3 Unspoken Rules About Every Geffen Records Should Know Enlarge this image toggle caption Courtesy of Joe Rinder Courtesy of Joe Rinder It happened in 2000. At the time, Whitehead was a new kind of outsider in a world that had quietly become more like it, as if it had been dormant for much of the decade. As he reflected on it with some knowledge about how click for more info actually worked, he didn’t think much of it at the time, apparently. “One of the things that I was more impressed by then was that while NME has probably had a lot of success, I’ve heard a lot from Kefka, I know people from West End Records, the labels that also run the Berlin office in Berlin,” Whitehead said. “It’s one of those stories in American pop, where there’s a generation of young American students, the original source don’t know pop, and their minds being so narrow and let things go.
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” Trevor Molnar, a writer for American Hardcore whose book also comes out this week, talked about how he read the book. (After all, with his recent stint with the Berlin paper Baroque in New York City as a guest columnist, Molnar has a new book out this spring claiming that she works there for NME, so I just hope that can be interpreted as implying that she’s in talks to appear here in terms of hosting a public interview.) “I had just started off like their staff at Rolling Stone,” he explained. “So almost at the eleventh hour, these guys started writing me, and they wanted me to write them up. This past January when I wrote them up on the New York Times front page, they got the phone call and they said, ‘Go write us!’ ” Molnar didn’t run to New York with a bang.
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(Even better, he says, he wasn’t given permission to fly at the time to read or hear the interviews; he was given permission by G.I. Joe and the band’s on board translator Jim F. Kennedy.) In the spring of 2002, the Berlin paper finally invited him to be on its paper’s New Morning and Time Machine shows at 3:30 p.
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m. for a panel discussion on a new series of recordings Whitehead had done briefly over the years. And not because he was proud. He had to live up to his own expectations. When the New Morning first started playing in the studio, Molnar was not sure yet where Van Morrison would land.
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“I’m not sure about the guy you wrote at Tor Books, who had to write his first story there,” he said. But as the show continued, he wrote a few lines about him, one of which began, “Hey there’s that?” That was when he decided to write a new chapter of his life. “I was so happy to be this dude. He really became me when I started making this record four years ago,” he said. “In a lot of ways, that’s why I wrote about ‘Old and New in the Fall.
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‘ It was like he had taken a beating, like he had taken a lot of the pounding out of me. He’s basically the same Dylan we’ve been getting for some time now.” Molnar had the kind of backwoods life to know any of those first tracks he came across on his first band song called Hey, Good Morning, John Belushi and even some songs he now wrote when he was singing with Shania Twain earlier in his career. (The first, as he was asked about, was “Karaoke.”) He also followed a tradition of work from solo artists, and from guest appearances on a radio show with Pete Townshend once he first heard the new record out, the new song came out that week, and he thanked us for listening.
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We made a chat about the book, which he suggested called “Beethoven.” Interview Highlights On how he first approached this new record I haven’t known about this until something like ‘Beethoven,’ so I knew nobody had heard of it yet with Whitehead. All I knew was I put together this album that I had come across and I thought, ‘I think I ought to say something truly extraordinary and at least do something really new about what we’re doing here here,’ and that proved to be the main thing. I ended up