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| 9/4/04 |
All by themselves Phil Collins Drummer and vocalist Collins joined Genesis in 1970 and launched his bid for solo stardom in 1981. He pursued parallel careers until 1996 when he finally retired from Genesis. Annie Lennox Eurythmics singer Lennox released her first solo effort in 1992 and has since earned several Brits and Grammys as well as an Oscar for Best Song. Michael Jackson Jackson had been releasing solo material since 1971 but did not leave The Jacksons until 1984. His 1982 offering Thriller remains the biggest-selling album of all time. Paul McCartney McCartney’s first album coincided with The Beatles’ last. With over 40 albums now under his belt he is one of the world’s richest musicians. Beyoncé Although Destiny’s Child have not officially split, Beyoncé’s solo success has been stratospheric, including a haul of five Grammys earlier this year. Diana Ross The popular but troubled Supremes became Diana Ross And The Supremes in 1967. Miss Ross left the girl group two years later. Ronan Keating Keating had already been pursuing his solo dreams before Boyzone officially split in 2000. Now the rift is healed, a reunion has been rumoured. Justin Timberlake Timberlake had been a member of American boyband *Nsync since 1996. His 2002 solo debut went multi-platinum. Paul Weller Weller spent the 1970s and 1980s as lead singer with The Jam and The Style Council, before going solo in 1991. Bryan McFadden Ex-Westlife singer McFadden will shortly be releasing his solo debut. He is working with Guy Chambers, Robbie Williams’s former songwriting partner.
JC Not Playing China We just heard from the guys at Music Freedom that JC will not be doing the show in China. This is due to an unfulfilled agreement on China's part, and JC is very disappointed he won't be able to perform. Without the cooperation of the Chinese government, no equipment can be brought in for the show... and we all know the show can't go on without equipment! :( Also, the new Music Freedom is almost ready to be released, but due to the latest hurricane, there is going to be a delay. Power is kind of essential to releasing a new version of a website! ;) It is coming soon, though, so be ready!! As for JC... he's in LA for this hurricane, not in his garage this time. Unfortunately, Gina and Carlos are in Florida, so we'll be thinking about them, along with all of our Florida friends and loved ones, through the next few days!!
Transcript: JC's So Fresh interview So Fresh TV (Australia), 8/28/04 How old were you when you first realized that you had talent? JC: I don't know, I mean, it was early teens, I guess. When I landed my first audition, I just thought I was lucky. But, um, over time, as I started to work on my craft and things like that, I realized that it was something that was a part of me and that, uh, eventually, I wanted to do it the rest of my life. What made you want to do this as a career? JC: What made me want to do it was, uh, were the people I was around. My everyday influences. Um, when I...I was part of a children's television program that was a variety show, where we had singing, dancing, and acting. And being around that many people who are so passionate about it, um, and encouraged you to do your best, as well as you...you were watching them when they were at their best, that really...that was inspiring. It was inspiring to be around so many creative people. It made you want to be creative and it made you want to, to search deeper for something better inside of you. And that's what inspired me, I would say - more the people around me. As a teenager, did you ever consider doing anything else? JC: At the time, I was just considering school. You know, I was right at that age when NSYNC started, actually. Right at that age, that transitional period where, you know, it's either go to school or figure out what you wanna do with the rest of your life. And uh, I just chose the music path instead of school. Um, I think going to school I would have probably done something very general for the first two years and taken that time to figure out what I wanted to do. I really wasn't prepared to make, um, a career choice at that point. I was gonna either work or go to school. Making a solo album vs. making an NSYNC album? JC: When you're working on a group record, you really...you can't be selfish at all. And you always have to think about other people and how they would feel and uh, really consider, you know...um, you just have to be very unselfish. When you're working – when I was working on my own record, on the other hand, there were no boundaries. There were, there was nothing to tell me no, because at the end of the day I was the only one that had to really live with the product and be able to look myself in the face with it. So there was never any point where I had to make any compromises; I just had to make the best product that I could possibly make. And that's pretty much the difference. The highlight of making your new album, "Schizophrenic"? JC: You know, it was a lot of different things. Again, the fact that I didn't have to make any compromises musically was great. Um, I just...I got to see, you know, how far I could go. What I was made of, essentially. What am I made of, you know, what is my contribution, um, to the music world? Um, and, I stepped up, and I felt like I made a very strong contribution, you know, something I'm very proud of. Yeah, I just...I really am pleased. Were you conscious of NSYNC fans when you made this album? JC: Of course, you know, you're always conscious about, you know, "Are they gonna like this or are they not gonna like this?" But essentially, all you can do is what's in your heart. And, uh, I'm not gonna change my music, um...I guess, to appeal to a certain audience. All I can do is what comes natural to me, and that's what's in my heart. And essentially, even in the band, one thing I learned is, the music comes first. And as long as you feel good about what you're doing, other people, you know, probably will too. I don't think you can custom-make a record saying "Well, this group of people likes this kind of sound, so I'll use this sound in this song, and then I'll format it like this song because this song's a hit." Some people make records that way, but that's...it's never really worked out well for me. Whenever I've made a record, the best...the best songs that I've written have always come from an organic place and an inspiration. And uh, so, I really don't try and custom-make a track for anything, really. I just, uh, I work off of my inspiration. And I wanna be inspired, you know, I'm hoping to be inspired at any given time. I think if you ask any storyteller, any writer, you know, that's – those are the moments they live for. They're waiting for that little lightning bolt to hit them in the back of the head, um, because those are the songs that really are special. Are you sick of being referred to as "the guy from *NSYNC?" JC: I'm very proud of my past. Um, you know, it was a part of me growing up. It's still a part...I'm still growing every day, you know. This record is a part of my life where I grew from point A to point B, you know, and the next record I do will be from point C to point D. And whatever project I work...I mean, you know, I have no regrets, man. And if people say, "that's the guy from *NSYNC," fine. 'Cause when I was in *NSYNC, they were saying, "Oh, that's the kid from the Mouse Club," you know. And whatever project I work on next – if it's my own project, you know, they'll compare my next record to this record. Or if work on some other kind of project, whatever it is, they'll identify it with this last record. I have no problem with that. What about being compared to Justin Timberlake? JC: I've always dealt with comparisons. I mean, I think every artist, period, has to deal with some sort of comparison. I definitely don't mind being lined up against my best friend. Uh, you know, it's flattery – obviously he's had a successful record. At the same time, to compare the two after listening to them...uh, it's ridiculous, because they sound nothing alike. Essentially, people are gonna make the comparison, you know, they're gonna compare me to the *NSYNC record and then they're gonna compare me to a Justin record. And then they're gonna listen to the record and they're really not gonna have anything to say about that after that. Because it really doesn't sound like either one of them. Writing nearly every track on the album? JC: That's the whole reason I did this record. I didn't do this record just to sing songs. I don't make records to be famous, I make records so I can listen to mus – so I can be a part of music. Um, and when I made my own record, I wanted to do something that I felt like was my contribution to the music world. The only song that I didn’t write on was the song that I did with the Basement Jaxx, and essentially, I did have a hand in writing that. But, um, you know, it's just a matter of...they approached me with the song and it was just a lot cleaner that way. So, uh, but, I mean, again – I was involved in every song, in every step of the way, from the production to the mixing to the writing to sitting in on all the mastering sessions. I mean, this record really was, you know, I was submerged in it. But it was just because I was in a place in my life where I needed to do something like that. I really needed to grow as an artist, and as a human being. It was just a part of me growing, period. What do you hope to achieve out of doing this? JC: The main thing for me is, I always wanna do something that I can be proud of. I never wanna look at something and just kinda, kinda hold my h...I don't wanna ever be ashamed of anything. I always wanna work on something that I can stand behind no matter how old I am or whatever what have you. You know, even if...I look at some of...stuff I did ten years ago, and no, I wouldn't write that song now, but that doesn't mean I'm not proud of it. You know, it was a part of my life and I was proud of it at the time. And as well as that, I wanna have a good time doing it, you know. I want to enjoy my life. Um, and, I think if you do what you love, you should live a satisfying life. And that's my goal. The re-birth of the '80s sound and style? JC: The '80s were a huge influence on me musically. I mean, I grew in the '80s, so uh, you know, I love that stuff. And I feel like there's a certain amount...there's something missing in music, and maybe that's what it is, I don't know, but I know that there was something revolutionary about a lot of that stuff. It was the first time anybody had really...I mean, that was almost the birthplace of how people make records nowadays. People don't lay music down to multi-track tape anymore. We're doing it on hard drives. And why did that come about? Because in the '80s, people were working on MIDI. And MIDI revolutionized music, you know, that's where electronic sounds and synths really stepped up and...you know, people were making full songs on computers. And essentially, that translated into the way we record now, which is Pro Tools and logic programs and things like that. Rap music was pretty much invented in the early '80s and it really...you know, hip hop is the biggest music now in the United...at least, in the Unites States, it's the biggest music out. Um, and we wouldn't have that if it wasn't for all the experimental, uh, time that was happening in the '80s, you know. Some people could've just turned up their nose and be like "Oh, that doesn't sound like a real guitar, that doesn't sound like a real piano." It was revolutionary. These guys were trying something new. Everything about that era was new. It was exciting, it was change, it was visionary. And I feel like, um, I feel like every time I hear something that kind of...uh, I would say, highlights that era, it just means that they understand what that was all about. And uh, and I love it. I love that stuff. I love listening to old records. Of course I could say that just as much about any record from the '70s as well because I say...all the musicianship on that. But I just love the technological advances that were made in the '80s and how experimental it was. And I love when people are experimenting now and leaning back into that experimental phase instead of doing, you know, what's popular now. And if it becomes popular, so be it, I'm cool with that too. I just really like the sound, I really love the risks and the change and the variety that it brings. What's the weirdest dream you've ever had? JC: I'll probably have to see a shrink after this. Um, I used to have the weirdest dream, where I would be asleep in my room and the wall...every wall would come alive as an angry face. And that's the weirdest dream I ever had. And that's the most memorable, I guess. But it was strange, and it was a recurring dream, actually. Any word on a "Mickey Mouse Club" reunion? JC: You know what, I still see a lot of those guys all the time. I’d...I would be completely open to that. Just for fun – I mean, it's like a high school reunion for me, you know, uh, that's really where I grew up. So I think it would be great to stick everybody in the same room again. Um, and I think...you know what, essentially, it's probably gonna happen. If somebody takes the initiative to do it, I think there's a strong possibility that it could happen. I think we just gotta wait a few more years until it's, like, the ten year reunion or some thing. [laughs] We only asked that because everyone else asks about an *NSYNC reunion! JC: It's a good question, though. I mean, if you think about the talent roster that's gonna come from that, you gotta look – I mean, there's a kid who starred in the movie Notebook just recently, Ryan Gosling's in that. You've got Christina Aguilera. Britney Spears. Justin Timberlake. JC Chasez. You've got, um...who else is out there right now? Keri Russell, who's Felicity. You've got, I mean, Rhona Bennett, who's on the Jamie Foxx television show, you know, as well. I mean, the talent pool that you're gonna get at that reunion, I think it would probably be a very covered event, actually.
Leaving the boys behind Possibly the gayest job title you can have is vocalist in a boy band. JC Chasez was one of the two lead singers in boy band N*Sync (the other being Justin Timberlake). N*Sync were no ordinary teeny-boppers. After wresting the throne from the Backstreet Boys, Chasez and co became the world’s number one boy band. Since N*Sync decided to “have a break” two years ago, its members have headed in diverse directions. After a successful stint in the Broadway musical Rent, Joey Fatone is sticking to the stage. Would-be astronaut Lance Bass is pursuing a career in movies, Chris Kirkpatrick is working on an album and Justin Timberlake has become a bona fide superstar. You’d be forgiven for thinking JC hopes his debut album Schizophrenic will follow Justin’s path, but he insists it’s more about music than money. Success seems inevitable, at least out of the US (current single All Day Long I Dream About Sex is doing pretty well in the Australian charts) but JC wants something more to be excited about. “Success comes and goes,” he says. “My goal was to make a record I was proud of, because you have to live with that for the rest of your life.” Easier said than done in the world of pop. Chasez’s record company originally tried to pair him up with the same generic hit factory responsible for Timberlake’s solo success. “The first thing they did when I said I wanted to drop a solo album was, ‘cool, we’ll call this guy, this guy and this guy because they make hits’. So I had to stand up and be firm and say I want to make my record my way.” Chasez enjoyed the recording process and says he felt less confined as a solo artist. “When you’re in a band, you can’t be selfish. There is always compromise in any relationship. When you write a song, you can’t just have it from your point of view, it needs to be everyone’s.” Outside of the US (where All Day Long I Dream About Sex is yet to get a single release) Chasez has been working the crowds. He recently flew to London to perform at the notorious G.A.Y., an experience he says he enjoyed very much: “The crowd was rowdy, man, and I love that. “You’re always gonna play the crowd. All my shows are different. If I’m playing middle America, it’s different to a big US city. If I’m in London, it changes again. Obviously when I’m singing in middle America I know they love the ballads. If I’m performing in a gay club they wanna hear All Day Long I Dream About Sex.” So would JC ever consider doing a Madonna and Britney MTV-style pash with Justin Timberlake in order to create some similar hype? “I’m not sure it would sell many albums. I’d do it, why not? I can’t speak for Justin though.” But there haven’t been any N*Sync kisses to date, he says. “We are very close, they’re some of my best friends in the world, but none of us were ever that close. Sorry!”
FCC plans record fine for CBS The Federal Communications Commission is set to vote unanimously for a record-setting fine against CBS-owned stations for violating broadcast decency standards with the network's January breast-baring Super Bowl halftime show, though some commissioners are expected to say the fines are not severe enough, FCC sources said. The $550,000 indecency fine would be the largest levied against a television broadcaster. The decision could be released as early as next week but may come the week after, said the sources, who would not speak for attribution because the vote has not been made public. The amount represents a $27,500 fine directed at each of the 20 television stations owned by CBS, which in turn is owned by Viacom Inc. Excluded from the fines are CBS's more than 200 affiliate stations, which also broadcast the show. That exclusion is one source of disagreement among the five-member FCC , according to the sources, who are familiar with the commission's deliberations. "We would be extremely disappointed," CBS said in a statement issued last night. "While we regret that the incident occurred, and have apologized to our viewers, we continue to believe that nothing in the Super Bowl broadcast violated indecency laws. "We would obviously review all of our options to respond to the ruling and we continue to call on the FCC to address serious issues raised by the more than 30 industry participants who challenged the FCC's sweeping new indecency policy," the statement said. Some call for more fines When the vote is released, it will be accompanied by statements from the commissioners, some of whom are expected to take exception to portions of the ruling. In his statement, Commissioner Jonathan S. Adelstein is expected to argue that the FCC received complaints about the broadcast from viewers watching on all CBS affiliates -- more than 90 million saw the primetime broadcast -- and that the affiliates should be fined as well, sources said. Further, the FCC's enforcement bureau ruled that only Janet Jackson's brief exposure, which occurred when singer Justin Timberlake ripped off part of her leather bodice, was indecent. The agency also received complaints about the entire show, produced by Viacom-owned MTV, which featured a crotch-grabbing rapper and several S&M-clad dancers gyrating behind Jackson and Timberlake. Some commissioners are expected to argue that other incidents within the halftime show should have been ruled indecent and subject to fines as well. CBS has said that it investigated the incident and found that no one at CBS, MTV or Viacom knew what Timberlake planned to do. The network also has apologized. In July, the FCC's enforcement bureau judged that Jackson's brief exposure violated the agency's decency rules, which prohibit networks from broadcasting sexual or scatological content between 6 a.m. and 10 p.m., when children are most likely to be watching. The maximum allowable fine for violating the standards is $27,500. However, bills pending in each house of congress would allow the FCC to fine broadcasters up to $500,000. Further, the FCC has begun levying fines for each instance of indecency within a broadcast, rather than one fine per broadcast. FCC Chairman Michael K. Powell took the unusual step of personally launching an indecency investigation on the day after the Super Bowl. The FCC's enforcement bureau took up the case and concluded the investigation faster than usual. The enforcement bureau said it did not fine the CBS affiliates because they had no control over the production of the halftime show and no knowledge it would contain the racy material. The Super Bowl incident was the best known of a number of offensive radio and television broadcasts over the past two years that have spurred outrage from viewers and action from lawmakers. Radio giant Clear Channel Communications Inc. paid $1.75 million to erase all pending FCC indecency charges, including some against Howard Stern, whose show was pulled from Clear Channel stations in February. Last month, radio and television broadcaster Emmis Communications Corp. paid $300,000 to settle similar charges. The enforcement bureau is expected to rule soon on a December 2003 Fox awards program during which actress Nicole Richie used two expletives. In March, the agency ruled that an on-air profanity uttered on NBC by U2 frontman Bono was both indecent and profane, though it did not fine the network. In April, a group of radio and television broadcasters and performers urged the FCC to reverse that ruling, fearing a chilling effect on free speech. |
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