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MessagePosté le: Mer 13 Juin - 14:02 (2012)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant





"ZIGGY STARDUST" PRODUCER KEN SCOTT TALKS 40TH ANNIVERSARY REMASTERS, WORKING WITH DAVID BOWIE
12 JUNE 2012

The 40th anniversary reissues of David Bowie‘s landmark glam-rock album, The Rise and Fall of Ziggy Stardust and the Spiders from Mars, hit stores last week. Various updated editions of the record have been released over the years, but Ken Scott, who co-produced the 1972 collection with Bowie, says the sound quality of the latest remastered version is just about the finest he’s heard.

Scott tells ABC News Radio that at his recommendation, the EMI label chose the album’s original mastering engineer, Ray Staff, to be in charge of the remastering process.

“He did it all as much analog as possible, only going into the digital format right at the very end,” explains Scott. “And, to me, it’s come out really well. It’s the closest I’ve heard to the original vinyl album so far.”

Asked why he thinks Ziggy Stardust remains such an enduring work, Scott suggests that one factor was Bowie’s ability to deliver consistently engaging vocal takes.

“Ninety-five percent of the vocals that I recorded with him [were done in] one take,” Scott reveals. “They’re certainly not perfect but they’re performances, they’re from the heart and I think that could be one of the reasons why it’s lasted so long. It’s genuine. It’s real. It’s human.”

He adds that his experience capturing Bowie’s natural, emotional performances contrasts greatly with working with many of today’s artists, “where it’s all just moved around on the computer, Auto-Tuned and it loses its soul.”

Scott also notes that he, Bowie and his backing group “were working really, really well together” when they began Ziggy Stardust, because it came right after 1971′s Hunky Dory was completed.

“It was a great team,” he says. “We knew our strengths and weaknesses.”

As for the flashy “Ziggy Stardust” persona that Bowie created around that time, Scott said the rock legend continued to embody the character during the recording of the album, albeit a somewhat toned-down version.

“It wasn’t quite the flamboyant Ziggy that everyone came to know and love from the stage performances,” he says. “He was never a jeans and T-shirt kind of guy, but it was never quite as outrageous as it was onstage.”

Scott has just published a memoir titled Abbey Road to Ziggy Stardust, in which he shares his experiences working on Bowie’s classic album, as well as the many other notable records he helped bring to life over his long and illustrious career as a producer and an engineer.

Talking about why he decided put the book together, he explains, “I just felt it was time to come out with something to sort of show what it used to be like…. To let people know, so that if it only changes one person, and [makes them think,] ‘Wow, it really was good back then — I want to work that way,’…then that’s great for me.”

Copyright 2012 ABC News Radio

WFJA Classic Hits 105.5


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MessagePosté le: Mer 13 Juin - 16:38 (2012)    Sujet du message: J'ai entendu un truc sur David Bowie Répondre en citant

Mister_Ed a écrit:



Cela dit, c'est peut-être mieux que d'écouter Iggy Pop reprendre Joe Dassin - enfin devrais-je dire "Karaoker" et si tu n'existais pas... Putain quoi ! IGGY !!! Please !!!



J'ai eu exactement la même impression à l'écoute de la "Javanaise".
On aurait dit un touriste américain qui s'essayait à un karaoké dans le quartier latin.


Et pourtant j'avais beaucoup aimé l'album "préliminaires" quand il s'appropriait l'univers de Houellebecq et prenait tout le monde à contre-pieds.
Sa reprise des feuilles mortes était sensible et là encore surprenante. La chanson "I want to to the beach" me prenait aux tripes.

Mais son dernier album, qu'est-ce qui lui a pris ?
J'ai écouté que deux morceaux mais on dirait qu'il a systématisé le truc, et là évidemment il n'y a plus aucune surprise et c'est en plus tout simplement raté.



La retraite n'a sans doute pas que du mauvais, il faut savoir éviter le combat de trop.


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