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Tom Petty - 2002-08-06 - Tampa, FL

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Rolling Stone #887 - January 17, 2002

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Remembering George Interviews by Mim Udovitch and David Wild Rolling Stone #887 - January 17, 2002

"I'm blessed to have known him." -- Tom Petty

I first met him in 1974 when I came out to Los Angeles. I hadn't been out here very long. I was working at Leon Russell's, and there were a few nights with sessions with George and Ringo. It's a scary thing meeting Beatles, but George was so nice to me and included me in everything. Then our paths didn't cross again until years later. This was probably '85 or '86, when the Heartbreakers were touring England with Bob Dylan. George came one night to see us in Birmingham. Bob was busy with something, and so we wound up just talking.

I reminded him that we'd met, and there was some kind of weird click. It felt like we had known each other all our lives, and in a very personal way. We wound up just hanging a lot. I have a great photo somewhere -- it was my birthday, and George brought a little cake to my dressing room. In the photo, there is me with George and Jeff Lynne, Roger McGuinn, Bob Dylan and Mike Campbell -- all of my favorite people right there, and it was all so sweet. I think Ringo was there as well. That night there was a surprise hurricane in London, and my life never felt the same again after that hurricane.

I went back to L.A., and almost by fate I went into a restaurant, spur of the moment. I hadn't planned to go, and the waiter came over and said, "Oh, your friend is in the next room, he wants to see you." I didn't know who he meant. I walked in, and it was George. He said, "God, it's so weird, I was just asking Jeff Lynne for your number."

He said, "Where are you going?" I said, "I'm just going home." He said, "Do you mind if I go with you?" He came to my house and stayed for days. George came to L.A. fairly often, and I went to England and visited him a lot. That's going to be the hard thing -- going to England from now on. It will seem so strange with him not there. See, George really treasured his friends. Mike Campbell was saying, "George was the only kind of friend I knew who would bring you a gift every time he saw you." He once brought me four ukuleles in a week.

Four? I said, "George, I don't think I need four ukuleles." He said, "Well, this one is better than the other ones. And it's just good to have them here -- you never know when we're going to all be over and need them." George's idea of a band was that everybody hung. From what he told me, the Beatles were that way. They were very, very tight. He really wanted the Traveling Wilburys to be like that. Like, "If we're going to the party, we're all going." I'm so glad I got to be in a band with him, He taught me so much.

What was it like being in a band with Bob Dylan? George quoted Bob like people quote Scripture. Bob really adored George, too. George used to hang over the balcony videoing Bob while Bob wasn't aware of it. Bob would be sitting at the piano playing, and George would tape it and listen to it all night.

So George had his own private Dylan bootlegs? Yeah. One day George was hiding in the hedge at the house where we were recording. As everybody flew off, George would rise up out of the bushes with his video going. And he did that with Bob. I think George frightened Bob. When the Wilburys started, George was so reverent of Bob. At the end of the first say, he said, "We know that you're Bob Dylan and everything, but we're going to just treat you and talk to you like we would anybody else." And Bob went, "Well great. Believe it or not, I'm in awe of you guys, and it's the same for me." I said to George, "That is really amazing, how you said that to Bob." George goes, "I can say those sort of things. But you can't." [laughs] George adored Bob Dylan, like "Dylan makes Shakespeare look like Billy Joel." And George absolutely adored the Wilburys. That was his baby from the beginning, and he went at it with such great enthusiasm. The rest of his life, he considered himself a Wilbury.

It doesn't really sound like he was the quiet one. Well, he never shut up. George had a lot to say. Boy, did he have a lot to say. That's hysterical to me, you know, that he was known as the quiet one. I assume he got that name because the other ones were so much louder. I mean, they were very loud people. [laughs] One time he told me, "Me and Olivia had Paul and Linda over the other night, and you would have thought there were a hundred people in the house, it was so loud." I'll tell you, nobody I've encountered ever lived his life more every day than George did. He crammed in a lot of living and didn't waste his time. And he had an idea a minute. Some nights he would have so many great ideas. George really said everything that crossed his mind. I used to say, "You really can't get a thought to your brain without it slipping out your mouth." And he was painfully honest. It was an endearing trait, but sometimes you hoped that he wouldn't be quite as honest as he was going to be.

Was it sometimes difficult to be around him? Let's be honest. There was Cranky George, and he could be very cynical at times. He would always be the first to nail himself as being too cynical, but he was quite funny when he was really cynical.

How do you think he felt about the Beatles as he got older? I just know what I've heard from George as the years went by. But he was very funny, like, "The Beatles, they weren't all that they were cracked up to be [laughs] . He loved the Beatles. He used to bitch sometimes about individual Beatles who got on his nerves. But he really loved them down deep, and I knew this. I think that a lot of George's personality was formed by George. This is just a guess, but that was the way it appeared to me. He looked up to John so much. He said, "Oh, John would be a Wilbury in a second." He'd say about Paul, "Paul is a year older than me, and he still is." But he really loved Paul, too. And he really loved Ringo.

What George Harrison songs mean the most to you? Oh, God, there are so many. "Here Comes the Sun" always has a big effect on me. "Isn't It a Pity" is a masterpiece.

Any of the songs you recorded with him? I loved "End of the Line." I remember the day he wrote it. He had started it off on the piano. And we all kind of sat in a group. "Handle With Care" I like. His enthusiasm was very contagious in a recording session, in a writing session. He just had unbridled enthusiasm. One of the things I'll miss most is when he used to drop by and he would always have a guitar or a ukulele in his hands most of the evening. He taught me so much guitar. I miss him showing me the guitar and some Beatles lick that I could never figure out. He would slow these licks to me, and they would be the simplest things in the world, but they'd eluded me because I didn't think they could be that simple. But what a beautiful player hr was. He just had that extreme taste. He really was something on the guitar.

And the ukulele, too? He really got into the ukulele. It sounds kind of corny, but it gave him so much joy, you know. I was there when he first discovered it. The rest of his life was ukulele. He played the hell out of the thing. When my kids were little, we could clear rooms with those things, because they knew George was going to carry on till daylight with the ukulele.

For a guy who loved music and people so much, he rarely played in public. He was never far from music. The last time he came over here, which wasn't that long ago, he was playing the guitar and singing, singing me new songs that he had written, which were just so beautiful. I said, "I wish you would just put a mike up, and let's tape you just like this." He didn't want to do it -- "Maybe later." But he told me something once like, "I never really pursued a solo career. All Things Must Pass was a reaction to leaving the Beatles. I had to do something." And when that went so well, he made another one. But he never really had a manager or anybody to report to, and I don't think he had any interest in touring. He told me many times he was very uncomfortable being the guy up front having to sing all the songs. It was just not his idea of fun.

The thing he was proudest of was the Beatles. He said the Beatles put out such a positive message. He was appalled at the things being said in pop music. Once he got into his Indian music, that rock & roll music to him was in the past. I don't think he had much interest in rock music past about '57. I remember him visiting me on tour in Germany. He would come to the side of the stage and look out. But he really didn't want to go on. He would go, "It's so loud and smoky, and they are acting so crazy. I just feel better back here."

In the car today, I was listening to a song you two wrote together, "Cheer Down." Where did that one come from? Olivia would say that to George when he got a little too happy. He would get a burst of enthusiasm, and she'd say, "OK, cheer down, big fellow."

Were you impressed with Olivia's defense of George when he was attacked in their home in 1999? When I heard about it, I sent George a fax, and it just said, "Aren't you glad you married a Mexican girl?" [laughs] Olivia really kicked ass. She is a beautiful person. His song, Dhani, is a beautiful kid, man. I've seen his recently. He is doing very well. Very strong and inspired. Olivia had the hardest job in the world, because she loved George more than all of us, and she really took care of him and cleared the path in front of him, behind him, and inherited that crazy life, you know.

Do you believe his spiritual life helped him cope with what had to be a horrible few years? I would think it helped him immensely. He is just a really brave guy, and he died with a great deal of dignity. It's so much easier for me than if he had died that night in the attack. I don't think I could have dealt with that. I told him so. When I put on my TV the morning he was stabbed, it looked like he had died, there were so many biographical things coming up on the TV. After that, I told him, "I already kind of went through your death." And I said, "Just do me a favor and don't die that way, because I just can't handle it." He said he promised me he wasn't going out that way.

Not that long ago, he released a statement telling people not to worry about him. Was that just characteristic of him? I'll tell you, the media wasn't very sweet in the last year of his life. He was probably the most hounded of his whole life when he was trying to deal with that. Especially in Europe, he never got a moment's peace. He would have helicopters follow him when he left the house. I guess that comes with the territory. That's part of the price you pay. He paid that price so many times -- well, overpaid. But he'd be the first to say there's nothing to be gained by bitterness or anger, hatred. I don't know how many times he would remind me that bitterness or pessimism is only going to slow you down finding the solution. And he lived that way. George was the kind of guy who wasn't going to leave until he hugged you for five minutes and told you how much he loved you. We knew where we stood with each other.

It sounds like this relationship was very important to you. Oh, I feel blessed. And it's the only time in my life, really, that I had been that close to somebody -- outside of like my mom dying or something. I loved him so much, and if he had never played a note, I would have been so blessed to have him in my life. And then over the weekend, it really comes home to you that, oh, wow, the whole world feels this way. They all knew him in their way, and they are mourning him as well. It was very hard, because there's a duality to it. I mourn for my friend, and then I also am a huge fan just like everyone else. I'm just blessed by God to have known him. He had so much love in him. I realized it more with him gone that he was just pure love. My daughter Adria used to visit him a lot in England when she was over there. She would go and stay at Friar Park. She was telling me the other night that one night they were out walking in the garden and he goes, "Oh, Adria, sometimes I just wish I could turn into a light beam and go away."

Perhaps that's how it works. Yeah, maybe that is how it works.

Is there anything else you'd like George Harrison fans to understand about the man you knew so well? I would assure all his fans that George was just really as beautiful as they pictured him. And maybe more.

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TOM PETTY; The Tecate Tour

To the Editor:

I have been a Tom Petty fan for more than 20 years. I consider him one of the great artists of the rock era, and share his distaste for corporate sponsorship of rock tours.

The article stated that Mr. Petty has not accepted such corporate sponsorship. However, his 1983 tour in support of the album ''Long After Dark'' was sponsored by Tecate beer. At 14, I attended the Detroit stop of this tour. The merchandise included a hat that said, ''Tecate Beer Loves Tom Petty.''

I respect the brave stand Mr. Petty took against rising record prices in 1981. I just wish that he did not gloss over his involvement in the very corporate culture that he rails against.

DARREN JONES

Royal Oak, Mich.

Tom Petty, Rock Icon Who Led the Heartbreakers, Dead at 66

Tom Petty , the dynamic and iconoclastic frontman who led the band the Heartbreakers, died Monday. He was 66. Petty’s death was confirmed by Tony Dimitriades, longtime manager of Tom Petty & The Heartbreakers, on behalf of the family.

“On behalf of the Tom Petty family, we are devastated to announce the untimely death of of our father, husband, brother, leader and friend Tom Petty,” Dimitriades wrote. “He suffered cardiac arrest at his home in Malibu in the early hours of this morning and was taken to UCLA Medical Center but could not be revived. He died peacefully at 8:40 p.m. PT surrounded by family, his bandmates and friends.”

On Sunday, Petty was found unconscious, not breathing and in full cardiac arrest at his Malibu home, according to  TMZ , where he was rushed to the hospital and placed on life support. EMTs were able to find a pulse when they found him, but TMZ reported that the hospital found no brain activity when he arrived. A decision was made to pull life support.

In the late 1970s, Petty’s romanticized tales of rebels, outcasts and refugees started climbing the pop charts. When he sang, his voice was filled with a heartfelt drama that perfectly complemented the Heartbreakers’ ragged rock & roll. Songs like “The Waiting,” “You Got Lucky,” “I Won’t Back Down,” “Learning to Fly” and “Mary Jane’s Last Dance” all dominated Billboard’s rock chart, and the majority of Petty’s albums have been certified either gold or platinum. His most recent release, Hypnotic Eye , debuted at Number One in 2014. Petty, who also recorded as a solo artist and as a member of the Traveling Wilburys and Mudcrutch, was inducted into the Rock and Roll Hall of Fame in 2002.

Thomas Earl Petty was born in Gainesville, Florida, the son of an insurance salesman, on October 20th, 1950. His father beat him and he didn’t perform well in school, according to   The New York Times ,   but he found solace in music. In 1961, he met Elvis Presley, who was shooting a film in Ocala, Florida, and it became a “life-altering moment” for the young Petty. Soon after, he got his first guitar as a preteen and joined his first band in the mid-Sixties. He quit high school at age 17 to join the southern-rock group Mudcrutch, which was taking off at the time. The group’s lineup featured guitarist Mike Campbell and keyboardist Benmont Tench, two musicians Petty would collaborate with for much of the next five decades. But while the band was taking off, they broke up upon moving to Los Angeles in the early Seventies.

Petty started his solo career in earnest in 1975 when he cut a demo with Campbell and Tench that also featured bassist Ron Blair and drummer Stan Lynch. They called themselves the Heartbreakers and, thanks to a label that signed Mudcrutch and retained only Petty on contract after they broke up, they recorded their debut, Tom Petty and the Heartbreakers , which came out in 1976. It failed to make an impact at the time – the album’s lead single “Breakdown” didn’t even chart – but they picked up heat after touring England as support for future E Street Band member Nils Lofgren. They soon became headliners on the tour, with the album topping the U.K. chart. 

The label reissued “Breakdown” in the U.S. and it reached the bottom rung of the Top 40 a year after its release. Subsequent singles from the group’s second LP, You’re Gonna Get It! , such as “Listen to Her Heart” and “I Need to Know” charted in the upper half of the pop chart. Around this time, one of Petty’s most apparent influences, the Byrds’ Roger McGuinn, recorded a cover of the self-titled album’s closing track, “American Girl,” proving Petty’s ability to write hits. Around this time, the first of a number of bad business deals stung Petty, according to the Times : He’d signed away all of the publishing rights to his songs to his label for $10,000 and had to negotiate a new deal where he got half of the royalties on songs after his fourth LP came out.

Tom Petty's 50 Greatest Songs

But before the decade was up, Petty found himself bankrupt after the record label MCA attempted to buy out his contract from ABC Records, which distributed Petty’s original label. It took nine months of litigation for Petty to secure a new deal so he could release the biggest record of his career, 1979’s Damn the Torpedoes , which reached Number Two on the album chart and has since been certified triple-platinum. The album contained the singles “Don’t Do Me Like That” and “Refugee,” establishing him as a full-fledged hitmaker.

Within two years, he was able to leverage this credibility in a standoff with MCA, which wanted to charge $9.98 for the follow-up LP to Damn the Torpedoes ; Petty threatened to titled it $8.98 until they backed down and released the record, which contained “The Waiting,” under the name Hard Promises , in 1981. He later scored a Number Three hit later that year with “Stop Draggin’ My Heart Around,” a duet with Stevie Nicks that appeared on her Bella Donna LP.

The years that followed would prove to be tumultuous for Petty, seeing the departure of Blair from the lineup as they worked painstakingly on what would become 1985’s Southern Accents ; during this time, Petty became so frustrated that he punched a wall and broke his left hand. Nevertheless, it served as home to the Number 13 hit “Don’t Come Around Here No More.” The following year, just as the band was about to set out on a tour supporting Bob Dylan, Petty’s house burned down – with arson being suspected – destroying most of his possessions. His wife, Jane Benyo, and two daughters were able to escape.

The late-Eighties were marked by both a commercial disappointment, 1986’s Let Me Up (I’ve Had Enough) , and a success, 1988’s Traveling Wilburys, Vol. 1 . The latter found Petty collaborating with Dylan, Roy Orbison, George Harrison and Jeff Lynne, and it made it to Number Three on the album chart and was certified triple platinum on the strength of singles like “Handle With Care” and “End of the Line.” Petty followed this success into his first solo album, 1989’s Full Moon Fever (home to “Free Fallin'”), which Lynne produced.

Around this time, Petty also began making small overtures into acting, appearing in the 1987 comedy Made in Heaven and later in the reviled 1997 action film The Postman , which starred Kevin Costner. He’d find his acting niche by providing his voice to Mike Judge’s southern-themed comedy  King of the Hill  as Lucky , the husband of protagonist Hank Hill’s niece-in-law Luanne.

The unexpected success of Full Moon Fever sent Petty into the 1990s with incredible momentum, more so than just about any artist from his generation. A second Traveling Wilburys record in 1990 failed to recapture the magic of the original, but the following year he brought the Heartbreakers into the studio with Jeff Lynne and cut Into The Great Wide Open , scoring radio hits with the title track and “Learning To Fly.” “That record gave us some of our most evergreen songs,” said Petty. “It’s our biggest record in Europe. But suddenly we were in a business where you could feel bad about selling only a million and a half records and recording some songs that live forever.”

In secret, Petty had signed a $20 million, six-album deal with Warner Bros. in 1992 and wanted to focus on his solo album, Wildflowers . He didn’t want any distraction but agreed to cut two songs for a Greatest Hits album against his will in 1993. It was the only way to appease MCA. One of the two songs was “Mary Jane’s Last Dance,” which hit Number 14 on the Hot 100 and, thanks to a creepy video featuring Kim Basinger as a corpse, went into heavy rotation on MTV. It should have been a moment of triumph for the Heartbreakers, but drummer Stan Lynch grew tired of feeling like a hired hand and left the group the following year.

Petty would reemerge late the following year with Wildflowers , which he and producer Rick Rubin had cut down from a planned double LP. “It’s Good to Be King,” “You Don’t Know How It Feels” and the title track would be key parts of his live show until the end of his career. Rubin would later draft Tom Petty and the Heartbreakers to back Johnny Cash on the Man in Black’s  Unchained LP in 1996; Petty would later join Cash on a recording of “I Won’t Back Down.”

Wildflowers  also sold by the millions and earned Petty yet another new generation of fans. “[We are] getting the feeling the fans would rather hear Wildflowers than anything else,” Petty told Rolling Stone that year. “I think a lot of people out there know us mostly from this last album.”

When the tour ended, Petty’s marriage dissolved after 22 years together. He moved out of their house into what he called a “chicken shack.” To numb the pain, he turned to heroin. A therapist convinced him to check into a detox clinic. “They shoot this drug into you that literally drives the heroin out and your body goes into spasms,” he told biographer Warren Zanes. “It forces the detox process. When I woke up from that, I felt different. And I said to the nurse, ‘So, it went OK?’ She says, ‘Yeah, it went OK.’ I said, ‘How long have I been asleep?’ She says, ‘Two days.'”

He poured all of his pain into 1999’s Echo , the darkest album of his career. He would later refuse to play songs like “Room at the Top,” “Counting on You” and “Free Girl Now” after the Echo tour concluded. “I recently had a fan stop me and tell me how much that record had helped her through a bad time,” Petty told Rolling Stone in 2013. “And she said, ‘I know you don’t like it.’ And I was like, ‘It’s not that I don’t like it. It was just a really hard period in my life.'”

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Making the period all the more difficult was Blair replacement Howie Epstein’s growing reliance on heroin. The Heartbreakers bassist dealt with a drug problem throughout much of the Nineties, but by the early 2000s, the four-stringer was missing shows and physically falling apart. Petty fired him shortly after the group was inducted into the Rock and Roll Hall of Fame in 2002, replacing him with original Heartbreakers bassist Blair. Epstein died of an overdose in 2003. “It’s like you got a tree dying in the back yard,” Petty told Rolling Stone that year. “And you’re kind of used to the idea that it’s dying. But then you look out there one day, and they cut it down. And you just can’t imagine that beautiful tree isn’t there anymore.”

Petty had put his life back together and remarried in 2001, to Dana York, and the band soldiered on and hit the road hard to support The Last DJ , a scathing indictment of a record industry without any regard for art or artists. “Everywhere we look, we want to make the most money possible,” he told Rolling Stone in 2002. “This is a dangerous, corrupt notion. That’s where you see the advent of programming on the radio, and radio research, all these silly things. That has made pop music what it is today. Everything – morals, truth – is all going out the window in favor of profit.”

Unsurprisingly, radio didn’t embrace The Last DJ , beginning a long period where Petty sold more concert tickets than new records. But 2006’s solo LP, Highway Companion , and 2008’s Mojo , a blues record he cut with the Heartbreakers, were still stellar albums packed with strong tunes like “Saving Grace,” “Square One” and “Jefferson Jericho Blues.”

With his days as a radio hitmaker behind him, Petty felt tremendous freedom to do whatever he wanted with his career. In 2008, he shocked everyone – especially his old bandmates – by reforming Mudcrutch for a new album and tour. “I keep waiting for somebody to tap me on the shoulder and go, ‘Uh, Tom, this is a dream and it’s time to wake up,'” guitarist Tom Leadon, who hadn’t played with Petty since 1972, told Rolling Stone  in 2016. “What a wonderful turn of events this is.” In 2016, they released another album and launched a more extensive tour.

“Tom is in a position where he could do anything he wants with anyone he wants,” said Heartbreakers/Mudcrutch guitarist Mike Campbell. “The beauty of this is that he wants to reconnect with his old friends, not for money, but the pure joy of revisiting the energy that we started with. It’s been very, very spiritual. It’s commendable that he’d do something so generous.”

Three years ago, Petty and the Heartbreakers reached a shocking milestone when their new LP,  Hypnotic Eye , became their first Number 1 album. They supported it with a U.S. tour and went back on the road in 2017 to celebrate their 40th anniversary. “I’m thinking it may be the last trip around the country,” Petty told Rolling Stone shortly before it began. “It’s very likely we’ll keep playing, but will we take on 50 shows in one tour? I don’t think so. I’d be lying if I didn’t say I was thinking this might be the last big one. We’re all on the backside of our sixties. I have a granddaughter now I’d like to see as much as I can. I don’t want to spend my life on the road.”

After years of swimming upstream, Petty was at ease with his legacy in the later years of his life. “As you’re coming up, you’re recognized song for song or album for album,” he told Esquire in 2006. “What’s changed these days is that the man who approaches me on the street is more or less thanking me for a body of work – the soundtrack to his life, as a lot of them say. And that’s a wonderful feeling. It’s all an artist can ask.”

His hits have defined rock radio since the Seventies, and he never stopped writing great music. Here’s the definitive guide to Tom Petty’s best songs. Watch here.

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San Diego concert picks: Adams Avenue Unplugged with ‘Recordially Yours, Lou Curtiss’ screening; Luciana Souza and Mark Guiliana

The free Saturday festival on Adams Avenue will feature 70 bands and solo artists, including singer-songwriters Jack Tempchin, Gregory Page and Sara Petite, plus a duo featuring Chris Torres and Tom Petty & The Heartbreakers’ alum Ron Blair.

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Adams Avenue Unplugged festival and ‘Recordially Yours, Lou Curtiss’ film screening, concert and discussion

Lights! Action! Music!

It’s time for the 2024 edition of Adams Avenue Unplugged, which in 2012 succeeded the then-18-year-old Adams Avenue Roots Festival.

Saturday’s noon-to-midnight edition will feature 70 bands and solo artists, including 2019 Songwriters Hall of Fame honoree Jack Tempchin.

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Jack Tempchin will be in very elite company when he is inducted into the Songwriters Hall of Fame in June in New York City.

Jan. 12, 2019

They will perform at 19 indoor and two outdoor venues across two miles of Adams Avenue between Kensington and University Heights, with the majority of them in Normal Heights. Twelve of those venues are open to all ages; 10 of them are 21-and-up. Admission is free to all but two performances.

The roster of artists includes slide-guitar great Fred Heath, award-winning troubadours Gregory Page and Sara Petite, the blues-rocking Chickebone Slim & The Biscuits and Lady Dottie & The Diamonds, and the duo of Chris Torres and Ron Blair (the latter of whom was inducted into the Rock & Roll Hall of Fame in 2002 as a member of Tom Petty & The Heartbreakers).

Four of the performances will be in the Normal Heights United Methodist Church, which Friday night hosts the April edition of the church’s monthly Songwriter Sanctuary concert series.

The four Adams Unplugged artists playing Saturday in the church include Tempchin, the Blair/Torres duo, Yale Strom & Hot Pstromi — all free of charge — and the California Guitar Trio, whose performance has a $25 ticket price.

The one other ticketed event, featuring Tempchin, Gregory Page and Patty Hall, takes place at 7 p.m. Friday night in the Adams Avenue Theater. Their 40-minute performance precedes a screening of “Recordially Yours, Lou Curtiss,” which was co-produced by Hot Pstromi’s Yale Strom and Elizabeth Schwartz.

San Diego’s Lou Curtiss, a mentor to Tom Waits and other music greats, is celebrated in new film

“Recordially Yours, Lou Curitiss’ is a labor-of-love documentary by the husband-and-wife team of Yale Strom and Elizabeth Schwartz about the founder of the San Diego Folk Festival and Folk Arts Rare Records. It premieres Friday at downtown’s Digital Gym.

June 18, 2023

It profiles roots-music champion Curtiss, who founded the Adams Avenue Roots Festival and San Diego Folk Festival, ran Folk Arts Rare Records and was a key mentor to everyone from Tempchin, Petite and Page to Tom Waits, AJ Croce and Mojo Nixon.

The film includes interviews with Tempchin, Page, Hall, Croce, Nixon and others, including — full disclosure — this writer. After the screening, Strom, Tempchin and Page will discuss Curtiss’ legacy with the audience.

7 p.m. Friday for film and concert, Adams Avenue Theater, 3325 Adams Ave., Normal Heights, $10. Festival is Noon to midnight Saturday at 21 restaurants, bars and cafes along Adams Avenue, from the Kensington Cafe in Kensington to Dia Del Cafe in University Heights, with a majority of the venues in Normal Heights. All performances free except California Guitar Trio ($25), which performs 7 p.m. Saturday at the Normal Heights United Church, 4650 Mansfield St. Tickets for Saturday’s 21-and-up VIP Beer & Food package are $24. adamsavenuebusiness.com/event-info-adams-avenue-unplugged

Luciana Souza & Trio Corrente

The classic songs of Brazil’s Antônio Carlos Jobim, Dori Caymmi, Djavan Paulinho da Viola and others are celebrated and extended by vocal standout Luciana Souza and São Paulo’s Trio Corrente, who also write their own material.

Souza and the trio have each won individual Grammy Awards. Their work together may also merit Grammy consideration.

Luciana Souza fuses epic Emily Dickinson poem with hushed Deep Purple riff, because ‘every door is open’

Leonard Cohen. Emily Dickinson. Edna St. Vincent Millay. “Smoke on the Water?”

Nov. 24, 2018

Souza’s past collaborators range from Herbie Hancock, Paul Simon, Bobby McFerrin and Steely Dan’s Walter Becker to opera star Dawn Upshaw, David Bowie saxophonist Donny McCaslin, the Los Angeles Guitar Quartet and the Atlanta Symphony Chorus and Orchestra.

She is the daughter of veteran bossa-nova singer Walter Santos and the goddaughter of visionary Brazilian composer and band leader Hermeto Pascoal, whose intensely challenging, genre-leaping music Souza began to master while still in her teens.

She has not performed in San Diego before with Trio Corrente. Given the uniformly high quality of her previous area appearances under the auspices of the Athenaeum in La Jolla, her Friday concert there with the group should be a memorable one.

7:30 p.m. Friday. Athenaeum Music & Arts Library, 1004 Wall St., La Jolla. $45-$50. ljathenaeum.org

Mark Guiliana

Can music fans be in two places at once? Some will wish this was possible when drum dynamo Mark Guiliana performs Friday night at UC San Diego at almost exactly the same time Luciana Souza sings at the nearby Athenaeum.

While he has worked with such jazz luminaries as Brad Mehldau, Dave Douglas and Gretchen Parlato, Guiliana is best known to rock fans for his superb playing on David Bowie’s final album, “Blackstar.” Reggae fans may recognize him for his work with Matisyahu, while he is familiar to neo-soul fans for his collaborations with Meshell Ndegeocello.

Guiliana is the leader of two very different bands, a jazz quartet and the electronica-fueled Beat Music. His concert here will debut his new trio with Beat Music keyboardist/programmer Nicholas Semrad and DJ/producer John Joshua.

8 p.m. Friday.. The Loft at UC San Diego, 3151 Matthews Lane, La Jolla. $22. theloft.ucsd.edu/shows

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• July 6, 2002 Setlist

Tom Petty and the Heartbreakers Setlist at PNC Bank Arts Center, Holmdel, NJ, USA

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• Runnin' Down a Dream ( Tom Petty  song) Play Video
• I Won't Back Down ( Tom Petty  song) Play Video
• I Need to Know Play Video
• Mary Jane's Last Dance Play Video
• Have Love Will Travel Play Video
• Here Comes My Girl Play Video
• Even the Losers Play Video
• You Don't Know How It Feels ( Tom Petty  song) Play Video
• It's Good to Be King ( Tom Petty  song) Play Video
• Lost Children Play Video
• Rebels Play Video
• Learning to Fly Play Video
• Yer So Bad ( Tom Petty  song) Play Video
• Can't Stop the Sun Play Video
• Refugee Play Video
• Too Much Ain't Enough Play Video
• You Wreck Me ( Tom Petty  song) Play Video
• Free Fallin' ( Tom Petty  song) Play Video
• Gloria ( Them  cover) Play Video
• American Girl Play Video

Edits and Comments

10 activities (last edit by pomes27 , 23 Feb 2014, 16:28 Etc/UTC )

Songs on Albums

• Free Fallin' by Tom Petty
• Gloria by Them
• I Won't Back Down by Tom Petty
• It's Good to Be King by Tom Petty
• Runnin' Down a Dream by Tom Petty
• Yer So Bad by Tom Petty
• You Don't Know How It Feels by Tom Petty
• You Wreck Me by Tom Petty
• Even the Losers
• Here Comes My Girl
• Can't Stop the Sun
• Have Love Will Travel
• Lost Children
• I Need to Know
• Too Much Ain't Enough
• Mary Jane's Last Dance
• Learning to Fly
• American Girl

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Pnc bank arts center.

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Tom Petty and the Heartbreakers Gig Timeline

• Jul 03 2002 Darien Lake Performing Arts Center Darien Center, NY, USA Add time Add time
• Jul 05 2002 Saratoga Performing Arts Center Saratoga Springs, NY, USA Add time Add time
• Jul 06 2002 PNC Bank Arts Center This Setlist Holmdel, NJ, USA Add time Add time
• Jul 08 2002 Mohegan Sun Arena Uncasville, CT, USA Add time Add time
• Jul 10 2002 Verizon Wireless Arena Manchester, NH, USA Add time Add time

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