New Wave Newsflash

Live From New York: It’s New Wave on Saturday Night Live! 0

Our friend Chris Rooney remembers SNL as a new wave-friendly playground…

If you weren’t lucky enough to have cable television in the early 1980s — or a cable provider that offered MTV showing round-the-clock music videos or TBS SuperStation, which had Nighttracks that did so to a lesser degree — then your chances to see your favorite new wave acts on the Big Three Networks (NBC, ABC and CBS) were pretty slim.

NBC aired The Midnight Special from 1972 to 1981. The 90-minute concert program followed the Friday night edition of The Tonight Show Starring Johnny Carson, but the show was pretty thin when it came to introducing upcoming post-punk or new wave acts. The time slot was later replaced with Friday Night Videos (1983-2000), NBC’s answer to the by-then-popular MTV.

ABC’s Saturday Night Live sketch comedy knockoff show, Fridays was shortlived (1980-1982), but it did showcase acts like The Boomtown Rats, The Cars, Devo, The Jam, The Pretenders, The Plasmatics, Split Endz and The Tubes. Meanwhile, Solid Gold, that weekly music countdown was a syndicated show usually found on minor or independent TV channels. However, performers on the show had to lip synch their songs.

The stalwart through this whole era leading up to the present is Saturday Night Live. Created in 1975, each week between various live comedy sketches, a music guest, either a solo act or a band, performed one or two songs live. Due to the shows edgy humor and younger demographic, big named acts rolled through the doors of Studio 8H at 30 Rockefeller Center to perform to a nationwide audience. Unlike NBC’s other big late night franchise, The Tonight ShowSNL stayed up with the times and featured many hot acts.

For many American teens, SNL was — and is — a way to see their favorite artists play live on stage. The rising popularity of the home VCR allowed one to record the show to watch later since the musical guest usually didn’t go on until well past midnight. Being a live television show for the last 40 years, SNL has always courted controversy and not just from its Not-Ready-For-Primetime cast. Whether it was Elvis Costello intentionally changing his choice of song 30 seconds into his performance, or Sinéad O’Connor ripping up a photo of the pope, or a really drunk Replacements mouthing obscenities while playing, the studio heads always have had to keep one finger on the five-second delay button.

NBC Universal’s tight rein on the broadcasts make it hard (read: impossible) to post and find online many of the musical guest performances during the late 1970s and early 80s — acts like Devo, Duran Duran, the Go-Go’s, Sparks, Men At Work, Joe Jackson, Squeeze, Denys Midnight Runners, The Motels — the list goes on and on.. But I *was* able to find one postable performance. Enjoy:
David Bowie, “The Man Who Sold the World, December 15, 1979 (Season 5, Episode 7) 

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Midge Ure Talks Band Aid 30 — and Who He and Bob are Looking to as Possible Successors 0

In Mad World: The Book, the final chapter is a tribute to the song that was the death knell for the new wave party: Band Aid’s “Do They Know It’s Christmas?” So it’s only fitting that we keep an eye on all of the hubbub surrounding the latest recording of that most bleak of holiday tunes. 

On the eve of Band Aid 30, Mad World co-author Lori Majewski interviewed Midge Ure — three decades on, still an active member of the Band Aid Trust that helped to “feed the world.” For the song’s fourth rendition, the Ultravox frontman and Bob Geldof have convened another pop-star super group — including Band Aid alumni Bono and Chris Martin, along with fresh faces One Direction, Ed Sheeran, Sam Smith, and more — to “heal the world,” as they face down the ebola crisis in West Africa. Below is a a more comprehensive version of the piece that first appeared in Rolling Stone.

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Some of the faces of Band Aid 30

In late September, Bob Geldof was in no mood to reminisce about one of his life’s greatest accomplishments. On the morning Rolling Stone was to interview him for a story timed to the 30th anniversary of “Do They Know It’s Christmas?” — the November 1984 charity single that benefitted the victims of the Ethiopian famine — his publicist emailed to say he wanted to cancel. The reason: “Bob does not want to discuss Band Aid.”

Geldof eventually relented, mostly because he did want to discuss the recent reunion of his beloved Boomtown Rats, the band he’d formed in Dublin in the mid-seventies. “I do the Africa stuff every day of the week,” the 63-year-old humanitarian/singer explained. “The only thing that actually stimulates me, that really, truly interests me, is music. It’s so exhilarating to be on a stage. To forget about all that other stuff that I do, is amazingly cathartic.”

When the topic inevitably turned to Band Aid, Geldof grew cranky. “Sixty-thousand documentaries, you can look at them — you don’t need me talking about it,” he said.  And as for “Do They Know It’s Christmas?”: “I associate it with the meat counter at my local supermarket. Every time I arrive to buy the fucking turkey, I hear [he mockingly hums the song’s intro]. The butcher looks at me with a little smile and I go, ‘Yeah, yeah. Give me the fucking turkey, dude’.”

Not six weeks later came the announcement that there will be a Band Aid 30 — a “Do They Know It’s Christmas?” update to be recorded on November 15, featuring the likes of One Direction, Ed Sheeran, Adele, and Ellie Goulding alongside returning artists like Bono and Chris Martin, who was a part of Band Aid 20, which benefitted the troubled Darfur region of Sudan. If Geldof can barely stomach hearing the song, why would he want to spearhead a fourth recording of it?

“It was the hideous synchronicity of the ebola crisis and the way it’s escalated, and the fact that we had this 30th anniversary coming up that everybody was asking us about,” said Midge Ure, Geldof’s longtime Band Aid partner and “Do They Know It’s Christmas?” co-writer, speaking early Friday morning. “A month ago, this wasn’t in the cards. Then Bob got a call from the UN saying, ‘Can you do it again?’”

At a London press conference on November 10, Geldof said they were inspired by “the phenomenal bravery of the National Health doctors and nurses who volunteered” to go into the heavily infected areas — Liberia, Guinea, Sierra Leone, and Nigeria — to help.

“Can you imagine how hideous it must be, getting sent out to Liberia or Sierra Leone, knowing you can catch this thing just by touching a tear, or anything?” says Ure. “We want to show them some kind of camaraderie, that we care.”

Another, more lofty, goal is to spur on world leaders to do more to help ebola victims and to curb the spread of the disease. “I presume governments are incredibly aware of what’s going on,” Ure says. “But maybe they’re just slow, lumbering machines. Whereas, you get people in the entertainment industry to start rattling cages and it’s media-worthy. I wouldn’t be talking to you right now about it if there wasn’t going to be a three-ring circus happening on Saturday. Maybe it doesn’t help focus politicians, but it certainly embarrasses them. It embarrasses politicians to think that masses of people can be moved into action because of a bunch of pop stars.”

During our conversation, Geldof recalled how world governments were forced to do more to aid Ethiopian famine relief efforts in the aftermath of the original Band Aid and 1985’s Live Aid, the super concert that he and Ure staged in London and Philadelphia. “It isn’t a record, and it isn’t a concert,” he said. “It’s a 30-year endeavor so far, and Band Aid just happened to be the spark. The aid effort was increased hugely. It began the long journey of a political conversation. Thatcher immediately put it on the next G8 agenda.

“Charity is the simple understanding and acknowledgement of another’s pain,” he continued, “and the most that most people can do is give a buck in the care box for Oxfam or Save the Children or whatever. But where it really counts is when a million people put the dollar in the care box, because that’s political, and politics is numbers.”

That’s why Geldof and Ure are urging people to do something very 1984 and buy the re-recorded version of “Do They Know It’s Christmas?”, either as a 99-cent download, which will be available starting Monday, or on CD, which is set to go on sale in three weeks. (For more information, go to BandAid30.com.) Streaming services like Spotify will not have access to the song until after the new year.

“All we can do is hope that on Saturday Ed Sheeran and One Direction and everyone else plead with the fans not to stream this, not to download this for free,” Ure says. “We don’t want people engaging for free. We want people engaging emotionally. All these kids know this song because they’ve sung it in every Christmas play they’ve ever been in, they’ve heard it blasting out of radios every Christmas since they were born. What they now have to learn is why the song was done in the first place and why the song’s being done this time — for slightly different but equally valid reasons.”

Read on, as Ure — speaking by Skype in the middle of the night following a concert in Germany to promote his latest album, Fragile — talks about the rush to record the new version of “Do They Know It’s Christmas?”, what they’ve learned from the new generation of artists, and the importance of passing of pinpointing artists to whom they can pass the Band Aid torch. “It’s probably going to be the last time we do it,” he says.

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Artist Tracey Emin’s cover sleeve for Band Aid 30′s “Do They Know It’s Christmas?” (The original sleeve was by Sgt. Pepper artist Peter Blake.)

 

LORI MAJEWSKI: I presume you were Geldof’s first call after he hung up with the UN. What was the call like?

Midge Ure: He opened up with an apology: “Sorry.” [Laughs] I’m a bit of a sounding board for him, the voice of sanity in his mad world. So we talked about what the possibilities were, who we would have on board, and how we could change [“Do They Know It’s Christmas?”]. Because the song is very geared toward hunger, and there are references to the burning sun and no water — “no rain or rivers flow,” and all that stuff — which isn’t true anymore. Africa’s changed a lot over the last 30 years.

RS: You’re in the middle of a tour and suddenly you have Band Aid 30 to deal with. What have the last few weeks been like?

MU:  We weren’t going to do a 30th anniversary thing at all. Then Bob got the call from the UN, and, from that moment on, it’s been an absolute whirlwind. It’s forever changing. Every day is different names, different people, a different set-up. I don’t remember the last one being this hectic, or the original one. Things have gotten a lot more complicated over the years, I think, when technology should make things easier. The first time around, we didn’t really speak to managers; this time, we’re dealing with managers and labels. The artists are great, but there’s a whole lot of middle men trying to cross the t’s and dot the i’s, and it makes things move kinda slow. It’s difficult to try and organize logistically, because so many artists have to be away at a certain time because they’re playing that night, or they’re flying into the country at a certain time and have to have their vocals done. But it’s going to be fantastic. We’ve got a great lineup.

LM: You could’ve just had the artists record their parts wherever they were in the world and email you the files, something that would have been possible back in 1984 with the original Band Aid. But it seems important to you that you have all the artists on site on Saturday.

MU: Because that shows commitment. It also makes the event a real event. The whole thing about Band Aid that you get off your backside. You turn up, and you hang around, and you wait for your turn. You leave your ego at the door and you come in and you engage. How can you ask complete strangers all around the world to buy the record if you’re not engaged enough to be there to make the thing in the first place? For instance, we’ve got Bastille, who have cancelled two of their concerts, in Vancouver and in Seattle, to to come in and be a part of this. Not just to record a bit of video and a bit of singing and then email it to us, but to actually come over and be with us. Now, that’s the kind of commitment you want to see in young bands, in young musicians. They feel it’s important enough to do that, which could affect their career, their finances. But they’re coming to do it, and that’s phenomenal. So it was incredibly important, and the diversity of the artists is as well. It always has been. We had Bono and Bananarama the first time around — you would never see those guys in the same room ever again. That’s exactly what we’ve got this time as well. You’re going to have Bono in there and you’re going to have One Direction in there, all standing side by side and chatting away, being a part of something together.

LM: For the original Band Aid, you’ve said that you and Bob had a modest goal of raising a couple hundred-thousand Pounds. Do you a goal in mind this time — a certain number of downloads or an amount of money that you feel you need to make in order to make a difference?

MU: When we figured out the first time around that we could make generate a couple hundred-thousand pounds if we had a Christmas number-one [on the UK charts], that was because we a template. We knew what a Christmas number one would sell. We had figures. These days, I don’t know. It’s so multi-faceted, isn’t it? You get little bits of income from different income streams. It’s almost impossible [to come up with a guesstimate] — you can’t even talk in the number of downloads. There’s some hideous statistic that Bob mentioned the other day that [Comic Relief founder] Richard Curtis had told him: When One Direction had done a charity record for Comic Relief, they had 48 million hits online but sold no records. [After being leaked online and made available for illegal downloading ahead of its Feb. 17, 2013 release date, the single, a cover of Blondie’s “One Way Or Another,” went to number one in the UK but sold only 113,000 copies.] So I have no idea. It’ll be an interesting project, if nothing else.

LM: Assuming you do raise some money, how will the Band Aid Trust go about dispensing the funds? Will you being giving it out to aid agencies on the ground in Ebola-stricken countries?

MIDGE: Band Aid is a draw-down facility — a bank. We are called upon by the aid agencies who cover their own overheads to fund various projects. Because that’s what works best for us. We don’t own a telephone; we don’t have an office. We don’t spend any of the money on any of that. The money goes directly to where it should go. So I presume we will carry on doing that. It’s not a million miles away, funding projects for ebola, as it is from funding projects for hunger. It’s very closely linked. For example, we’ve been funding a charity in Africa called Mary’s Meals. It’s a charity [that] feeds children. We just got an email the other day from Mary’s Meals when [Band Aid 30] was announced, saying “Absolutely fantastic, because we are feeding 80,000 children right now in Liberia.” One of the side effects of ebola, they said, is, if children aren’t dying of the disease, then they are dying of hunger, because food has rocketed in price.

LM: The good news for Band Aid 30 is that Millennials are, on the whole, innately charitable. One Direction recently helped to raise $341,000 when they asked fans to donate to its Prizeo campaign to support Stand Up to Cancer. And tens of thousands of dollars have already been raised by a Prizeo campaign for Band Aid 30 on the back of a few tweets from Ellie Goulding, Paloma Faith, and Rita Ora. 

MU: We are learning from the young guys, to tell you the truth. Bob and I were sitting in a room a couple of weeks ago, scratching our heads and going, “How do you generate money from this?” I knew about the One Direction stuff, about the fundraising that they can do via the social networks. So we stole the idea from them. And we wouldn’t be using Paul Epworth, the producer we’re using right now for making the record, unless they had said, “He’s the guy — you’ve got to go and check him out. He’s the guy who produced Adele[’s ‘Rolling in the Deep’], and ‘Skyfall’.” So we’re listening to what the younger generation and what they’re bringing to the table. They’re not just transient, pretty faces that you stick on there just to get the fan base. The fan base is huge, so it’s great to have that on board, but they are teaching the old dogs new tricks.

LM: Speaking of old dogs, last time we talked you said that you and Bob were starting to look around for possible successors. Chris Martin has been involved in a previous recording of Band Aid, and he’s been recruiting artists for Band Aid 30. Is he someone to whom you might consider passing the baton?

MU: I think Chris Martin already is. There is a little clique of artists you could put in a bag — it’d be Bob and I, Bono, Sting, Chris Martin. Chris Martin is one of the newer guys to come on board, so, yes, I think he’s very engaged. But you need people from the One Direction [generation] to come in and get engaged in this and spread the word. Chris Martin: great talent, lovely guy; great to have him on board, great to see him doing what he’s doing. But he’s a generation in between Bob, Sting and I and the younger generation. So I’d like to see some of the younger guys… I’m sure we’ll be bending their ears on Saturday. While I’m doing my work behind the desk, I’m sure Bob will be out there beating them up.

LM: At the press conference there was some talk of Quincy Jones readying an American contingent for a new rendition of “We are the World.” Any idea if that’s going forward?

MU: I know Bob’s spoken to Quincy, and I believe Quincy was taking it on board. So, keeping fingers crossed that there will be an American version, just as today it’s been announced that there’s a French version, and there’s a German version going on right now. Once one of these things starts, it’s like pushing a boulder down a hill: It starts very slowly, then, once it starts to gather momentum, it picks up an awful lot of [speed] along the way. So I like to think that this thing that we’re starting in the UK, other territories will pick up on it and do their interpretations — not necessarily a record, but something, towards raising awareness and generating income to try and help people out there on the ground who are trying to fight this thing.

 

 

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Annie Lennox: Why I Won’t Get Plastic Surgery 0

A couple of months ago I had the pleasure of interviewing one of my idols, Annie Lennox. Sitting in a spacious, all-white office with a view of the Hollywood Hills, she regaled me with colorful anecdotes about the Eurythmics, including the story behind their breakout hit, “Sweet Dreams (Are Made of This).” Hopefully you’ll read all about it in Mad World: Book 2.

With a new album of melancholic cover songs (think: “Strange Fruit” and “I Put a Spell on You”) on the horizon — not to mention her 60th birthday this December — she was in a contemplative mood. Since that record, Nostalgia, is out today, and since those provocative new photos of Renée Zellweger are inescapable at the moment, I thought it apt to share a few of the things that she had to say about aging, plastic surgery, and why she didn’t want to Photoshop herself on Nostalgia‘s album cover (shown here):

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 I’ve had my picture taken many, many times over the years, from when I was in my twenties right up to now. There’s a challenge when you are photographed, as a woman particularly. You get older, you get more wrinkles, obviously. I’m almost 60, and I was like, “How do I do this — because I don’t want to be so Photoshopped that I look like a wax-work dummy. I want to show my age, but I also don’t want to look so harsh that I look really old.” Everybody’s sensitive to pictures of themselves. Everybody wants a nice picture; nobody wants a harsh one. Also, when people talk about me, they think about the eighties and the nineties. But [I’m] not 27 anymore. But if you’re in the public eye, you get kind of stuck that way in people’s minds. I still think of the Beatles as the mop tops.

So I tried to get the balance right. I thought, “Maybe this has caught the truthfulness of where I’m at now.” There was something about the expression that [photographer Robert Siberry] caught in my face; when I looked at it I thought, “It’s like my whole life’s experiences coming out through my eyes.” I really felt that.

I haven’t had any plastic surgery — no Botox, no nothing. Honestly, I would go to the plastic surgeon tomorrow if he could make me just a little bit . . . maybe give me a little bit of this and a little bit of that. But that’s not going to happen. They’re going to do something, and I’m going to walk out of the office, and it’s going to look really obvious that I’ve had plastic surgery. I don’t want that.

We’re all sensitive about how we look — all of us: male, female, some more than others. And women are vulnerable. But what I see happening is that people have a dysmorphic sense of how they look. You can see it from miles away — somebody walks up towards you and instantly you see the work that’s done. What kind of butcher allows women to go out of their surgery looking that way and feeling happy about it? They’re not allowing themselves to age gently. Don’t get me wrong: If people had plastic surgery and it was done in such a subtle way that it just made them look a little bit better, fantastic. Nothing wrong with that. But the majority of time, they have plastic surgery and it looks like a really distorted mask. And they’re going about with these bloated lips and these kind of pulled back foreheads. I look at that and that disturbs me.

 

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