Neil Diamond talks about his new album, tour
Melissa Ruggieri
August 04, 2008 10:47 PM
Neil Diamond performs at Verizon Center at 8 p.m. Tuesday. Tickets are $55-$120. Visit http://www.ticketmaster.com for info.
Neil Diamond is that rare breed of pop music icon who has notched a presence on the charts – either Top 40 or Adult Contemporary – every decade since the 1960s.
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But, while some contemporaries – such as Rod Stewart – opt to spend the twilight of their career in a bow tie singing other people’s hits or – such as Billy Joel – don’t record anything at all, Diamond has enjoyed a critical resurgence with his past two albums.
It began in 2005 with “12 Songs,” a tremendously moving collection of stripped compositions produced by veteran rock guru Rick Rubin.
Then, this May, Diamond experienced a career first – his “Home Before Dark” album (also produced by Rubin) debuted at No. 1 on the Billboard chart. Believe it or not, it’s Diamond’s first chart-topper, and with it, the 67-year-old singer/songwriter booted Bob Dylan out of the record for oldest performer to have a No. 1 record.
While Diamond’s albums might not sell at the same velocity as 30 years ago (then again, whose do?), he continues to be a live magnet, often playing two-night stands in major cities to fulfill demand.
His current 37-city tour, which stops at the Verizon Center Tuesday, launched in late July and reviews have ranged from ecstatic (http://www.suntimes.com/entertainment/music/poprock/1077192,CST-FTR-neil28.article), to, interestingly, being slightly critical of Diamond’s choice to tone down his signature Neil-ness (http://www.startribune.com/entertainment/music/25654759.html?location_refer=Homepage:latestNews:4).
A few days before the tour kickoff, Diamond talked to reporters about the show, the new record and what the future might hold.
Q. Can just give us the rundown on the look and the feel of the new tour?
A. The look is different. It’s a completely new stage. The lighting grid is different. It’s pretty impressive, I think. I think my lighting director really did herself this time and came up with some spectacular looks, as well as very intimate moments as well, because the music is varied and it goes to both of those spectrums. I think she did a wonderful job.
Basically, I’m trying to cover a lifetime of music and to be as close up to the audience as I possibly can. So the stage and the lighting and the choice of the songs that we use in the set, and the sequencing of the songs are all based on that, connecting with the audience in a way, as best I can really.
Q. With the new record and its predecessor even, would you say that you’re trying to branch out and reach out to a slightly younger demographic, and maybe even reinvent yourself a little bit?
A. No, I like the way I was invented originally. I’ve kind of gotten used to it. This is just another step, that’s all. I’ve been taking steps since the beginning, from “Cherry Cherry” to “I Am… I Said” to “America” to Christmas music to “Home Before Dark.”
It’s me. I’m not reaching out for anybody but the audience that wants to listen. That’s all. I’m not doing anything logical. I’m not pre-planning anything. Maybe I would have had a better career if I had and thought it out, but it was all based on how well I could write the songs, and how good the songs would be, and how the audience took it to their hearts, or not, and it’s still that way – exactly that way.
Q. What’s it like to have an album debut at number one after all these years?
A. Well, I didn’t actually think it was my first number one. Somehow in my mind, I don’t know what the opposite of a state of denial was, but I thought for sure I had a number one album somewhere along the way. I thought “Hot August Nights” was number one, but then I was told it only went to number two, so I was crestfallen.
It’s a nice feeling to be number one. It’s very nice. I enjoyed every moment of the time that I was number one, and I enjoyed the fact that people became aware that it was my first number one and they were a little amazed at that. Also, I’m told that I’m also the oldest performer on Billboard charts ever to have a number one album, which amazes me.
I don’t feel that old. I feel very young, but it’s nice to feel that in this market that’s filled with young people, or seems to be aimed at young people, that an old geezer can come along and knock a few of them off their perches and say hey, here’s for the senior citizens, and we can kick a little butt too.
Q. How do you maintain that energy [for your live shows]?
A. The secret is the audience. It has very little to do with me. It’s the audience. They establish the atmosphere and the ambience, and I only reflect it, and when they’re happy, I’m happy, and when they’re excited, I’m excited, and I just want to do a show as well as I possibly can. I want to sing as well as I can, but the energy does come from the audience, and I only reflect it…
The audience knows a bunch of these songs, and they want to join in and sing-along and I’m happy to have them do it. I take it as a compliment and I enjoy the experience as well. As long as they know that I’m the main singer, they can do with the songs whatever they like. I’ve heard some pretty horrendous notes out there, but they’re welcome to sing.
Q. But the one thing that hasn’t aged is your music…is it because you’re one of the few performers who has never followed trends?
A. I was never good enough to, because to follow a trend you have to be able to know what the trend is, you have to be able to copy it, and you have to know enough about music to be a good imitator, and I’ve never been that. I’ve always had to follow my own thing, because it was the only thing I could do. It was the only thing I felt I could do well. So, I haven’t followed any trends. To me, trends don’t exist. The only trend is music. Either it’s good or it’s bad. Either it’s beautiful or it’s not. Either it involves the listener or it doesn’t. Either it moves me when I perform it or not. These are the considerations.
Q. Do you see anybody on the scene now who you think has the possibility of having a career like yours, the length and success of your career?
A. There are a lot of talented people out there, but to go for a long time and to try and remain productive, that’s, I think, in the hands of the gods. Luck has a lot to do with it. I’ve seen more talented people than I fall by the side of the road. Road kill in a business and a world that can be very cynical and very difficult and has lots of traps and potholes, so I do believe that good luck and maybe a little karma plays a part in this whole scenario.
I also think that you have to absolutely be in love with what you’re doing if you want to be around for awhile, because you’re around for as long as you want to be around. Nobody will stop you from making music.
It’s not like if you’re a movie actor. You’re around as long as they want you in a movie, but a musician or a writer can always, till their dying day, make music. I think a lot of that comes from inside the person themselves, their motivation, and their passion for it. I would say that’s an important element as well.
Q. You’re in the middle of a tour and everything. Have you thought at all about what your next musical project or album might be? Do you see foresee going back with Rick and those guys and continuing this path?
A. I’m so much into this project now, this tour, and the completion of this album, I really haven’t sat down and logically tried to figure out where I go to next. I’m just going to enjoy this, all the wonderful fallout from the release of “Home Before Dark” and the wonderful response to the show. I’m just committed to enjoying the hell out of it and not thinking about anything else for awhile.
Maybe in six months from now I’ll really start to think seriously about what’s next. I have a feeling it will have something to do with music. That’s all I know.
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Criss Angel: “I don’t want to die, but I’m putting it on the line.”
Melissa Ruggieri
July 29, 2008 10:44 PM
Criss Angel has, no doubt, put himself in some incredibly dangerous – some might say stupid – situations for his A&E show, “Criss Angel Mindfreak.”
Some might also say that committing to 4,600 performances of his new Cirque du Soleil production, “Believe,” which debuts in October at the Luxor Hotel in Las Vegas, is pretty risky, too.
But before Angel returns to a grueling rehearsal schedule for the Cirque show, he’ll have to extricate himself from an imploding building in three minutes and 30 seconds.
At 10 p.m. Wednesday, Angel’s “Mindfreak” show will air live on A&E, as well as stream on http://www.aetv.com and http://www.crissangel.com, as the Long Island-born illusionist attempts to escape from the Spyglass Resort in Clearwater, Fla., before it implodes.
Last week, a friendly and verbose Angel talked to reporters about the stunt, starting by giving an overview of what the act entails:
“The commander of the SWAT team in Clearwater will be presiding, so whatever handcuffs he wants to provide, they are police issued, as are all of the locks. There’s a pair of handcuffs on my wrists that will be manacled through a six-story balcony, completely visible to the public and the cameras at all times.
I’ll have to pick my way through the handcuffs – the picks are hanging around my neck – and I’ll have a stopwatch on, because it’s critical for me to know moment by moment where I am and how much time I have allocated for each thing in my head and how I’ve been rehearsing it.
The overall running time of the escape is four minutes, but I will have to do it in not a second more than three minutes and 30 seconds. Once I’m out of the handcuffs, I will have to tend to another door, which is the only entrance and exit onto that balcony, which will have a chain and a lock that will also be provided by the police. I will pick my way through that, run down the hall, up three stories of stairs …when I hit the roof, which is nine stories, there will be a roof hatch that will have two locks. I will have to make it through both of them, open the hatch, climb up to the roof, go to the center to grab the 30-foot ladder hanging from the helicopter.
I will grab hold of that ladder and be whisked up 1,000 feet above. We’ll ascend in 30 seconds—that’s why I have to do this in three minutes and 30 seconds. My goal is to be at that rooftop in no more than two minutes and 30 seconds, two forty, tops. Then I’ll have a little time to kill if the helicopter has to adjust itself.”
Angel also talked about the biggest hazards with this type of act.
“Florida has the most unpredictable weather…there’s a lot of factors in orchestrating this escape, one of the most exciting, challenging, the biggest, the baddest escape of my career
I vowed to my mother that if I am successful in doing this, that I will retire from doing these things…I’ve got 4,600 performances to do at the Luxor and they’re freaking out…I won’t be doing things of this nature. Walking on water, that doesn’t have as much risk factor. I’ll still be doing what I do, but not dangling 1,000 feet from helicopters [with] 450 sticks of dynamite [ready to blow.]”
Angel’s mother, who is in her 70s, is insisting on watching the stunt on site with Angel’s brothers.
“I adore her to death. My mother and my father are the reason why I had the opportunity to pursue my dream and I don’t want to put her through this anymore,” he said.
Angel says he’s been preparing for Wednesday’s act, as well as his Cirque show, by doing a lot of cardio exercises, including talking to himself or someone nearby while exercising to help keep his heart rate relaxed.
“I might not be the greatest magician who ever lived, but what am I blessed with is [being] able to work in very high stressful situations and really keep my cool,” he said. “When things go wrong, I don’t panic. I really try to stay focused because panicking will just make my situation worse.”
Angel claims that he isn’t a daredevil, but a highly skilled artist who is methodical and places great value on safety. Still, he probably possesses a lot less fear than the average person.
“If you don’t fear death, what is there to fear? I don’t fear anything, because ultimately, what’s the worst that’s going to happen?” he wondered. “I’m going to die. And I’ve accepted that and I’ve sacrificed my concern to put forth my effort in my art. At the end of the day, you could die from crossing the street.”
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Chris Brown comes home
Melissa Ruggieri
July 29, 2008 1:03 AM
No matter how big his career gets, Chris Brown seems to genuinely enjoy coming home.
Late afternoon July 19, the Tappahannock triple threat and Rihanna, his never-acknowledged girlfriend who is, nonetheless, attached to him as frequently as that red backward-adjusted baseball cap, arrived at Kings Dominion for some summer fun.
Even with a phalanx of security ushering them around the park, fans were predictably frenzied (here is some dizzying video: http://www.youtube.com/watch?v=GLVc750FrDM&feature=related).
But that didn’t prevent Chris and Ri-Ri from riding the Rebel Yell and Anaconda roller coasters, as well as White Water Canyon, The Grizzly, Flight of Fear and Volcano.
The lovely Rihanna was frequently photographed holding a cup of lemonade (http://popsugar.com/1804151), but sources at the theme park gave us another food tidbit: Chris ate funnel cake with strawberry fruit topping! C’mon, girls, isn’t that worth a squeal?
Chris is laying low and hanging around his neighborhood (in Montpelier), but he’s still making news—not to mention popping up to play basketball in unlikely places (http://www.inrich.com/cva/ric/search.apx.-content-articles-RTD-2008-07-28-0172.html).
He’s part of a new campaign for Wrigley’s chewing gum and has written a new jingle for Doublemint gum (sharp listeners may have picked up on the “double your pleasure, double your fun” tease in the chorus of his current hit, “Forever”).
Keep an ear out for the jingle starting next month, and don’t forget in a couple of weeks to set the TiVo for the Sept. 9 Fashion Rocks concert, airing on CBS. The show, coming from Radio City Music Hall, will feature Chris, along with Beyonce, Black Eyed Peas, Rihanna and Justin Timberlake.
The “X-Files” movie: Mulder and Scully live in Richmond?
Melissa Ruggieri
July 28, 2008 3:02 PM
The truth is in…Richmond?
Apparently, if you look close enough in the new “The X-Files: I Want to Believe.”
MINOR SPOILERS AHEAD
Early in the movie, the bedraggled Fox Mulder is shown clipping a newspaper article and thumbtacking it to his collection on a bulletin board.
It’s quick, but you can notice a fake byline on the story, with the words “Times-Dispatch Staff Writer” underneath.
Then, a key plot player is noted to be living in a sex offenders compound in Richmond (by way of Vancouver, where the movie was actually filmed). At some point, the deliciously skeptical Scully goes to visit him – and it doesn’t take her very long to get there.
You might chalk that up to typical movie-time, where plenty of implausibilities occur (Quantico to Richmond in 30 minutes or less? Sure!).
But then comes one of the final scenes, in which our deliciously obsessed Mulder is once again snipping stories from the newspaper.
This time, it’s a pretty blatant pan across the masthead of the Richmond Times-Dispatch, and a close-up of the article even spots the words “A Media General newspaper” in fine print.
So, think about it. Why would Mulder utilize the Times-Dispatch as his paper of choice unless he and Scully lived in Richmond?
Besides, as most X-Philes know, the TV show often dropped in Richmond references because we’re the hometown of one of its frequent writers and producers, Vince Gilligan.
Though Gilligan had nothing to do with the movie (hopefully, he’s working on the second season of his excellent – and Emmy nominated! – “Breaking Bad” series), he does receive his own shout-out.
Keep an eye on the scene when Mulder is driving to find the missing FBI agent – about three-fourths through the movie. He flips open his cell phone to search the phone book and the first name – and the most notable – is, of course, “Gilligan.”
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Gene Cox unfazed by local blog post, as long as people know it’s fake
Melissa Ruggieri
July 24, 2008 7:00 PM
Today’s minor flap with local blog Tobacco Avenue and WRVA morning host Jimmy Barrett didn’t prompt more than a shrug from the man at the center of the (fake) story — Channel 12 anchor Gene Cox.
In case you didn’t hear, the blog http://tarichmond.com, which is clearly a “Daily Show”-type site of satirized news, reported that Cox went “absolutely ape****” that Style Weekly didn’t include him in its annual Power List.
This morning, WRVA’s Barrett mentioned the story, which some listeners may have perceived as fact, and turned it into his Question of the Day on the WRVA Web site (http://www.wrva.com/pages/jimmysnewpage.html).
Barrett has criticized Style for ignoring media figures on its list (although, along with our own Michael Paul Williams, there are other media folks on there, including Times-Dispatch publisher Tom Silvestri, Richmond Free Press editor/publisher Ray Boone and the creators of http://www.RVAblogs.com) and used the (fake) Cox story as an opportunity to ask listeners if they believed Cox was overlooked.
(You can read the whole list here: http://www.styleweekly.com/article.asp?idarticle=17417).
Barrett couldn’t be reached for comment, but Cox was unruffled by the trifling situation.
“I don’t really care,” he said Thursday evening. “The only thing that bothers me is if someone were to think it were true. I didn’t hear it. I never listen to WRVA, but I guess somebody does. I didn’t know about it until I got to work and someone sent [the blog post] to me .¤.¤. I know I’m open game because I hang my face out there.”
For the record, Cox couldn’t care less about not being included in the Style ranking.
He also wasn’t particularly impressed by the Tobacco Avenue post, which noted that the venerable anchor is “rumored to bench-press nearly 900 pounds” and “has killed several wild species of animal.”
“If they’re going to stretch it that far, they ought to try to be funny,” Cox said. “I enjoy [satires] when they’re funny, but this one really wasn’t.”
(Cox left a message later in the evening to say, with a chuckle, that he looked at the Tobacco Avenue posting again and, “It’s kind of humorous; it’s not bad,” and to note that the people who told him about the story said WRVA made it sound as if it were true.)
The Webmaster behind Tobacco Avenue, who wishes to remain anonymous, said the site, which gets about 600 hits per day, is meant in good fun.
“The point of the blog is to satirize, not to be mean .¤.¤. Everyone loves Gene Cox, he’s the dean of Richmond’s news. It was all in jest.”
In tribute to Estelle Getty
Melissa Ruggieri
July 22, 2008 11:04 PM
Here’s a little secret that until now, only my husband and two friends knew about: I watch “The Golden Girls” almost every night.
Yep, after he’s gone to bed and I’m hanging out on the couch with the cats and the laptop, I flip over to Lifetime at 1 a.m. (or sometimes I’m already there to watch “Frasier”) for some quality cliché time with Blanche, Dorothy, Rose and Sophia.
(Lifetime will air a “Golden Girls” marathon of Sophia-centric episodes from noon-5 p.m. Friday - http://www.tvweek.com/news/2008/07/lifetime_honors_getty_with_gol.php).
There are lots of reasons why Sophia was always my favorite – not the least being that she was more than a reasonable facsimile of my deceased grandmother.
Nanny wasn’t from Sicily like Sophia, but her family did hail from the southern part of Italy. So every time those “Golden Girls” writers had Sophia put the Italian curse (or, the “malocchio,” as it’s known in its native tongue), on some unworthy suitor of Dorothy’s or, as in a recent repeat, had her walk around in a black dress and veil for days, mourning the lack of respect shown to her by her grandson, I had to laugh because I lived those moments with my grandmother.
I remember, like most people, being shocked to discover during the run of “The Golden Girls” that Estelle Getty was almost the same age as Bea Arthur, but made to look significantly older to play her mother.
I was also saddened the past several years every time the other Girls made appearances on some TV Land special, that Getty was never with them because she was too crippled by dementia.
Getty’s passing today made me melancholy (http://www.hollywoodreporter.com/hr/content_display/features/people/e3i7bf6cae6fb666e862b633ceeb20c9650), but her illness must have been incredibly difficult for her family to endure.
Finally, she’s at peace…and thanks to an endless cycle of re-runs, she’ll still be able to make us laugh.
Concert review: Rick Springfield at Busch Gardens
Melissa Ruggieri
July 21, 2008 2:02 AM
I’m always mystified by the hordes of people who find enjoyment walking around a theme park in 98-degree weather.
But, there they were yesterday at Busch Gardens Europe, dripping with sweat as they waited in line for the terrifying-looking Griffon and scurrying for the air conditioning inside Das Festhaus (what’s up with the German restaurant serving ribs and pizza, BTW?).
By 8 p.m., a couple thousand of them also meandered over to Festhaus Park, where Rick Springfield was performing a second night for the launch of this season’s Summer Nights concert series.
It’s a handy setup, this series. Concerts are free with park admission and they actually start on time. But, you’re on your own as far as seating. Bring a blanket for the lawn if you want (no chairs, please) – but otherwise, you’re standing. And in 90-something degree weather, that’s not always fun.
On the other hand, it’s rare to stay seated at a Springfield show no matter the setting, and that tradition continued last night.
Take a look at this guy (LEFT). Does this look like someone who is turning 59 next month?
Whether it’s healthy living, enviable genes or sheer luck, Springfield has managed to stay rock star handsome while providing the energy of a man half his age.
His 90-minute set Sunday – which, naturally, attracted a largely female contingent (though a surprising number were much younger than his expected thirty-and-fortysomething fan base) – was a great lesson for the casual observers in the crowd.
These would be the people yelling out, from the moment Springfield stepped on stage in his shades, “Play ‘Jessie’s Girl’!”
He did, eventually. But first, Springfield and his band tore through many of his 16 other Top 40 hits, including a propulsive “I’ve Done Everything For You” and “Affair of the Heart.”
Though he sounded uncomfortably hoarse on “Rock of Life,” Springfield’s rasp cleared up for a fan’s dream medley that included at least one verse and chorus of “Bop ‘Til You Drop,” “Celebrate Youth” (injected with heavy rock guitar), “Don’t Walk Away,” “State of the Heart” (those high notes did present a slight problem), “What Kind of Fool Am I” and “I Get Excited.”
Those same concertgoers who probably think Springfield’s last output came in the ‘80s, during his “General Hospital” days, might have also been surprised to hear “Wasted,” his engaging power pop song from 2004’s “Shock/Denial/Anger/Acceptance” and material from “Venus in Overdrive,” his second album since then, which arrives July 29.
The first single, “What’s Victoria’s Secret?”, is an irresistible pop song with a chorus that is pure ear candy and a bridge that should come stamped with “Instant Hit” on it.
But, like most musicians of his ilk, Springfield will likely be met with indifference at radio, simply because he isn’t the Jonas Brothers. Hopefully, satellite radio will show him some love instead (the song is also available now at iTunes and amazon.com or....here http://www.rickspringfield.com/vio/wvs_video.html).
If Sunday’s concert proved anything, it’s that the guy is an admirable guitarist and still an incredibly noteworthy pop star.
For those interested in the rest of the Summer Nights series:
Grand Funk Railroad, July 26-27
The Charlie Daniels Band, Aug. 2-3
The Guess Who, Aug. 9-10
Peter Frampton, Aug. 16-17
For more information, visit http://www.buschgardens.com.
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Review: Billy Joel plays Shea Stadium with some high-wattage guests
Melissa Ruggieri
July 17, 2008 6:00 AM
I knew that Billy Joel’s “Last Play at Shea” concert(s) would be special by nature of the event.
The Beatles were the first to play the hallowed Mets stadium in 1965 and on Friday, when Joel completes his second date there, he’ll be the last before the stadium is razed later this year.
Who will immortalize Yankee Stadium, BTW?
Anyway, I admit to being incredibly annoyed when I bought my tickets to Wednesday’s concert the morning they went on sale in February, only to learn the next day that a second date – the REAL “Last Play at Shea” – had been added for two nights later.
Photo: George McNish/The Star-Ledger >>>
As Joel apologized from the stage last night, too many scalpers got their hands on seats for the first show (“If only this state would enforce the frickin’ law,” he grumped), so the second show was meant for those who couldn’t get in the first time.
Um, dontcha think that just gave the scalpers a second opportunity, Billy?
But whatever, because Wednesday’s concert set the bar impossibly high, how could Friday’s show possibly be better?
An orchestra performed the swelling theme to “The Natural” – which Joel has used as his entrance music for years, but was obviously especially fitting in this setting.
Then, rather than launch with his usual “Prelude/Angry Young Man,” it was a stirring rendition of “The Star-Spangled Banner” into “Miami 2017” that kicked off the three-hour show.
Along with Joel concert staples (“My Life,” “The Entertainer,” “Everybody Loves You Now”) came a few tunes that he doesn’t always play live: “Ballad of Billy the Kid,” its soundtrack-i-ness augmented beautifully by the orchestra; “Lullaby (Goodnight My Angel),” which really isn’t necessary, but it obviously means something to Joel; “Big Man on Mulberry Street,” his sweeping big band ode that, sadly, prompted a bathroom/beer rush; and “Goodnight Saigon,” which hasn’t steadily appeared in concert for a couple of years, but was as emotional as always with the presence of New York officers on stage.
Joel also paid homage to The Beatles with a taut read of “Hard Day’s Night,” which he’s often injected into set lists for years, and a spotty, but well-intentioned “Please, Please Me.”
But let’s forget Mr. Joel for a moment.
You want to talk guest list? How about the one he cobbled?
The elegant Tony Bennett, so perfect as a duet partner on “New York State of Mind” (is it me, or is he just the happiest man alive?).
John Mayer, whose sleeve tattoo looks ridiculously out of place on his preppy body, nonetheless tapping out a restrained solo on the sublime “This Is the Time,” another song Joel rarely plays live.
Don Henley, whose Eagles are playing at the Borgata in Atlantic City tonight and Saturday, confidently stream rolling through “Boys of Summer” (appropriate, given the setting), as Joel and his band played backup.
And John Mellencamp, looking not a day older than he did in 1986, doing that funky leg kick thing and bellowing the “yeah, yeah, yeah, yeah, yeah, yeah, yeah”’s in “Pink Houses.” (Trivia interruption: Mellencamp “found” Joel’s trusty percussionist/multi-instrumentalist Crystal Talifero, who looked a bit different Wednesday, sporting a mammoth Afro).
Joel also obviously sank some thought and money into the stage setup.
A wall of pixilated lights served as the occasional video screen behind the gigantour stage, and flanking the stage were a pair of customized video screens, jaggedly shaped on top to resemble the Manhattan skyline.
Of course, whatever it cost him to produce these suckers – which are being recorded for a documentary/DVD (http://www.cinemablend.com/new/Billy-Joel-To-Rock-Shea-Stadium-On-Screen-9533.html) – Joel likely recouped on merchandise sales alone.
More than 55,000 people crammed Shea, and if only half of them picked up some type of souvenir, it’s a small fortune.
I broke down and shelled out $40 for this: http://www.fanfire.com/cgi-bin/WebObjects/fanfire.woa/wa/product?sourceCode=EMLBJO&sku=BJO43801, and had to restrain myself from spending another $30 on a program that would wind up sitting in a drawer.
Maybe if it hadn’t cost me $7 for a hot dog (OK, it was Nathan’s, so it was worth it), $8 for a can – yes, one can – of Heineken and $5 for a little swirl of Carvel (I never claimed this was a healthy outing), I could have afforded to blow more on merch.
But, as is turned out, the experience of the Penultimate Play at Shea was pretty priceless.
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New York, Ricky Gervais and Bon Jovi
Melissa Ruggieri
July 16, 2008 2:02 AM
Hey, kids.
Greetings from New York, where I train-ed up yesterday to catch Ricky Gervais and Bon Jovi.
Only in New York could it be so convenient to be able to see all but the last 10 minutes of Gervais’ set at the Theater at Madison Square Garden (technically now called something like WaMu Theater, but I don’t buy into that sponsorship nonsense), then take two escalators and arrive inside the actual Madison Square Garden (kill me when the day comes that it’s renamed the Dunkin Donuts Arena at MSG) to see the last night of Bon Jovi’s tour, only having missed about 15 minutes of that show.
Wow, that’s a long sentence. But that’s kind of how my day went.
I guess I’m so used to flying into New York lately that I had forgotten that the six and a half hour train ride from Richmond to Penn Station feels like 36 hours – especially when every train car is filled with squealing, seat-climbing children (really, parents, could you put down the cell phone for 20 seconds and, like, parent?).
Anyway, the real reason for this trip (funded by moi, BTW – I’m technically on vacation) is to attend tonight’s Last Play at Shea concert with Billy Joel.
Although, it’s really the Almost Last Play At Shea since a few hours after the “only, final concert” at Shea sold out within minutes a couple of months ago, a second “really, we swear it’s the last show” was immediately added for Friday.
But, whatever. I’ll take Mr. Joel in his hometown any day – especially now that I hear rumblings that Tony Bennett might pop up as a guest.
So I had always planned to come up for the Joel show, and then, several weeks ago, Bon Jovi added the final two dates to its “Lost Highway” tour – the last one being Tuesday.
How could I resist?
And to complete the trifecta, Gervais recently announced he would play three shows in L.A. and three shows in New York – yep, Monday, Tuesday and today.
So really, what’s a girl to do? Attend them all! Heck, I could have hopped the subway to Yankee Stadium after the Jovi show and still caught the last few innings of the All Star Game, the way that one turned out.
But on to the point: Ricky Gervais is as goofy and hysterical as you might have guessed if you’ve seen his masterwork on “The Office” (the original, not the lukewarm American copycat) and HBO’s “Extras.”
All six of his U.S. dates are being recorded for an HBO special; probably why he kept his uniform simple – black T-shirt and pants. The easier to splice different parts from different shows together.
As much as I’d like to tell you some of his best jokes, well, I can’t. Our sister publications can get away with using certain language on our Web site, but anything associated with the Times-Dispatch tries to be a little more…appropriate.
Let’s just say that Gervais is more of a storyteller than a rat-a-tat-tat comedian. But he still deftly moved from such un-PC topics as cancer, autism, Nazis and obesity (“Fat people whine about airplane seats. ‘They’re not made for someone my size.’ No! They’re not! If they were, they would only be able to get 12 [bleepin’] seats on the plane!”).
Gervais’ delivery, though, is what makes an amusing story a hysterical one. Even his entrance – set to Queen’s “One Vision” – was deliberately hyperbolic, as he poked through a curtain wearing a cape and king’s crown, the word “RICKY” spelled out in KISS-style lights behind him.
His philosophy about the ridiculous nature of children’s nursery rhymes was also hilarious in an Oh-my-God-that-is-so-true manner.
On the boy who cried wolf: “What’s the moral there? That you shouldn’t tell a lie, right? No, it’s not. It’s that you shouldn’t tell a lie TWICE!”
And Humpty Dumpty: “All I ever got out of that one was that if you’re an egg, you shouldn’t sit on a wall…and really, sending all the kings’ horses to perform a medical procedure? How is that supposed to work?”
The highlight, though, was his reading of a genuine leaflet with suggestions about how gay men can avoid getting AIDS.
Look it up on YouTube – I’m sure it’s there.
As for Bon Jovi, the band sounded as crisp and vigorous as it did months ago in D.C. – even though the indefatigable Jon Bon Jovi started to look a tad worn by the set-closing “Bad Medicine” with a hunk of “Shout” threaded through.
(Here’s the set list for those interested in such things - http://www.bonjovi.com/bonjovi/blog.php?uf_item_id=8-105669&uf_system_id=0).
Say what you will about the derivative nature of their blue collar anthems – the band knocks itself out onstage with a show that rivals Springsteen’s in its simplicity and dedication to the music.
Besides, it was nice to finally be like everyone else in the crowd – spend $7 on a beer, grouse about it, but still have a great time singing along to “It’s My Life.”
Oh, but then my night got better when I discovered the legendary hot dog place, Gray’s Papaya. a few blocks from my hotel (if I ruled the world, I would make every establishment 24 hours, as many are in Manhattan).
Really, what better way to end a 17-hour day than with a delicious hot dog that has that rare, perfect snap to it, and a Styrofoam cup of papaya juice?
I know. I can’t believe I haven’t thrown up yet, either.
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Concert review: Ani DiFranco
Melissa Ruggieri
July 11, 2008 11:45 PM
Special Correspondent Bill Craig checked out Ani DiFranco’s show at The National.
Ani and a small part of her army were downtown Friday night.
The true hipsters among us know that Ani is Ani DiFranco, the fearless singer-songwriter who introduced the world to something called punk-folk when she was nothing more than a brash and bright Buffalo New York teenager with an acoustic guitar and a wise-beyond-her-years business plan that has allowed her to sell her music without selling her soul.
Like the folk music pioneers who preceded her, DiFranco writes about peace, love and understanding. And though there are some tender moments on most any Ani album or set list, she doesn’t mind confrontation and she doesn’t mind mixing in the occasional F-bomb with her insights on living and loving in America.
Not surprisingly, the fiercely independent DiFranco has built up fiercely independent fan base. And they no doubt still love their girl with a fanatic’s passion. But like their hero, who’s still the mother of her own Righteous Babe Record label and also the mother of an 18-month old daughter, Fridays’s less-than-capacity National crowd didn’t seem quite as militant as they did back in the day—before the Grammy’s started rolling in, when the concept of a chick from New York marketing her own FCC-offending music was downright revolutionary
Sporting a hair length that doesn’t threaten her shoulders, the fit and trim 37-year-old DiFranco could pass for college kid home for the summer. She’s also sporting a new two-man, one-woman band, which fits her quite nicely.
Originally a no-frills, one-woman, one-guitar act, DiFranco dabbled in some horns, some noise and some funk once her career gained momentum. On this tour, she’s back to acoustic guitar only backed by upright bass and a rich mix of percussion, a development I would characterize as positive.
The first half of tonight’s 90-minute set was dedicated primarily to tunes from the recent years. And sure, there’s more soul and guts in tunes like “Modulation,” “Lag Time” and “Unrequited” than most of the music cluttering the airwaves these days. But those were just warm-ups for the good stuff.
The good stuff being gritty tunes of strength, vulnerability and non-conformity like “As Is,” “32 Flavors,” “Names and Dates and Times” and “Fire Door.”
She also tried out a couple almost mellow tunes obviously authored from the perspective of a parent with choruses of, “Look how much the world loves you” and “Love is all over the place.”
But as if to assure the Ani nation that she hasn’t gotten all mushy on us, she immediately followed up with her fabulous I love you/ I hate you message of “Gravel.”
In the interest of journalistic integrity, one disclaimer is necessary. I’m not exactly an impartial Ani judge. Twelve years ago, my daughter needed to raise cash to enter our town’s Soap Box Derby. In addition to friends, family, and neighbors, Cara sent a money-begging letter to Ani’s Righteous Babe Records office. The result: a check from Ani larger than those donated by Grandma, Grandpa, Mom or Dad.
Ani’s invited a few of her most talented pals to join her on the “Ani and Friends Tour.” The revolving list of tour bus passengers includes Melissa Ferrick, Natalie Zukerman, the Wailin’ Jennys and Richmond’s opening act, Kimya Dawson.
If you loved “Juno” (and if you didn’t, you weren’t paying attention, go back and watch it again), then you must have loved Dawson’s work, which is a significant part of the movie’s soundtrack and was also a part of her 30 minute warm-up set.
Not exactly a slave to lush melodies, Dawson’s bare bones, sound-alike tunes have what would charitably be described as “sing-songy” quality.
But the reward that Dawson delivers is the wonderfully weird way that she puts words together in her brief musical observations about love, giants and farts, as well as her complete disdain for our country’s president.
Dawson’s not bad at crowd control either, as evidenced by her quick response to an “I love you” shout out from the floor.
“I love you, too. .. But I have to whisper so your mom won’t hear me.”
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