Post by the Scribe on Jun 2, 2021 16:36:14 GMT
This seemed a bit overblown at the time but time has proven Linda correct. One only need point to January 6, 2021 to understand it. And since that date the RepubliCONservative extremists have come out of their closet to prove her correct every day. Unless the RepubliCONservative menace is neutered the US will become Germany in the 1930's with the help of a false god.
LINDA RONSTADT GETS upset when a christian or republican is in the audience:
www.storm2k.org/phpbb2/viewtopic.php?t=33699#p573836
#1 Postby rainstorm ยป Tue Jul 20, 2004 6:03 pm
By George Varga
July 15, 2004
DATEBOOK
Ronstadt, who would go on to sell 50 million albums and win 10 Grammy Awards as a solo artist, left Arizona for L.A. in 1964 as a member of the folk music trio the Stone Poneys. Only 18, her musical horizons were about to be expanded by the budding folk-rock revolution.
"I heard the Byrds, who were folk guys who went into pop, and I'd probably have been an opera singer otherwise," recalled Ronstadt, whose luminous voice and stylistic diversity has made her one of the most acclaimed pop singers of the past 40 years.
"Whatever I sang, I was burning to sing. It communicated something I felt an urgent need to communicate, and not to anybody specifically, just in a room, by myself. Then comes the resonance of the culture around you. For me, the culture often resonated to the things I liked the least."
Those "things" were the infectious pop-rock songs that accounted for some of her biggest hits, including 1975's "You're No Good," "When Will I Be Loved" and "Heatwave," 1977's "It's So Easy," and her upbeat 1978 versions of Warren Zevon's "Poor Poor Pitiful Me" and the Rolling Stones' "Tumbling Dice."
The best of Ronstadt
I think the biggest risk I took was trying to sing rock 'n' roll, because it comes to me least authentically. Unfortunately, it came to dominate me and I had to throw it off," Ronstadt said, speaking from the San Francisco condo she and her two adopted children live in when they're not at home in Tucson.
"So it was safer to come back to Mexican music and the music I sang as a child. My favorite thing to do is ballads, and you can't do that all night (because) people come with their cultural prejudices. Plus, they remember taking acid to something you did in 1975, and that's what they want to hear."
What Ronstadt wanted to hear, and perform, is anything and everything that struck her fancy.
She's done precisely that for the past four decades, singing avant-jazz on Carla Bley's 1971 opus "Escalator Over the Hill," minimalistic tone poems with Philip Glass on 1986's "Liquid Days," and African-tinged pop the same year on Paul Simon's landmark "Graceland" album.
She performed the Puccini opera "La Boheme," starred in a Broadway production of "The Pirates of Penzance," and made three albums of impeccably orchestrated jazz standards with famed arranger Nelson Riddle. And she's collaborated with everyone from country-rock pioneer Gram Parsons, Dolly Parton and Latin music maverick Ruben Blades to the Chieftains, ex-Kinks guitarist Dave Davies and Tex-Mex conjunto accordionist Flaco Jimenez.
The diva speaks
Linda Ronstadt on:
Singing at home: "It's gotten to point where I don't sing at home. When I do, my son says: 'You sound like a sick parrot!' "
Touring: "I love to rehearse, and I'd rather go to the (pre-concert) sound-check than the show. I'm thrilled people like to hear it, especially if it makes somebody cry, but I really wish I could stay home. I love my children, and I miss my dogs and cat."
Using on-stage TelePrompTers: "I don't have much trouble remembering the standards, because the lyrics are so structured. What I have a really hard time with are rock songs, because every song is the same: 'Ooh, baby, I love you.' In the old days I'd make up a phrase that rhymed, but didn't make sense. But I don't want to do that now."
The state of the nation: "I saw a movie recently about a camel and these people in Mongolia, and I relate to them better than people here in this country. It looks like (Germany's) Weimar Republic to me here."
Her solo albums: "I never listen to anything I do after I finish (recording) it. If I do, it can ruin my week. I think: 'Ugh, that sucks!' "
Interpreting songs: "I try to learn it as exactly as I can to what the writer originally did. Warren Zevon and Jimmy Webb are so eccentric and quirky, and I try to learn to sing it exactly in their accent, their phrasing. But as soon as you change the key, everything goes out the window."
Singing standards: "What I love about standards is that they are complex and sophisticated, and you can tell your story with them at any age."
– GEORGE VARGA
"My career has befuddled other people, and it's befuddled me," admitted Ronstadt, 58, who finds her fans are polarized by her nightly on-stage salute to "Fahrenheit 9/11" filmmaker Michael Moore.
"I've been dedicating a song to him – I think he's a great patriot – and it splits the audience down the middle, and they duke it out," she said.
"This is an election year, and I think we're in desperate trouble and it's time for people to speak up and not pipe down. It's a real conflict for me when I go to a concert and find out somebody in the audience is a Republican or fundamental Christian. It can cloud my enjoyment. I'd rather not know."
Ronstadt calls her current tour with the Baltimore Symphony Orchestra "a history lesson of music," although the emphasis is more on sophisticated entertainment than dry education.
"I'm doing the entire 20th-century American songbook," she explained. "It's a lot to put on an audience, and it's been interesting. In some places they favor the standards I sing; in others they go nuts at the end when I do my hits. Some react more to the Billy Strayhorn song I do ('Lush Life'), and some don't know what to think of it at all.
"But I don't give them what they want at the expense of singing a song I hate, or a song I've outgrown. I won't sing 'You're No Good.' I thought it was a well-structured song (when I recorded it), even though my vocals were completely suck-worthy."
Ronstadt's tour offers a retrospective of her career, although it skips her mariachi music forays and her shimmering duets with Emmylou Harris. It also excludes any examples of her more esoteric collaborations with the likes of Frank Zappa, Kate & Anna McGarrigle, bluegrass mainstays the Seldom Scene and the three Davids (Bromberg, Lindley and Sanborn).
"When I did the Mexican stuff (on tour) I got a completely different audience and they were the most satisfying. They really knew the music, and knew when to respond and when to be quiet," Ronstadt said.
"I never listen to my albums. I can only look at the next thing coming up, music without me included. Because music is just music to me, whether it's going through my mouth or someone else's, or through their instrument
"This is an election year, and I think we're in desperate trouble and it's time for people to speak up and not pipe down. It's a real conflict for me when I go to a concert and find out somebody in the audience is a Republican or fundamental Christian. It can cloud my enjoyment. I'd rather not know."
come to va beach, sweetie. i have a few rotten eggs waiting for your sour-puss face. hehe
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LINDA RONSTADT GETS upset when a christian or republican is in the audience:
www.storm2k.org/phpbb2/viewtopic.php?t=33699#p573836
#1 Postby rainstorm ยป Tue Jul 20, 2004 6:03 pm
By George Varga
July 15, 2004
DATEBOOK
Ronstadt, who would go on to sell 50 million albums and win 10 Grammy Awards as a solo artist, left Arizona for L.A. in 1964 as a member of the folk music trio the Stone Poneys. Only 18, her musical horizons were about to be expanded by the budding folk-rock revolution.
"I heard the Byrds, who were folk guys who went into pop, and I'd probably have been an opera singer otherwise," recalled Ronstadt, whose luminous voice and stylistic diversity has made her one of the most acclaimed pop singers of the past 40 years.
"Whatever I sang, I was burning to sing. It communicated something I felt an urgent need to communicate, and not to anybody specifically, just in a room, by myself. Then comes the resonance of the culture around you. For me, the culture often resonated to the things I liked the least."
Those "things" were the infectious pop-rock songs that accounted for some of her biggest hits, including 1975's "You're No Good," "When Will I Be Loved" and "Heatwave," 1977's "It's So Easy," and her upbeat 1978 versions of Warren Zevon's "Poor Poor Pitiful Me" and the Rolling Stones' "Tumbling Dice."
The best of Ronstadt
I think the biggest risk I took was trying to sing rock 'n' roll, because it comes to me least authentically. Unfortunately, it came to dominate me and I had to throw it off," Ronstadt said, speaking from the San Francisco condo she and her two adopted children live in when they're not at home in Tucson.
"So it was safer to come back to Mexican music and the music I sang as a child. My favorite thing to do is ballads, and you can't do that all night (because) people come with their cultural prejudices. Plus, they remember taking acid to something you did in 1975, and that's what they want to hear."
What Ronstadt wanted to hear, and perform, is anything and everything that struck her fancy.
She's done precisely that for the past four decades, singing avant-jazz on Carla Bley's 1971 opus "Escalator Over the Hill," minimalistic tone poems with Philip Glass on 1986's "Liquid Days," and African-tinged pop the same year on Paul Simon's landmark "Graceland" album.
She performed the Puccini opera "La Boheme," starred in a Broadway production of "The Pirates of Penzance," and made three albums of impeccably orchestrated jazz standards with famed arranger Nelson Riddle. And she's collaborated with everyone from country-rock pioneer Gram Parsons, Dolly Parton and Latin music maverick Ruben Blades to the Chieftains, ex-Kinks guitarist Dave Davies and Tex-Mex conjunto accordionist Flaco Jimenez.
The diva speaks
Linda Ronstadt on:
Singing at home: "It's gotten to point where I don't sing at home. When I do, my son says: 'You sound like a sick parrot!' "
Touring: "I love to rehearse, and I'd rather go to the (pre-concert) sound-check than the show. I'm thrilled people like to hear it, especially if it makes somebody cry, but I really wish I could stay home. I love my children, and I miss my dogs and cat."
Using on-stage TelePrompTers: "I don't have much trouble remembering the standards, because the lyrics are so structured. What I have a really hard time with are rock songs, because every song is the same: 'Ooh, baby, I love you.' In the old days I'd make up a phrase that rhymed, but didn't make sense. But I don't want to do that now."
The state of the nation: "I saw a movie recently about a camel and these people in Mongolia, and I relate to them better than people here in this country. It looks like (Germany's) Weimar Republic to me here."
Her solo albums: "I never listen to anything I do after I finish (recording) it. If I do, it can ruin my week. I think: 'Ugh, that sucks!' "
Interpreting songs: "I try to learn it as exactly as I can to what the writer originally did. Warren Zevon and Jimmy Webb are so eccentric and quirky, and I try to learn to sing it exactly in their accent, their phrasing. But as soon as you change the key, everything goes out the window."
Singing standards: "What I love about standards is that they are complex and sophisticated, and you can tell your story with them at any age."
– GEORGE VARGA
"My career has befuddled other people, and it's befuddled me," admitted Ronstadt, 58, who finds her fans are polarized by her nightly on-stage salute to "Fahrenheit 9/11" filmmaker Michael Moore.
"I've been dedicating a song to him – I think he's a great patriot – and it splits the audience down the middle, and they duke it out," she said.
"This is an election year, and I think we're in desperate trouble and it's time for people to speak up and not pipe down. It's a real conflict for me when I go to a concert and find out somebody in the audience is a Republican or fundamental Christian. It can cloud my enjoyment. I'd rather not know."
Ronstadt calls her current tour with the Baltimore Symphony Orchestra "a history lesson of music," although the emphasis is more on sophisticated entertainment than dry education.
"I'm doing the entire 20th-century American songbook," she explained. "It's a lot to put on an audience, and it's been interesting. In some places they favor the standards I sing; in others they go nuts at the end when I do my hits. Some react more to the Billy Strayhorn song I do ('Lush Life'), and some don't know what to think of it at all.
"But I don't give them what they want at the expense of singing a song I hate, or a song I've outgrown. I won't sing 'You're No Good.' I thought it was a well-structured song (when I recorded it), even though my vocals were completely suck-worthy."
Ronstadt's tour offers a retrospective of her career, although it skips her mariachi music forays and her shimmering duets with Emmylou Harris. It also excludes any examples of her more esoteric collaborations with the likes of Frank Zappa, Kate & Anna McGarrigle, bluegrass mainstays the Seldom Scene and the three Davids (Bromberg, Lindley and Sanborn).
"When I did the Mexican stuff (on tour) I got a completely different audience and they were the most satisfying. They really knew the music, and knew when to respond and when to be quiet," Ronstadt said.
"I never listen to my albums. I can only look at the next thing coming up, music without me included. Because music is just music to me, whether it's going through my mouth or someone else's, or through their instrument
"This is an election year, and I think we're in desperate trouble and it's time for people to speak up and not pipe down. It's a real conflict for me when I go to a concert and find out somebody in the audience is a Republican or fundamental Christian. It can cloud my enjoyment. I'd rather not know."
come to va beach, sweetie. i have a few rotten eggs waiting for your sour-puss face. hehe
0 likes