Words@brothersgibb.com message digest 09/24/2017 15:01 (#2017-453)

4 messages included in this issue
1How the Bee Gees went from No. 1 to national pariahscmathis@brothersgibb.com
2New Book?cmathis@brothersgibb.com
3How the Bee Gees went from No. 1 to national pariahsmarjlarue@gmail.com
4How the Bee Gees went from No. 1 to national pariahscompoccia@aol.com
Date: Sun, 24 Sep 2017 10:16:11 -0400 From: "Chris Mathis" <cmathis@brothersgibb.com> Subject: How the Bee Gees went from No. 1 to national pariahs http://alturl.com/f2eeu In June 1979, the Bee Gees were on top of the world. Months before, their "Saturday Night Fever" soundtrack, featuring songs written and/or performed by the Australian trio, had won a Grammy for album of the year. The year before, it spent 24 weeks at No. 1 on the Billboard charts. And now the band was playing 60,000-seat arenas across America. Disco was king, and the Bee Gees - brothers Barry, Robin and Maurice Gibb, clad in white suits and flashing gold chains - were its ambassadors. At the start of the tour, Maurice got hold of a T-shirt that made everyone backstage laugh. It read: "Shoot the Bee Gees." Six months later, as the tour was winding down, nobody was laughing. The disco craze that had ruled the late '70s had come to a screeching halt, and the Bee Gees, lords of the airwaves for two years, found themselves banned from the country's most influential radio stations. They hadn't been shot, but they were as good as dead. "Nobody wanted to touch them," said Simon Spence, whose new book "Staying Alive: The Disco Inferno of the Bee Gees" (Jawbone Press) chronicles the group's meteoric rise and spectacular fall. "What happened to them was unprecedented in popular music." The Bee Gees had first come to prominence in 1967 when manager Robert Stigwood, who'd had success overseeing Eric Clapton's career, positioned the siblings as the next Beatles. With their tight harmonies and telegenic looks, songs such as "To Love Somebody" and "How Can You Mend a Broken Heart" cruised into the top 10. Still, they weren't exactly winning over America as the Beatles had. Their album sales were faltering by the mid-1970s. But then Stigwood hit upon a bright idea. He had acquired the film rights to a New York Magazine story called "Tribal Rights of the New Saturday Night," about working-class kids from Bay Ridge who become stars on the dance floor of 2001 Odyssey, a Brooklyn disco. The movie - "Saturday Night Fever" - was to star John Travolta, a popular TV actor from the sitcom "Welcome Back, Kotter." The Bee Gees, with their exposed hairy chests and high voices, were now the butt of 'endless comedy sketches.' The Bee Gees were working on a new album at the time, but Stigwood insisted they scrap it to work on the soundtrack. He effectively pillaged five of their new songs, including "Stayin' Alive" and "More Than a Woman." The Bee Gees weren't thrilled. In fact, "They didn't give the tracks much thought or care or attention," says Spence. "Saturday Night Fever" opened in theaters Dec. 12, 1977. Between Christmas and New Year's, 750,000 copies of the soundtrack sold. By January, it was the No. 1 album in America. As a result, by 1978, 200 radio stations in America were devoted to disco. "We all went a bit crazy," eldest brother Barry Gibb recalled. A backlash was inevitable. Steve Dahl, a Chicago radio shock jock who hated disco, kicked it off with a demolition on July 12, 1978, at Comiskey Park: About 10,000 people showed up at the ballpark, many clutching Bee Gees records - which were tossed into a bonfire. Homophobia fueled much of the hatred. White men between the ages of 18 and 34 who loved rock "felt excluded, even threatened, by the disco scene," Spence writes. "The phrase 'disco sucks' was a clear pejorative term." In February 1980, Billboard reported that American radio had adopted a "virtual ban" on disco. Barry called it "evil" and "censorship" - but nobody paid much attention. The Bee Gees, with their exposed hairy chests and high voices, were now the butt of "endless comedy sketches," Spence writes. Barry couldn't understand what had happened: "It was almost like people were angry with us and it was more interesting to make fun of us than to actually try and understand or appreciate what we had done." Robin said simply: "The public had OD'd on us." Maurice, Robin's twin, took it the hardest. He'd battled drugs and alcohol for years and now upped the intake. Shortly after the tour ended, he checked into a private London clinic for alcohol abuse. His recovery didn't last long. In 1981 he was thrown off the Concorde for drunk and disorderly behavior. Rumors swirled that the Bee Gees were going to break up. "The exhaustion of being the Bee Gees set in, and we couldn't see what tomorrow was going to bring," Barry admitted. But they made another album, "Living Eyes." Burned by the backlash, they dropped the disco sound. Barry even lowered his falsetto. The record was a bust, overshadowed by tabloid stories about Robin's tumultuous relationship with his estranged wife. Convinced she was having an affair with her divorce lawyer, Robin broke into his own home to collect evidence. He was arrested. Still, Maurice and Robin wanted to keep the Bee Gees going. Only Barry understood their era was over. He said of "Stayin' Alive": "We would like to dress it in a white suit and gold chains and set it on fire." He persuaded his brothers that they should write songs and produce albums - for other artists. They came up with hits for Barbra Streisand, Dolly Parton and others. Their biggest hit was "Heartbreaker," which Dionne Warwick took to the top of the charts. But its success further depressed Maurice. "I cried my eyes out after we wrote it," Spence quotes him as saying. "I drove home and thought, 'We should be doing this one.' " Maurice never kicked his addictions. He died in 2003 from ailments brought on by alcoholism. Robin died in 2012 of colon and liver cancer. Barry, now 71, is the only Bee Gee left. Two months ago he performed at the Glastonbury Festival in England. His set list included all the songs from "Saturday Night Fever." The crowd went wild. Back to top
Date: Sun, 24 Sep 2017 10:21:48 -0400 From: "Chris Mathis" <cmathis@brothersgibb.com> Subject: New Book? I do not know if this has been mentioned: Simon Spence, whose new book "Staying Alive: The Disco Inferno of the Bee Gees" (Jawbone Press) chronicles the group's meteoric rise and spectacular fall. Short URL link: http://alturl.com/zhnvn Chris. Back to top
Date: Sun, 24 Sep 2017 09:42:44 -0500 From: KittLarue <marjlarue@gmail.com> Subject: Re: How the Bee Gees went from No. 1 to national pariahs Thanks Chris. I read this excerpt from the book a few days ago. Of course I have not read the book (don't think it's out yet), but I'm curious to know how the author arrived at the cause of Mo's death with such certainty. My curiosity extends to his statement that Mo took the backlash the hardest. Is the author saying Mo's alcoholism was a result of the backlash? I realize it's unfair for me to judge this book without having read it, but based on this excerpt, I have doubts about the accuracy. There have been quite a few books written about their personal lives but I have yet to read one that has the level of research and interviews as the book released in the late 90s. I'm a firm believer of continuos learning, but I fail to see what each new To be fair, the author probably doesn't have access to new information. I am looking forward to reading the Australian Years book as it's not something that's been done, at least not to my knowledge. Kitt- Sent from My World > On Sep 24, 2017, at 9:16 AM, Chris Mathis wrote: > > > http://alturl.com/f2eeu > > In June 1979, the Bee Gees were on top of the world. Months before, their “Saturday Night Fever” soundtrack, featuring songs written and/or performed by the Australian trio, had won a Grammy for album of the year. The year before, it spent 24 weeks > > Disco was king, and the Bee Gees — brothers Barry, Robin and Maurice Gibb, clad in white suits and flashing gold chains — were its ambassadors. > > At the start of the tour, Maurice got hold of a T-shirt that made everyone backstage laugh. It read: “Shoot the Bee Gees.” > > Six months later, as the tour was winding down, nobody was laughing. The disco craze that had ruled the late ’70s had come to a screeching halt, and the Bee Gees, lords of the airwaves for two years, found themselves banned from the country’s most i > > They hadn’t been shot, but they were as good as dead. > > “Nobody wanted to touch them,” said Simon Spence, whose new book “Staying Alive: The Disco Inferno of the Bee Gees” (Jawbone Press) chronicles the group’s meteoric rise and spectacular fall. > > “What happened to them was unprecedented in popular music.=9D > > The Bee Gees had first come to prominence in 1967 when manager Robert Stigwood, who’d had success overseeing Eric Clapton’s career, positioned the siblings as the next Beatles. With their tight harmonies and telegenic looks, songs such as “To Love > > Still, they weren’t exactly winning over America as the Beatles had. Their album sales were faltering by the mid-1970s. But then Stigwood hit upon a bright idea. He had acquired the film rights to a New York Magazine story called “Tribal Rights of t > > The movie — “Saturday Night Fever” — was to star John Travolta, a popular TV actor from the sitcom “Welcome Back, Kotter.” > > The Bee Gees, with their exposed hairy chests and high voices, were now the butt of ‘endless comedy sketches.’ > > The Bee Gees were working on a new album at the time, but Stigwood insisted they scrap it to work on the soundtrack. He effectively pillaged five of their new songs, including “Stayin’ Alive” and =80More Than a Woman.” > > The Bee Gees weren’t thrilled. In fact, “They didn=99t give the tracks much thought or care or attention,” says Spence. > > “Saturday Night Fever” opened in theaters Dec. 12, 1977. Between Christmas and New Year’s, 750,000 copies of the soundtrack sold. By January, it was the No. 1 album in America. As a result, by 1978, 200 radio stations in America were devoted to di > > “We all went a bit crazy,” eldest brother Barry Gibb recalled. > > A backlash was inevitable. Steve Dahl, a Chicago radio shock jock who hated disco, kicked it off with a demolition on July 12, 1978, at Comiskey Park: About 10,000 people showed up at the ballpark, many clutching Bee Gees records — which were tossed i > > Homophobia fueled much of the hatred. White men between the ages of 18 and 34 who loved rock “felt excluded, even threatened, by the disco scene,” Spence writes. “The phrase ‘disco sucks=80 was a clear pejorative term.” > > In February 1980, Billboard reported that American radio had adopted a =E2virtual ban” on disco. Barry called it “evil=9D and “censorship” — but nobody paid much attention. The Bee Gees, with their exposed hairy chests and high voices, wer > > Barry couldn’t understand what had happened: “It was almost like people were angry with us and it was more interesting to make fun of us than to actually try and understand or appreciate what we had done.=80 > > Robin said simply: “The public had OD’d on us.” > > Maurice, Robin’s twin, took it the hardest. He’d battled drugs and alcohol for years and now upped the intake. Shortly after the tour ended, he checked into a private London clinic for alcohol abuse. His recovery didn’t last long. In 1981 he was t > > Rumors swirled that the Bee Gees were going to break up. > > “The exhaustion of being the Bee Gees set in, and we couldn=99t see what tomorrow was going to bring,” Barry admitted. > > But they made another album, “Living Eyes.” Burned by the backlash, they dropped the disco sound. Barry even lowered his falsetto. The record was a bust, overshadowed by tabloid stories about Robin’s tumultuous relationship with his estranged wife > > Still, Maurice and Robin wanted to keep the Bee Gees going. Only Barry understood their era was over. He said of “Stayin’ Alive=80: “We would like to dress it in a white suit and gold chains and set it on fire.” > > He persuaded his brothers that they should write songs and produce albums — for other artists. They came up with hits for Barbra Streisand, Dolly Parton and others. Their biggest hit was “Heartbreaker,=9D which Dionne Warwick took to the top of th > > But its success further depressed Maurice. > > “I cried my eyes out after we wrote it,” Spence quotes him as saying. “I drove home and thought, ‘We should be doing this one.’ ” > > Maurice never kicked his addictions. He died in 2003 from ailments brought on by alcoholism. Robin died in 2012 of colon and liver cancer. > > Barry, now 71, is the only Bee Gee left. Two months ago he performed at the Glastonbury Festival in England. > > His set list included all the songs from “Saturday Night Fever.=E2 The crowd went wild. > > > "Words & Music", Fans Of The Brothers Gibb ( Bee Gees ) > http://www.brothersgibb.com Back to top
Date: Sun, 24 Sep 2017 12:39:04 -0400 From: compoccia <compoccia@aol.com> Subject: RE: How the Bee Gees went from No. 1 to national pariahs WW91IG1pZ2h0IGJlIHRvbyBjYXV0aW91cyB3aXRoIHlvdXIgY3JpdGljaXNtIEtpdHQuIEJhc2Vk IG9uIHRoZSBhcnRpY2xlIGF0IGxlYXN0LCBpdCBsb29rcyBsaWtlIGEgcG9vcmx5IHJlc2VhcmNo ZWQgYm9vay4gSSBhZ3JlZSB0aGF0IHlvdSBuZWVkIHRvIHJlYWQgdGhlIGJvb2sgZmlyc3QsIMKg YnV0IHRoZSBpbmFjY3VyYWNpZXMgSSBjYXVnaHQgaW4gdGhlIGFydGljbGUgYW5kIHRoZSBmYWxz ZSBwcmVtaXNlcyB0aGUgYXV0aG9yIGFwcGVhcnMgdG8gaGF2ZSBwdXQgZm9ydGggaW4gaGlzIGJv b2sgcG9pbnRzIHRvIHNvbWV0aGluZyB0aGF0IHdlIGZhbnMgd2lsbCBmaW5kIGRpc2FwcG9pbnRp bmcuIMKgDQpNeSBndWVzcyBpcyB0aGF0IFNwZW5jZSBpcyB0cnlpbmcgdG8gcHJvbW90ZSBoaXMg Ym9vayBieSBoZWF2aWx5IGNvbm5lY3RpbmcgdGhlIEJlZSBHZWVzIHN0b3J5IHdpdGggZGlzY28g YW5kIGluIGRvaW5nIHNvIG1heSBiZSBkaXN0b3J0aW5nIHRoZWlyIGhpc3RvcnksIGFzIHdlbGwg YXMgdGhlIEJlZSBHZWVzIGFzc29jaWF0aW9uIHdpdGggZGlzY28uDQpTYWzCoA0KDQoNClNlbnQg ZnJvbSBteSBULU1vYmlsZSA0RyBMVEUgRGV2aWNlDQotLS0tLS0tLSBPcmlnaW5hbCBtZXNzYWdl 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