{"id":11812,"date":"2022-09-29T08:18:30","date_gmt":"2022-09-29T07:18:30","guid":{"rendered":"https:\/\/aata.dev\/?p=11812"},"modified":"2022-09-29T08:18:31","modified_gmt":"2022-09-29T07:18:31","slug":"mike-nesmith-walked-to-the-beat-of-a-different-drum","status":"publish","type":"post","link":"https:\/\/aata.dev\/index.php\/2022\/09\/29\/mike-nesmith-walked-to-the-beat-of-a-different-drum\/","title":{"rendered":"MIKE NESMITH\u00a0 walked to the beat of a different drum."},"content":{"rendered":"\n

MIKE NESMITH<\/strong>  walked to the beat of a different drum,<\/strong><\/p>\n\n\n\n

by Norman Warwick<\/strong><\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

The press dubbed him the quiet Monkee but, tall and lean and identifiable by his bobble hats, Mike Nesmith (left)<\/strong> always seemed to me to be the glue that held The Monkees together in their tv heyday. Mickey Dolenz never got a fair press for either his skills as a comedy actor or his contributions as a unique-sounding lead vocalist. Former Coronation Street actor Davy Jones had a flair for the vaudevillian and Peter Tork was a gifted multi-instrumentalist but it could well be that The Monkees become forever seen as the early platform for a man who has strengthened\u00a0 the Americana music roots and has nourished them with new songs that will live in perpetuity. So, reckon all of The Monkees and Nesmith in particular, wrote important chapters in the genres of pop, rock and audio visual arts.<\/em><\/p>\n\n\n\n

Andy Greene, writing in Rolling Stone, took a posthumous look-back at the solo career that Nesmith created post-Monkees and reminded me why I rate the works of Mike Nesmith so highly.<\/em><\/p>\n\n\n\n

As he prepared for his exit from The Monkees, wrote Mr. Greene,  Nesmith was approached by John Ware of The Corvettes, a band that featured Nesmith’s Texas band mate and close friend John London. London played on some of the earliest pre-Monkees, Nesmith 45s, as well as numerous Monkees sessions, and had 45s produced by Nesmith for the Dot label<\/a> in 1969. Ware wanted Nesmith to put together a band. Nesmith’s interest hinged on noted pedal steel<\/a> player Orville “Red” Rhodes<\/a>; their musical partnership continued until Rhodes’s death in 1995.<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

The Michael Nesmith And The First National Band (right)<\/em><\/strong> is now considered a pioneer of country-rock music and recorded three albums for RCA.\u00a0Nesmith wrote most of the songs for the band and he, himself, is considered one of the trailblazers of\u00a0country rock<\/a>.\u00a0He also had moderate commercial success with the First National Band. Their second single, “Joanne<\/a>“, hit number 21 on the\u00a0Billboard\u00a0chart, number 17 on Cashbox, and number four in Canada, with the follow-up “Silver Moon” making number 42\u00a0Billboard, number 28 Cashbox, and number 13 in Canada. Two more singles charted (“Nevada Fighter” made number 70\u00a0Billboard, number 73 Cashbox, and number 67 Canada, and “Propinquity” reached number 95 Cashbox), and the first two LPs charted in the lower regions of the\u00a0Billboard\u00a0album chart. No clear answer has ever been given for the band’s breakup. Nesmith followed up with The Second National Band, which consisted of Nesmith (vocals and guitar), Michael Cohen (keyboards and\u00a0Moog<\/a>), Johnny Meeks (of\u00a0The Strangers<\/a>) (bass), jazzer Jack Ranelli (drums), and Orville Rhodes (pedal steel), as well as an appearance by singer, musician, and songwriter\u00a0Jos\u00e9 Feliciano<\/a>\u00a0on congas. The album,\u00a0Tantamount to Treason Vol. 1<\/a>, was a commercial and critical disaster. Nesmith then recorded\u00a0And the Hits Just Keep on Comin’<\/a>, featuring only him on guitar and Red Rhodes on pedal steel<\/p>\n\n\n\n

Whilst the above seems a fair summary others have been less charitable.  According to <\/em>Christgau’s Record Guide: Rock Albums of the Seventies<\/em><\/a> (1981) “Nesmith began his career on RCA as a crackpot inventor and ended as a bankrupt <\/em>cottage industry<\/em><\/a>.”<\/em><\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

Nesmith then became more heavily involved in producing, working with former Fairport Convention man,\u00a0and later of Mathews Southern Comfort, Iain Matthews<\/a>‘s \u00a0(left)<\/em><\/strong> on his album\u00a0Valley Hi<\/a>\u00a0and\u00a0with Bert Jansch<\/a>‘s\u00a0L.A. Turnaround<\/a>. Nesmith was given a label of his own, Countryside, through Elektra Records, as\u00a0Elektra Records<\/a>‘s Jac Holzman was a fan of Nesmith’s. It featured a number of artists produced by Nesmith, including Garland Frady and Red Rhodes. The staff band at Countryside also helped Nesmith on his next, and last, RCA album,\u00a0Pretty Much Your Standard Ranch Stash<\/a>. Countryside folded when\u00a0David Geffen<\/a>\u00a0replaced Holzman, as Countryside was unnecessary in Geffen’s eyes.<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

In the mid-1970s, Nesmith briefly collaborated as a songwriter with\u00a0Linda Hargrove<\/a>, resulting in the tune “I’ve Never Loved Anyone More<\/a>“, a hit for\u00a0Lynn Anderson<\/a>\u00a0and recorded by many others, as well as the songs “Winonah” and “If You Will Walk With Me”, both of which were recorded by Hargrove. Of these songs, only “Winonah” was recorded by Nesmith himself. \u00a0During this same period, Nesmith started his multimedia company Pacific Arts, which initially put out audio records,\u00a0eight-track<\/a>\u00a0tapes, and cassettes, followed in 1981 with “video records”. Nesmith recorded a number of LPs for his label, and had a moderate worldwide hit in 1977 with his song “Rio<\/a>“, the single taken from the album\u00a0From a Radio Engine to the Photon Wing<\/a>.\u00a0In 1979, Nesmith released the single\u00a0Cruisin’<\/a>, also known as “Lucy and Ramona and Sunset Sam”, which was popular on AOR rock stations and in New Zealand.\u00a0In 1983, Nesmith produced the music video for the\u00a0Lionel Richie<\/a>\u00a0single All Night Long<\/a>. In 1987, he produced the music video for the\u00a0Michael Jackson<\/a>\u00a0single The Way You Make Me Feel<\/a>.(right)<\/em><\/strong><\/p>\n\n\n\n

During this time, Nesmith created a video clip for “Rio<\/a>“, which helped spur Nesmith’s creation of a television program called PopClips<\/a> for the Nickelodeon<\/a> cable network. In 1980, PopClips was sold to the Time Warner<\/a>\/Amex<\/a> consortium. Time Warner\/Amex developed PopClips into the MTV network.<\/p>\n\n\n\n

Nesmith won the first Grammy Award<\/a> given for (long-form) Music Video<\/a> in 1982 for his hour-long Elephant Parts<\/a>. He also had a short-lived series (1984-5) on NBC inspired by the video called Michael Nesmith In Television Parts<\/a>. The programme included many other artists who were unknown at the time, but went on to become major stars in their own right: Jay Leno<\/a>, Jerry Seinfeld<\/a>, Garry Shandling<\/a>, Whoopi Goldberg<\/a>, and Arsenio Hall<\/a>. The concept of the show was to have comics render their stand-up routines into short comedy films much like the ones in Elephant Parts. Nesmith assembled writers Jack Handey<\/a>, William Martin<\/a>, John Levenstein, and Michael Kaplan, along with directors William Dear<\/a> (who had directed Elephant Parts) and Alan Myerson, as well as producer Ward Sylvester to create the show. The half-hour show ran for eight episodes in the summer of 1985 on NBC<\/a> Thursday nights in prime time.<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

Nesmith formed the\u00a0Pacific Arts Corporation<\/a>, Inc. (left)<\/em><\/strong> in 1974 to manage and develop media projects. Pacific Arts Video became a pioneer in the\u00a0home video<\/a>\u00a0market, producing and distributing a wide variety of videotaped programs, although the company eventually ceased operations after an acrimonious contract dispute with\u00a0PBS<\/a>\u00a0over home video licensing rights and payments for several series,[5]<\/sup><\/a>\u00a0including\u00a0Ken Burns<\/a>‘\u00a0The Civil War<\/a>. The dispute escalated into a lawsuit that went to jury trial in federal court in Los Angeles. On February 3, 1999, a jury awarded Nesmith and his company Pacific Arts $48.875\u00a0million in\u00a0compensatory<\/a>\u00a0and\u00a0punitive damages<\/a>, prompting his widely quoted comment, “It’s like finding your grandmother stealing your stereo. You’re happy to get your stereo back, but it’s sad to find out your grandmother is a thief.” PBS appealed the ruling, but the appeal never reached court and a settlement was reached, with the amount paid to Pacific Arts and Nesmith kept confidential. Nesmith’s most recent Pacific Arts project was Videoranch 3D, a virtual environment on the internet that hosted live performances at various virtual venues inside the ranch. He performed live inside Videoranch 3D on May 25, 2009.<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

Nesmith was the executive producer for the films\u00a0Repo Man<\/a> (right)<\/em><\/strong> ,\u00a0Tapeheads<\/a>, and\u00a0Timerider: The Adventure of Lyle Swann<\/a>, as well as his own solo recording and film projects.<\/p>\n\n\n\n

In 1998, Nesmith published his first novel, The Long Sandy Hair of Neftoon Zamora. It was developed originally as an online project and was later published as a hardcover book by St Martin’s Press. Nesmith’s second novel, The America Gene, was released in July 2009 as an online download from Videoranch.com.<\/p>\n\n\n\n

 In the early 1980s, Nesmith teamed with satirist P. J. O’Rourke<\/a> to ride his vehicle Timerider in the annual Baja 1000<\/a> off-road race. This is chronicled in O’Rourke’s 2009 book Driving Like Crazy<\/a>.<\/p>\n\n\n\n

During the 1990s, Nesmith, as trustee and president of the Gihon Foundation, hosted the Council On Ideas, a gathering of intellectuals from different fields who were asked to identify the most important issues of their day and publish the result. The foundation ceased the program in 2000 and started a new program for the performing arts. Nesmith also spent a decade as a board of trustees member, nominating member and vice-chair of the American Film Institute<\/a>.<\/p>\n\n\n\n

In 1992, Nesmith undertook a concert tour of North America to promote the CD release of his RCA solo albums (although he included the song “Rio” from the album From a Radio Engine to the Photon Wing). The concert tour ended at the Britt Festival<\/a> in Oregon. A video and CD, both entitled Live at the Britt Festival<\/a>, were released capturing the 1992 concert.<\/p>\n\n\n\n

Nesmith continued to record and release his own music. His final album, Rays<\/a>, was released in 2006. In 2011, he returned to producing, working with blues singer and guitarist Carolyn Wonderland<\/a>. Nesmith produced Wonderland’s version of Robert Johnson<\/a>‘s “I Believe I’ll Dust My Broom” on her album Peace Meal. Wonderland married writer-comedian A. Whitney Brown<\/a> on March 4, 2011, in a ceremony officiated by Nesmith.<\/p>\n\n\n\n

In 2012, Nesmith briefly toured Europe prior to rejoining the Monkees for their tours of the United States. Intermixing the Monkees concerts, Nesmith also launched solo tours of the U.S. Unlike his 1992 U.S. tour, which predominantly featured music from his RCA recordings, Nesmith stated that his 2013 tour would feature songs he considers \u00b4thematic, chronological and most often requested by fans.\u00b4<\/p>\n\n\n\n

Chris Scruggs<\/a>, grandson of Earl Scruggs<\/a>, replaced the late Red Rhodes on the steel guitar<\/a>. The tour was captured on a live album, Movies Of The Mind<\/a>.<\/p>\n\n\n\n

In 2014, he guest-starred in season four, episode 9 of the IFC comedy series Portlandia<\/a> in the fictitious role of the father of the mayor of Portland, Oregon.<\/p>\n\n\n\n

In 2017, he released a memoir and companion “soundtrack” album titled Infinite Tuesday: An Autobiographical Riff.<\/p>\n\n\n\n

In 2018, he announced that he would be doing a five-date tour of California with a revamped version of The First National Band, including a date at The Troubadour<\/a>, where he performed before The Monkees. On February 20, a tour was announced as “The Monkees Present: The Mike and Micky Show”, their first tour as a duo. The pair would play Monkees music and promote the tour under the Monkees banner, but Nesmith stated, “there’s no pretense there about Micky and I [sic] being the Monkees. We’re not.” <\/p>\n\n\n\n

The tour was cut short in June 2018, with four shows left unplayed, due to Nesmith having a “minor health issue”; Dolenz and he rescheduled the unplayed concerts plus adding several other including an Australian tour in 2019. After recovering from his health scare, Michael Nesmith and the First National Band Redux went on a tour of the U.S., with mostly the same line-up and set-list as the southern California shows. <\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

In 2019, Nesmith toured in a two-piece configuration with pedal steel player Pete Finney, focusing on his 1972 album,\u00a0And the Hits Just Keep On Comin’<\/a>. This was the first time Nesmith had performed in this format since 1974 with Red Rhodes. Nesmith was also joined by special guests\u00a0Ben Gibbard<\/a>\u00a0and\u00a0Scott McCaughey<\/a>\u00a0on opening night in Seattle.<\/p>\n\n\n\n

In a 2012 interview with Rolling Stone<\/a>, Nesmith explained why he was so adamant that the Monkees write and record their own material despite the huge success they were enjoying at the time. \u201cWe were kids with our own taste in music and were happier performing songs we liked \u2013 and\/or wrote \u2013 than songs that were handed to us,\u201d he said. \u201cIt made for a better performance. It was more fun. That this became a bone of contention seemed strange to me, and I think to some extent to each of us \u2014 sort of \u201cWhat\u2019s the big deal, why won\u2019t you let us play the songs we are singing?\u201d<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

Before he even joined the Monkees, Nesmith wrote a breakup song called \u201cDifferent Drum.\u201d The Monkees producers \u201csaid to him, \u2018That\u2019s not a Monkees song,\u2019\u201d\u00a0Micky Dolenz told\u00a0Rolling Stone<\/em>\u00a0in 2016.<\/strong><\/a>\u00a0\u201cMichael said. \u2018Wait a minute, I am one of the Monkees.\u2019 He gave it to Linda Ronstadt, and the rest is history.\u201d (Ronstadt, Dolenz and Nesmith, right) <\/em><\/strong><\/p>\n\n\n\n

When the Monkees dissolved in the late Sixties, Nesmith formed the First National Band. And despite recording three classic country-rock albums, escaping the shadow of the Monkees proved nearly impossible. The group broke up shortly before the Eagles hit big with \u201cTake It Easy.\u201d<\/p>\n\n\n\n

\u201cI was heartbroken beyond speech,\u201d Nesmith told Rolling Stone<\/em> in 2018.<\/a> \u201cI couldn\u2019t even utter the words \u2018the Eagles,\u2019 and I loved Hotel California<\/em> and I love the Eagles, the Flying Burrito Brothers, and the Byrds\u2019 Sweetheart of the Rodeo<\/em>, all that stuff. That was right in my wheelhouse, and I was agonized, Van Gogh\u2013agonized, not to compare myself to him, but I wanted to cut something off because I was like, \u2018Why is this happening?\u2019 The Eagles now have the biggest-selling album of all time and mine is sitting in the closet of a closed record company?\u201d<\/p>\n\n\n\n

Nesmith spent the rest of the Seventies recording under-the-radar solo albums. In 1977, he promoted his single \u201cRio\u201d with a clever music video that got a lot of play in Europe and Australia, turning the song into a minor hit. It gave him an incredible idea. \u201c[I realized that] radio is to records as television is to video,\u201d he told Rolling Stone<\/em> in 2013.<\/a> \u201cThen it was like, \u2018Of course!\u2019 and thus MTV was born. I just took that idea and put together some programs and sent it over to Warner Bros. and so forth. Next thing you know, there it was.\u201d<\/p>\n\n\n\n

His life changed forever in 1980 when his mother, Liquid Paper inventor Bette Nesmith Graham, died and left him her substantial fortune. He used the money to invest in a series of businesses along with movies like Repo Man<\/em> and Tapeheads<\/em>. He didn\u2019t participate in the Monkees reunion tours of the Eighties, leading to the false impression he was ashamed of his pop past.<\/p>\n\n\n\n

\u201cQuite the contrary,\u201d he told Rolling Stone<\/em> in 2013. \u201cIt was a nice part of the r\u00e9sum\u00e9. It was fun for me and a great time of my life. I mean, where do you want be in the Sixties except the middle of rock & roll, hanging out with the scene? London was an absolute blast, and so was L.A. back then. There was so much going on back then.\u201d<\/p>\n\n\n\n

He returned to the Monkees in 1996 for the LP Justus<\/em> and a brief U.K. tour, but he wouldn\u2019t return on a permanent basis until 2012, when the surviving members toured in the aftermath of Davy Jones\u2019 death. A series of American Monkees tours followed, and he participated in Good Times!,<\/em> their 2016 comeback LP.<\/p>\n\n\n\n

The Monkees launched a farewell tour earlier this year and played their final show at the Greek Theater in Los Angeles on November 14th.<\/p>\n\n\n\n

Despite all this, he was never quite sure the Monkees, who were formed by TV producers, were actually a real band. \u201cAll three of us have our own ideas,\u201d he later told Rolling Stone<\/em> in 2016.<\/strong><\/a> \u201cThis being, \u2018What is this thing? What have we got here? What\u2019s required of us? Is this a band? Is this a television show?\u2019 When you go back to the genesis of this thing, it is a television show because it has all those traditional beats. But something else was going on, and it struck a chord way out of proportion to the original swing of the hammer. You hit the gong and suddenly it\u2019s huge.\u201d<\/p>\n\n\n\n

In an earlier  2012 interview with Rolling Stone<\/a>, Nesmith explained why he was so adamant that the Monkees write and record their own material despite the huge success they were enjoying at the time. \u201cWe were kids with our own taste in music and were happier performing songs we liked \u2013 and\/or wrote \u2013 than songs that were handed to us,\u201d he said. \u201cIt made for a better performance. It was more fun. That this became a bone of contention seemed strange to me, and I think to some extent to each of us \u2014 sort of \u201cWhat\u2019s the big deal, why won\u2019t you let us play the songs we are singing?\u201d<\/p>\n\n\n\n

He returned to the Monkees in 1996 for the LP Justus<\/em> and a brief U.K. tour, but he wouldn\u2019t return on a permanent basis until 2012, when the surviving members toured in the aftermath of Davy Jones\u2019 death. A series of American Monkees tours followed, and he participated in Good Times!,<\/em> their 2016 comeback LP.<\/p>\n\n\n\n

The Monkees launched a farewell tour earlier this year and played their final show at the Greek Theater in Los Angeles on November 14th.<\/p>\n\n\n\n

Despite all this, he was never quite sure the Monkees, who were formed by TV producers, were actually a real band. \u201cAll three of us have our own ideas,\u201d he told Rolling Stone in 2016.<\/a> \u201cThis being, \u2018What is this thing? What have we got here? What\u2019s required of us? Is this a band? Is this a television show?\u2019 When you go back to the genesis of this thing, it is a television show because it has all those traditional beats. But something else was going on, and it struck a chord way out of proportion to the original swing of the hammer. You hit the gong and suddenly it\u2019s huge.\u201d<\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

photo memoir Monkees<\/a>\u00a0singer and guitarist\u00a0Michael Nesmith<\/a>, a pop visionary who penned many of the group\u2019s most enduring songs before laying the groundwork for country rock with the First National Band in the early Seventies, died in December 2021. He was 78 when he died from natural causes..<\/p>\n\n\n\n

\u201cWith Infinite Love we announce that Michael Nesmith has passed away this morning in his home, surrounded by family, peacefully and of natural causes,\u201d his family said in a statement. \u201cWe ask that you respect our privacy at this time and we thank you for the love and light that all of you have shown him and us.\u201d<\/p>\n\n\n\n

Nesmith was known as the Monkee in the green wool hat with the thick Texas drawl, and the writer of songs like \u201cMary, Mary,\u201d \u201cCircle Sky,\u201d \u201cListen to the Band,\u201d and \u201cThe Girl I Knew Somewhere.\u201d But he raged behind the scenes that the group didn\u2019t have creative control of its albums, and in 1967 led the successful rebellion against record producer Don Kirshner. The group would subsequently release Headquarters and other albums created largely on its own.<\/p>\n\n\n\n

A lot of hard work must have been undertaken by Andy Greene and other journalists to differentiate between Mike Nesmith, a quite pioneering musician, and the mad-cap in the bobble hat hat creation who was made a Monkee of. Several things struck me in the piecing together of their findings,\u2026..I am at an age now where, although my memory is still in working order, the chronometer that keeps my memory \u00edn order\u00b4 is a busted flush. That The Frist National Band preceded The Eagles was mind-blowing even though I was soemotionally invested in all those exciting sounds that emerged around that time. Secondly, I do recall getting Nesmith getting some retrospective credit as a pioneer of the incoming video era, but I don\u00b4t remember him being so universally accredited at the time.<\/em><\/p>\n\n\n\n

However, as John Stewart said in one of his song titles that we borrowed for an article title a few weeks ago, \u2026 Its Alright, Its Only Music<\/em><\/p>\n\n\n\n

Every song ever created has been intended for light years of travel, and till we reach the end of that journey we can make no judgement,\u2026. but Mike Nesmith\u00b4s body of work will surely endure.<\/em><\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

the primary source for this article was\u00a0 written by <\/strong>Andy Greene for Rolling Stone. The publication seems to be making all sorts of excellent promotional offers at the moment and has for decades now been referred to asd the Bible of rock music. They also keep a keen eye on the cultural and political landscapes and boast a team, still, of excellent writers. It would be well worth checking it out on line if you are not familiar with their output.<\/strong><\/p>\n\n\n\n

In our occasional re-postings Sidetracks And Detours are confident that we are not only sharing with our readers excellent articles written by experts but are also pointing to informed and informative sites readers will re-visit time and again. Of course, we feel sure our readers will also return to our daily not-for-profit blog knowing that we seek to provide core original material whilst sometimes spotlighting the best pieces from elsewhere, as we engage with genres and practitioners along all the sidetracks & detours we take.<\/strong><\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

This article was collated by Norman Warwick, a weekly columnist with Lanzarote Information and owner and editor of this daily blog at Sidetracks And Detours.<\/strong><\/p>\n\n\n\n

Norman has also been a long serving broadcaster, co-presenting the weekly all across the arts programme on Crescent Community Radio for many years with Steve Bewick, and his own show on Sherwood Community Radio. He has been a regular guest on BBC Radio Manchester, BBC Radio Lancashire, BBC Radio Merseyside and BBC Radio Four.<\/strong><\/p>\n\n\n\n

As a published author and poet Norman was a founder member of Lendanear Music, with Colin Lever and Just Poets with Pam McKee, Touchstones Creative Writing Group (for which he was creative writing facilitator for a number of years) with Val Chadwick and all across the arts with Robin Parker.<\/strong><\/p>\n\n\n\n

From Monday to Friday,<\/strong> you will find a daily post here at Sidetracks And Detours and, should you be looking for good reading, over the weekend you can visit our massive but easy to navigate archives of over 500 articles.<\/strong><\/p>\n\n\n\n

\"\"<\/figure><\/div>\n\n\n\n

e mail logo The purpose of this daily not-for-profit blog is to deliver news, previews, interviews and reviews from all across the arts to die-hard fans and non- traditional audiences around the world. We are therefore always delighted to receive your own articles here at Sidetracks And Detours. So if you have a favourite artist, event, or venue that you would like to tell us more about just drop a Word document attachment to me at <\/strong>normanwarwick55@gmail.com<\/strong><\/a> with a couple of appropriate photographs in a zip folder if you wish. Beiung a not-for-profit organisation we unfortunately cannot pay you but we will always fully attribute any pieces we publish. You therefore might also. like to include a brief autobiography and photograph of yourself<\/strong> in your submission. We look forward to hearing from you.<\/strong><\/p>\n\n\n\n

Sidetracks And Detours is seeking to join the synergy of organisations that support the arts of whatever genre. We are therefore grateful to all those share information to reach as wide and diverse an audience as possible.<\/strong><\/p>\n\n\n\n

correspondents                                Michael Higgins<\/p>\n\n\n\n

                                                            Steve Bewick<\/p>\n\n\n\n

                                                            Gary Heywood Everett<\/p>\n\n\n\n

                                                            Steve Cooke<\/p>\n\n\n\n

                                                            Susana Fondon<\/p>\n\n\n\n

                                                            Graham Marshall<\/p>\n\n\n\n

                                                            Peter Pearson<\/p>\n\n\n\n

Hot Biscuits Jazz Radio                      www.fc-radio.co.uk<\/a><\/p>\n\n\n\n

AllMusic  <\/strong><\/a>                                          <\/strong>https:\/\/www.allmusic.com<\/p>\n\n\n\n

feedspot                                              https:\/\/www.feedspot.com\/?_src=folder<\/p>\n\n\n\n

Jazz In Reading                                  https:\/\/www.jazzinreading.com<\/a><\/p>\n\n\n\n

Jazziz                                                 https:\/\/www.jazziz.com
<\/a>Ribble Valley Jazz & Blues                https:\/\/rvjazzandblues.co.uk<\/a><\/p>\n\n\n\n

Rob Adams                                         Music That\u00b4s Going Places<\/p>\n\n\n\n

Lanzarote Information                        https:\/\/lanzaroteinformation.co.uk<\/p>\n\n\n\n

all across the arts                                 www.allacrossthearts.co.uk<\/p>\n\n\n\n

Rochdale Music Society                     rochdalemusicsociety.org<\/p>\n\n\n\n

Lendanear                                           www.lendanearmusic<\/a><\/p>\n\n\n\n

Agenda Cultura Lanzarote<\/p>\n\n\n\n

Larry Yaskiel \u2013 writer<\/p>\n\n\n\n

The Lanzarote Art Gallery                  https:\/\/lanzaroteartgallery.com<\/p>\n\n\n\n

Goodreads                                        https:\/\/www.goodreads<\/a>.<\/p>\n\n\n\n

groundup music                                  HOME | GroundUP Music<\/a><\/p>\n\n\n\n

Maverick                                             https:\/\/maverick-country.com<\/a><\/p>\n\n\n\n

Joni Mitchell newsletter<\/p>\n\n\n\n

passenger newsletter<\/p>\n\n\n\n

paste mail ins<\/p>\n\n\n\n

sheku kanneh mason newsletter<\/p>\n\n\n\n

songfacts\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 en.wikipedia.org\/wiki\/SongFacts<\/p>\n","protected":false},"excerpt":{"rendered":"

Nesmith created a video clip for “Rio”, which helped spur Nesmith’s creation of a television program called\u00a0PopClips\u00a0for the\u00a0Nickelodeon\u00a0cable network. In 1980,\u00a0PopClips\u00a0was sold to the\u00a0Time Warner\/Amex\u00a0consortium. Time Warner\/Amex developed\u00a0PopClips\u00a0into the MTV network.<\/p>\n","protected":false},"author":2,"featured_media":11828,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[45],"tags":[],"class_list":["post-11812","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music"],"_links":{"self":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/11812","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/comments?post=11812"}],"version-history":[{"count":1,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/11812\/revisions"}],"predecessor-version":[{"id":11829,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/posts\/11812\/revisions\/11829"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media\/11828"}],"wp:attachment":[{"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/media?parent=11812"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/categories?post=11812"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aata.dev\/index.php\/wp-json\/wp\/v2\/tags?post=11812"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}