Exclusive Interview with Depeche Mode

How the trio escaped THEIR demons to make a great album
 

In their 29-year career, Depeche Mode have sold 75 million albums, scaled the peaks of electro and goth pop heaven, and tasted the bitter fruits of rock hell.

That they are still together at all, let alone on the form captured on new album, Sounds Of The Universe, is a remarkable achievement.

The group were feared to be a spent force when founder member and major songwriter Vince Clarke left back in 1981. But they went on to even greater glories, conquering the world with their melodic, perverted and compulsive sound.

Dave Gahan, 46, has been drug-free for several years, but up close his lean, wrinkled and unshaven face has the mark of a man who took his leather-clad rock god role too far.

In 1995, he was the most obviously smacked-out musician I have interviewed. Later, he apparently attempted suicide, and was declared clinically dead on at least two further occasions.

"It was the cliché of being the rock star, indulging it, having fun but losing track of everything else," admits Gahan today. 

"I should have listened more carefully to what all the people like Bowie, who I grew up listening to, said about it. There was something about the isolation and weirdness of going into that utopian world that was attractive. But like any other story in that department, you get lost."

The other band members - Martin Gore and Andy Fletcher, both 47 - also had periods of addiction, depression and mental instability.

While Gahan breaks smoking regulations in the basement suite of a London members' club, Gore and Fletcher are talking in a room two floors above. The tensions in the band are well known. "The last tour, performance-wise, was one of the best we have ever done. It was really focused," says Gahan puffing on his cheroot.

"We had our moments offstage, but you spend a year on the road and it's like brothers together. Sometimes it's fine, sometimes it's, 'Get the f*** out of my room'. A dysfunctional family? Of course we are. What family isn't?"

Speaking of which, when I enter, Gahan's arranging lunch with his son Jack on the phone. It's a relationship he has done much to try to repair.

"I think I'm getting to be a better dad," he admits. "It's the toughest job. Jack's 22 this year, a young man, but I still think of him as a little kid.

"I live in New York and he's here in England so I don't see him all the time, but we do talk every other day. I have two other kids in New York who are nine and 16. The 16-year-old is going into the 'I hate you' phase. It's brutal, especially on his mum." 

He laughs knowingly. Gahan himself was a teenage delinquent and quite a handful for his single-parent mum. Even now when he comes off tour he's restless.

"There's a lot of fighting with the missus, trying to interfere with how she's running the home," he grimaces. "That kind of stuff happens."

Upstairs, Gore, with his curly corn-coloured locks, and the dour Fletcher consider their singer as objectively as they can.

"There was a bit of bravado from Dave when he did his first solo album," offers Gore. "He said a few things then, but it was important for him to succeed. His writing songs has made Depeche much closer, because he's much more confident within the band now." There's been some debate about Fletcher's creative input in the band. So how does Martin view that?

"I see Andy as the voice of the man on the street," he smiles. "He pulls us back if we ever go off in a direction that's too arty. He'll say, 'You can't do that', or 'What will my mum say?'"

But the voice of the man in the street has had his troubles too, suffering a nervous breakdown on one tour. "Yes, but I don't want to go into it," says Fletcher. Gore suffered from panic attacks and medicated with alcohol, but he's been teetotal for three years. "I'm one of the weird people who gave up drinking halfway through a tour," he laughs. "I realised the amount I was drinking was far too much for too long.On tour everything doubles. If you add up the number of units you are consuming it's frightening."

The newly settled Depeche family have made it through to record another career landmark. But unlike on a previous tour, just after Gahan began his recovery, the Sounds Of The Universe live travelling party will not include a therapist.

"That was meant to be for Dave," laughs Fletcher, "but he never spoke to him once. We ended up using him a lot, sorting our own problems out."

"But we never used him correctly," reflects Gore. "We used to talk to him on our way to the airport."

GAVIN MARTIN 2009

Personal Jesus

Reach out and touch faith

Your own personal Jesus

Someone to hear your prayers

Someone who cares

Your own personal Jesus

Someone to hear your prayers

Someone who's there

Feeling unknown

And you're all alone

Flesh and bone

By the telephone

Lift up the receiver

I'll make you a believer

Take second best

Put me to the test

Things on your chest

You need to confess

I will deliver

You know I'm a forgiver

Reach out and touch faith

Reach out and touch faith

Your own personal Jesus

Someone to hear your prayers

Someone who cares

Your own personal Jesus

Someone to hear your prayers

Someone who's there

Feeling unknown

And you're all alone

Flesh and bone

By the telephone

Lift up the receiver

I'll make you a believer

I will deliver

You know I'm a forgiver

Reach out and touch faith

Your own personal Jesus

Reach out and touch faith

Songwriter: Martin L. Gore 1989

DEPECHE MODE NEWS!!!

THE-ABYSS

Depeche Mode sign worldwide exclusive deal with EMI Music - to include the US for the first time

Depeche Mode to release new album in April 2009, followed by first-ever stadium tour in May

LONDON, 7 OCTOBER 2009 -- EMI Music is thrilled to announce that it has signed an exclusive worldwide deal with multi-platinum recording artists Depeche Mode. EMI Music's Mute label has been the best-selling British trio’s international home since 1981 when the label released the group’s debut single Dreaming of Me in the U.K. The new deal means that EMI Music will now release Depeche Mode’s music in the US for the first time, as well as in the rest of the world.

Andy Fletcher of Depeche Mode said: "We are so pleased to be continuing our relationship with Mute, and we feel very positive about the new team and set-up at EMI. This is going to be an exciting new chapter."

Nick Gatfield, EMI Music's president - A&R Labels, North America, the UK and Ireland, said: "We are delighted to be extending our relationship with Depeche Mode, and to be supporting them in the US for the first time. They are one of the world's most innovative and successful bands who continuously push boundaries and excite fans with their recording and live work."

Daniel Miller, chairman, Mute, said: "I am really happy to be continuing to work with the band. They have been reaching new creative heights in the studio and they have one of the most devoted fanbases of any band in the world today. I believe that the Mute and EMI teams are extremely well positioned to help Depeche Mode build on their success."

The first release under Depeche Mode’s worldwide agreement with EMI Music is a new studio album, the band’s twelfth, due outside the U.S. on April 20th, 2009, and in the US on April 21st. Dave Gahan, Martin Gore, and Andy Fletcher are currently in New York working on the album, which will be the follow-up to Depeche Mode’s 2005 release Playing the Angel, which reached No. 1 in 18 countries.

In addition, Depeche Mode has announced dates for the European leg of its "Tour of the Universe 2009" — the group’s first-ever stadium tour in which they will perform in 28 cities across 21 countries. The tour, which kicks off in Israel on May 10th, is the band’s first since 2005’s "Touring the Angel" trek, which smashed European sales records with 1.8 million tickets sold across 87 shows.

Formed in Basildon, England, in 1980, Depeche are considered the founding fathers of the ’80s synthpop movement and have become one of the most influential pop groups of the last 25 years by inspiring generations of new artists with their sublime, superlative electronica. The group has racked up multiple hit singles, including Just Can’t Get Enough, Everything Counts, Enjoy the Silence, People Are People, Master and Servant, Personal Jesus, Policy of Truth and Precious. Their 11 studio albums — 1981’s Speak & Spell, 1982’s A Broken Frame, 1983’s Construction Time Again, 1984’s Some Great Reward, 1986’s Black Celebration, 1987’s Music for the Masses, 1990’s Violator, 1993’s Songs of Faith and Devotion, 1997’s Ultra, 2001’s Exciter, and 2005’s Playing the Angel — have collectively sold more than 75 million copies worldwide.

'The Dark Knight'

A gifted actor goes out in a fireball of glory.

KURT LODER

There's an electrifying moment early on in "The Dark Knight" that involves a demented villain, a troublesome thug and an everyday writing device. It's over in an instant — a passing jolt — but from that point on, the Joker, as alarmingly incarnated by the late Heath Ledger, has our undivided attention.

This is a considerable feat, given how crowded the movie is with Other Stuff: a love triangle, a second super villain (third, if you count the brief encore by Cillian Murphy's Scarecrow — out on a day pass from Arkham Asylum, presumably), angry mobsters, doomed clowns, an intricate financial rip-off, a side trip to Hong Kong, and, of course, wall-to-wall, floor-to-ceiling, sea-to-shining-sea pyro-automotive mayhem.

"The Dark Knight" is even more blazingly ambitious than its predecessor, the 2005 "Batman Begins." Director Christopher Nolan lingers over roaring flames and flying rubble as if he had only lately discovered them. (Maybe he figured they'd seem fresh down at the tender end of the movie's target demographic.) The rest of the picture is briskly edited, but Nolan's delight in nonstop detonation helps push it up to the two-and-a-half-hour mark, and then over it. Fortunately, whenever the Joker appears, with his crumbling pancaked face, seaweed hair and giddy malevolence, things start perking up.

As the movie begins, Batman (Christian Bale) is in ill repute among the citizens of Gotham, who now revile him as an out-of-control vigilante. Meanwhile, the municipal criminal element, led by Salvatore Maroni (Eric Roberts, an even less-likely Italian mob boss than Tom Wilkinson was in the last picture), has problems of its own: Somebody has hoovered millions in ill-gotten gains out of the syndicate's secret bank accounts. Then there's the crusading new district attorney, Harvey Dent (Aaron Eckhart), a straight arrow who's just as committed to thug-busting as Batman is, but equally opposed to the hooded crime-fighter's corner-cutting butt-kickery. Batman, for his part, welcomes Dent's arrival on the scene — what with all the burgher bad-mouthing lately, he's seriously considering retirement. On the other hand, Bruce Wayne, the man hidden beneath those bat ears, can't help noticing that Harvey is also making moves on the girl of his dreams, Assistant DA Rachel Dawes (Maggie Gyllenhaal in for Katie Holmes, thank you, God).

The would-be mastermind who's ripping off the mob is a rogue mogul named Lau (Chin Han), who's inconveniently located in Hong Kong. Batman and the Joker both want this guy (the mobsters, idiots all, think the Joker is working for them); but it's Batman who goes the extra 10,000 miles to make the collar. Was this trip worth the sizable chunk of production budget it undoubtedly cost? Maybe. There's a glorious shot of the globetrotting superhero perched high above the gleaming city, and when he dives down into the night and his cape-wings snap open and he begins sailing around among the skyscrapers, you have to smile at the simple beauty of the image. Then, following a ferocious bullet ballet at Lau's corporate headquarters, there's a spectacular airborne getaway that justifies whatever amount it cost to stage.

In fact, few directors can whip up action with as much mad gusto as Nolan. His set-piece 18-wheeler truck somersault, already familiar from the trailer, may be a first; but the smaller-scaled shot in which Batman guns his armored motorcycle (OK, "Bat-Pod") halfway up a wall and flips it to reverse his direction is pretty slick, too. I won't go into the very long chase scene through Chicago's multilevel streets — a riot of careening trucks, plummeting helicopters and thundering bazookas — except to say that it's a virtuoso demonstration of choreographed pandemonium.

Amid all this photogenic chaos, however, the story of Harvey Dent — one of the more complex characters in the Batman universe — feels oddly truncated. As anyone who's likely to see "The Dark Knight" will probably know, Dent suffers a gruesome injury that leaves half of his face looking like something you might find hanging from a hook in a meat locker. It also cleaves his personality, turning him into the tragically conflicted Two-Face, a semi-villain who determines his every significant action — for good or for evil — with an amoral flip of a coin. Aaron Eckhart's heroic jaw and beaming blondness make for an appealing pre-disaster Dent, and he navigates the character's slide into madness with careful emotional shifts. But in the comics, Two-Face, who's been around almost from the beginning, keeps coming back to inflict further worry on his costumed adversary (in fact, he's still around today). In this re-tooled film franchise, however ... well, let's say that probably won't be happening.

As in the first movie, Bale does his most personable work as Bruce Wayne. Bantering with his suave armorer, Lucius Fox (Morgan Freeman), and his loyal butler, Alfred (Michael Caine), or languidly disporting himself on a yacht filled with twittering ballerinas, Bale the actor seems actually to be having the fun that the troubled Wayne character can only pretend to. Once he slips into Batman's cape and cowl and trademark glower, though, he's boxed in; and the choked, staccato growl with which he voices his lines seems weirder than ever — he sounds as if he's speaking from the bottom of a frog pond.

This allows Ledger to take over the movie — which he probably would have done in any event. His performance as the Joker glimmers with unexpected tones and edges, and it lightens the movie's thick, operatic texture. The character as written has an odd flaw: Although he's supposed to be an improvisational maniac ("Do I look like a man with a plan?"), his murderous schemes — especially one involving two ferries filled with terrified passengers — are in fact intricately worked out in advance. But Ledger plays him as a wild card anyway, and he's scary and funny and completely convincing. Whatever the movie's shortcomings (an attempt to raise FISA-style objections to an altogether nifty eavesdropping stunt is pretty lame), Ledger barrels past them. Eerily, at the end of this film, his Joker seems to have been set up for a return engagement in the next one. "I think you and I will be doing this forever," he tells Batman. If only.

Ledger's talent lives on as The Joker in 'Dark Knight'

By Claudia Puig, USA TODAY
The Joker is more than wild.

It's a tribute to the power of Heath Ledger's transcendent performance in The Dark Knight (* * * * out of four) that we can watch him, transfixed and deeply unsettled by the character's creepiness, laugh at his comic menace, and still manage to block out thoughts of the actor's tragic and untimely death. This is a career-making performance if ever there was one. Too bad it was a career-ending one as well.

Actors are sometimes described as "disappearing into a role." Never was that term more fitting than in the case of Ledger. To go from the taciturn ranch hand in Brokeback Mountain to the randy philanderer in Casanova to the mid-career Bob Dylan in I'm Not There to the embodiment of comic book evil is a stunning trajectory.

With his cracked white pancake makeup, black-rimmed eyes, smeared lipstick and greasy, greenish-tinged hair, The Joker bears no resemblance to the strikingly handsome actor who played him. In fact, the character is like nothing we've seen or heard before.

Sure, there's a whiff of Malcolm McDowell in A Clockwork Orange in the performance, but Ledger has made this anarchic maniac a singular and supremely unhinged villain. From the clumsily repellant way he flips his tongue around to his sneering, nasal voice, he is a peerless eccentric.

He has the movie's best lines, of course: "What doesn't kill you makes you stranger." And the much-quoted "Why so serious?" He even pays homage to a classic movie line, in a truly twisted way. In addition to his malicious wit, this self-described "agent of chaos" also has dialogue that gives us a window into his diabolical soul.

But as much as this is Ledger's movie, that should not diminish the notable accomplishments of other key cast members. Just as he was in Batman Begins, Christian Bale is a suavely perfect Bruce Wayne and a consummately heroic Caped Crusader. Gary Oldman hits all the right notes in his returning role as police lieutenant Jim Gordon. Michael Caine and Morgan Freeman are excellent in their reprised roles. Maggie Gyllenhaal replaces Katie Holmes as Rachel Dawes and adds depth to the role. Aaron Eckhart is superb as Harvey Dent, the principled district attorney, dubbed "Gotham's White Knight."

Accolades must also go to director and co-screenwriter Christopher Nolan. The Dark Knight is a more thrilling, intelligent, morally complex and masterfully crafted film than any summer blockbuster in recent years. It's probably the best superhero movie to date. Despite its comic-book origins and fantasy setting, the story poses timely and compelling ethical dilemmas, demonstrating that popcorn thrillers need not be mindless nor disposable.

A scene involving hacking into the Gotham citizenry's cellphones has echoes of real-life wiretapping controversies. When a hospital is blown to bits, the image looks frighteningly like a bombing in Iraq, rather than a remarkable feat of computer generation.

Though it clocks in at 2 1/2, hours, the film has a notable economy of storytelling and is tautly edited. The thrill-ride action footage can be jaw-dropping, especially when seen on IMAX. Nolan shot six major action sequences with IMAX cameras, and the movie is even more compelling in this format.

Unlike other movies in this genre, the violence is not cartoonish, but bone-crunchingly visceral. Parents should be cautioned to take the PG-13 rating seriously. An R-rating might have been more appropriate given the level of mayhem, darkness and destruction.

When was the last time you saw a blockbuster that was impeccably executed and simultaneously thought-provoking, audacious and unnerving while consistently being fun and entertaining? Dark Knight has all the requisite breathtaking explosiveness and suspenseful jolts.

But it surprises the audience in more profound ways by busting up the genre and giving us a terrifying and humorous villain who will remain etched in our memories.

(Running time: 2 hours, 32 minutes. Rating: PG-13 for intense sequences of violence and some menace. Opens Thursday in select theaters and Friday nationwide.)

Death Spiral

Death Spiral
Actor Brad Renfro's sad death, despite efforts to lift him from substance abuse, was saddening but not surprising in a town that calls to the troubled as well as the talented.
By Rachel Abramowitz
Los Angeles Times Staff Writer

February 10, 2008

BRAD RENFRO had insisted over the phone that he was clean. That's what the teen actor, hot from his performances as a troubled youth with sad eyes in such films as "The Client" and "Sleepers," told director Larry Clark. Clark, one of America's foremost chroniclers of teenage desperation, had just cast Renfro as the lead in "Bully," his true-life tale of a bunch of pot-smoking Florida teenagers who murder the local bully.

But then Clark met his 18-year-old star.

The director, who'd once battled heroin addiction himself, stopped by Renfro's Knoxville, Tenn., home on the way to the film's Florida location. It was the summer of 2000, and Renfro emerged from the house that he shared with his grandmother with blood streaming down his arms. He was bloated and looked 35. And so continued a painful, downward spiral -- one of the most excruciating Hollywood has seen of late.

"I said, 'What the [hell] are you doing?' " recalls Clark. "He'd been banging coke. He has tracks running down both arms. He looks horrible. I just saw the whole movie going down the drain." (Financing was contingent on Renfro's participation.)

Clark spent the next three days with Renfro. They talked. The young actor cried a lot, and continued to shoot up cocaine. Clark hatched a plan to get him clean for production.

"I kidnapped him," says the director. The pair jumped in the car one day, on the director's pretense of going somewhere, and Clark just "gunned it" for Florida. "He kicked in the car. He had a seizure. There's nothing you can do. It doesn't last that long."

In Florida, the production hired a trainer and a minder for Renfro. Clark took Renfro to 12-step meetings. Still, in the evenings, Renfro would manage to finagle alcohol.

Clark adds, "I've been around a lot of addicts and alcoholics, and I remember thinking at the time, this is one of the worst cases I've ever seen."

Brad Renfro died Jan. 15, 2008. He was 25.

A week later, 28-year-old Heath Ledger was found dead in his New York apartment. He died of a lethal cocktail of prescription drugs -- among them medications that go by the brand names OxyContin, Vicodin, Valium, Xanax, Restoril and Unisom.

Saddening, not surprising

THE cycle of destructiveness seems to have accelerated. It was shocking in 1993 when River Phoenix overdosed from heroin and cocaine at age 23, shocking because of his youth. Now we live in a time when the Associated Press is pre-writing Britney Spears' obituary. Has Hollywood become an incubator of abuse or a mirror of society? Or are we all just more aware of its troubled denizens because of the hyper 24/7 coverage?

Renfro's death saddened those who knew him, but did not surprise them. Many in Hollywood had tried to help him, but his addiction torpedoed relationships and his career. There were small obits, much smaller than his last high-profile appearance in the press, a photograph of Renfro in handcuffs on the front of The Times, arrested during a 2005 raid of skid row for trying to buy heroin.

In contrast, Ledger's passing provoked an outpouring of public grief about talent cut short before its full blossoming. The fiercely talented Ledger certainly did not seem like a man in self-destruction's grip. Yet after his death, tabloids ran stories of the Oscar nominee's supposed double life. Unnamed sources talked about his use of cocaine, heroin and other drugs, which were said to have contributed to the dissolution of his relationship with girlfriend Michelle Williams and subsequent despair.

Still, unlike Renfro, Ledger had spent the last year of his life working frantically, hurling himself into a multi-continent shoot as the crazed Joker in "The Dark Knight," and then plunging into Terry Gilliam's "The Imaginarium of Doctor Parnassus."

All through January, Ledger worked despite having a bad cold that turned into pneumonia. He told the New York Times in November, "Last week, I probably slept an average of two hours a night. I couldn't stop thinking. My body was exhausted and my mind was still going."

In his professional drive, Ledger was different from the members of young Hollywood who usually end up in the tabloids and the police blotters. Paparazzi have been bolstering their bottom lines with an endless array of women in distress -- pretty twentysomethings such as Lindsay Lohan and Spears. Who knows whether women are actually suffering more than men? It's just that the tabloid-fashion-restaurant industries depend on pretty girls to sell magazines, clothes and trendy clubs.

"Drug abuse is so much more underreported than anyone realizes," says one former studio chief, who declined to be named, adding, "I think they [actors] all take a lot of drugs."

Just in recent days, which included Spears' midnight motorcade to the hospital, starlet Eva Mendes checked into rehab. The hit list of young actors with onetime substance abuse problems includes Balthazar Getty, Ben Affleck and Juliette Lewis.

"I just think what we see in young Hollywood is reflective in what we see happening in young America -- the pandemic of drug addiction," says Dr. Drew Pinsky, who appears in VH1's "Celebrity Rehab With Dr. Drew." "Where we're losing ground is pharmaceuticals drug addiction."

According to a 2006 survey by the U.S. Department of Health and Human Services, while illegal drug use remains steady, pharmaceutical drug abuse is going up among young adults. Pinsky reels off some popular culprits: Valium, Ambien, Vicodin, OxyContin, Ritalin.

According to the Centers for Disease Control and Prevention, overdoses kill more people than guns, second only after car accidents. In the most recent data, accidental poisoning deaths (primarily from prescription drugs) rose 62.5% from 1999 to 2004. Indeed, the New York medical examiner declared Ledger's death an accident, caused by the "abuse of prescription medications."

Pinsky sees a higher incidence of drug use among celebrities because Hollywood is a magnet for the troubled: "People who come from traumatic backgrounds gravitate toward the solution of becoming a celebrity."

And the environment doesn't help. "A lot of people who get into trouble with drugs are also people who feel emptiness in their day-to-day lives. They seek drama," says Southern California psychotherapist and addiction specialist Jim Conway. "For actors who do features, they have this huge circus environment for a few weeks. Then it's over and they're empty."

It's notoriously hard to control an addicted celebrity and sometimes the only reliable checks seem to be the insurance companies and the police. The insurance companies can refuse to insure substance abusers. A representative for Fireman's Fund Insurance, which covers most studio films, says about 10% of productions have actors with these issues.

Once an actor has a brush with the law, it can become much harder to get insured. In the recently published "Conversations With Woody Allen," the director bemoans how he'd wanted to cast Robert Downey Jr. and Winona Ryder in "Melinda and Melinda" but couldn't get them covered. Downey had spent a stint in jail on drug charges; when authorities busted Ryder for shoplifting in 2001, they found eight different painkillers in her purse. "We were heartbroken because I had worked with Winona before and thought she was perfect for this."

Yet one lawyer who deals frequently with insurance issues points out that all kinds of deals can be made for a superstar, like daily drug testing or furnishing a sober companion, but "as someone's star begins to fall, there's a lot less will to justify the hoops."

A key break

BRAD RENFRO'S whole career started, improbably enough, because as an 11-year-old fifth-grader he'd been difficult in a Drug Abuse Resistance Education class taught by a retired policeman. "He was absolutely your problem child," says Dennis Bowman. "The very first day, I kicked him out of class." Bowman grew to like Renfro, but "he was still a piece of work as far as being out of control."

By many accounts, he came from a troubled background. His dad, a factory worker, and his mom split up when he was a toddler, and his mom deposited him on the Knoxville inner-city steps of his paternal grandmother. Says Bowman, "The grandmother was trying her best to raise a kid who was taking advantage of the situation and creating a lot of stress on her."

At the time, the late casting director Mali Finn was conducting a search for a kid to star in "The Client," the movie version of the John Grisham legal thriller about a Southern trailer-park kid who winds up embroiled in a Mafia hit. "We wanted that kid in the principal's office. That endearing, mischievous boy that may be lying to you, may not be telling you the truth, but you're still charmed by him," says casting director Emily Schweber, Finn's associate at the time. When one of Finn's letters describing their search arrived at the Knoxville Police Department, Bowman immediately thought of Renfro.

After auditioning him in her hotel room, Finn called Schweber and said, "I found him." Renfro and his grandmother later flew to California to screen-test. They'd never been on a plane or stayed in a hotel.

"He was really fun, really charming, a little bit wild, and amazing in the scenes. Where he learned how to do this, I don't know. Some kids really enjoy role-playing and acting," says Schweber. "He had a lot of energy but sometimes he did have dark moods."

Both Finn and Joel Schumacher later called J.J. Harris, who now manages such stars as Charlize Theron, to check out their child lead. Harris flew to the North Carolina set to watch Renfro work and was charmed. "You just wanted to take care of this boy. He was a gorgeous little boy. Rough-and-tumble. Very self-aware," she says. "He'd say things like 'Nobody can put up with me 'cause I'm too hot to handle.' " Adds Harris, "He was just obviously screaming for someone to establish some kind of boundaries for him, something that never happened in his life."

When Bowman finally saw "The Client," he thought Renfro "wasn't acting. Brad played himself. He had these street smarts and the swagger of a 19- or 20-year-old. If you met somebody like that now, your first reaction would be, 'What a punk.' But you scrape away all these layers, you think this is a 12-year-old trying to act tough."

Launching a career

EVEN back then there were signs of addiction issues. Renfro could be sneaky. As one who knew him well noted, any bottles of booze would invariably disappear when Renfro was around. Still, he managed to launch his career, flying from Knoxville to Los Angeles, often by himself, for auditions. The assistants at his agency, United Talent Agency, would drive him to meetings with casting directors, and the rest of the time he'd mostly cruise the agency halls and flirt with all the women. "This wasn't a bad kid -- this was a really emotionally abandoned person," says Harris.

His vulnerability combined with a tough persona entranced Hollywood. He was cast as a compassionate roughneck who befriends a kid suffering from AIDS in "The Cure," and as Huck Finn in "Tom and Huck." "He was exactly what you would expect -- a brooding, intense, rebellious fellow," says "Tom and Huck" producer Larry Mark. "He got a kick out of not going the straight and narrow."

In "Sleepers," Barry Levinson's drama about four neighborhood kids who are abused by sadistic guards in juvenile prison, he played the younger version of Brad Pitt's character. Knowing of his wildness, Levinson mandated that Renfro be accompanied by a minder 24 hours a day. Levinson later told a reporter, "He was fraught with demons and needed help."

Harris admits that initially she didn't realize the depth of Renfro's problems -- in part because so many child actors she dealt with came from chaotic families. Indeed, bouncing around UTA at the same time were both Drew Barrymore and Bijou Phillips, very young actresses who've both gone public about their teenage problems with substance abuse. "I just tried to have a sense of humor and be there for them," she recalls.

In "Apt Pupil," Renfro's last major studio movie, he played a compassionless A-student entranced by a former Nazi commandant -- played by Ian McKellen -- living incognito in the suburbs. "I knew he'd been wrestling for years with different problems," says director Bryan Singer. "But on workdays, he was always focused and into it. Quite professional." And good, particularly in his mad tango with the British pro McKellen. "You could see moment by moment them learning from each other and a lot of mutual respect."

But off-screen, there could be a manic energy and a radiating neediness. "You could tell he didn't have any sort of adult guidance. People couldn't help themselves but become unofficial guardians of him. There were a lot of people on the crew -- everyone from costumers to electricians -- always trying to support him," says producer Don Murphy.

Through the legal system

IN 1998, the year "Apt Pupil" was released, Renfro was busted for cocaine and marijuana, and began what became a long odyssey through the legal system, with a half-dozen arrests.

Although Clark had a minder staying with Renfro during the "Bully" production in the summer of 2000, the actor climbed out a second-story window and stole down to a nearby marina. According to Clark, Renfro "met some coke dealer and got [messed] up." He hot-wired a yacht and gunned it -- except he forgot to untie the boat. Renfro was arrested and charged with grand theft. He ultimately pleaded out and was sentenced to a fine and two years' probation.

"Bully" had to shut down for a day, and when the young actor got out of jail, he had to go straight to shooting a scene in which he emerges from the ocean and impresses a raft of girls with his youthful charisma. "He's all dehydrated and feels terrible," recalls Clark. "But he could just do stuff like that and he was young. He was a very natural actor. He didn't study his lines. I doubt he read the whole script, but when you turned on the camera, he was magic.

"He was so good you would kind of forgive him for being a [screw]-up." He pauses. "For a minute."

Yet, after causing a delay on "Bully," it became hard for Renfro to get insurance, says Harris, and hence harder for him to land parts. "It got to a place where I ran out of options," says the agent, who'd seen him through two stints at rehab and numerous futile conversations about staying clean. "He'd either get really angry, laugh it off or change the subject," she says, remembering how Renfro used to come into her office, lie on the couch and complain about what seemed like alcohol poisoning. " 'I'm nauseous. I can't see straight. I feel like my heart is palpitating,' and then he'd usually fall asleep.' "

To those in Hollywood, he inevitably seemed worse when he returned from his home in Knoxville. Or when he wasn't working, and there wasn't a Hollywood-designated minder watching over him.

"He wasn't good at that going-home bit, going back to his life" after the social activity of a movie set, adds Guy Ferland. As an associate producer on "The Client," Ferland would help keep Renfro healthily occupied in off hours with activities like trips to an amusement park. He later helped get him into a Knoxville Montessori school (Renfro dropped out within weeks) and directed him in "Telling Lies in America." "I'm not sure Brad really liked being alone. There was always some party, whatever he needed to do to keep the energy going."

Renfro quit J.J. Harris around 2001 and never spoke to her again, although he continued to work on smaller films, little seen, sometimes low-rent indies such as "Deuces Wild" and "The Job."

In 2006, he spent 10 days in jail for DUI and heroin possession. "He was very conscious that he was alone in the world and didn't have the kind of family and support system that others had," says his former lawyer Blair Berk.

As recently as last June, a judge declared he'd violated his probation by not enrolling in a long-term drug-treatment program, which he subsequently did. "We thought he turned the corner over the last six months. He'd been clean," says another of his lawyers, Richard Kaplan.

What caused Renfro's death is still unknown. The police have not released autopsy results. Apparently, Renfro had been drinking heavily the night before, and a Los Angeles roommate found him dead in his bed. Two days earlier, he'd had an obscene tattoo applied to his chest.

Even when plunging into the darkness, Renfro always tried to maintain his bad-boy bravado. On his MySpace page, on which he last posted in 2005, he described his career highlights and wrote, "When I started I didn't have any experience but now I would say I'm your typical Marlon Brando. . . . My friends sometimes say that I have the attitude of Eminem on Prozac but at the same time I also have a caring but loving side 2 me as well. . . ."

Bowman, who still lives in Knoxville, remembers telling his wife when Renfro landed "The Client," "This will be either the best thing that happened to Brad Renfro or the worst." In retrospect, Bowman's not sure that Hollywood made any difference in Renfro's fate. Neither is anyone else. "I think he was troubled before he got to Hollywood," says Singer, who went on to launch the "X-Men" franchise. "I think that when there's enough drugs involved it has less to do with the pressures of Hollywood and more to do with the pressures of life."

rachel.abramowitz@latimes.com

Times staff writer Christopher Goffard contributed reporting.

Amy confessed: ‘I’m addicted to heroin’

Amy confessed: ‘I’m addicted to heroin’

Sobbing Amy Winehouse sipped Ovaltine and tucked into chocolate cake as she confessed to her mum-in-law that she was a heroin addict.

The troubled singer held husband Blake Fielder-Civil's hand while she poured out her heart to Georgette Civil and Blake's stepfather Giles.

Then Georgette took Amy out on to a hotel balcony where the star revealed that she and Blake could not live without drugs.

Amy, 23, made her confession just days after she collapsed and was rushed to hospital following a three-day booze and drugs bender.

Now she and Blake, 25, are being treated together for heroin and cocaine addiction at a secret location in America.

Hair salon boss Georgette, 42, said last night: "You can't blame Amy and you can't blame Blake. They are both as bad as each other.

"It's the hardest thing in the world for me to say in public that my son and his wife have a drug problem.

"They've admitted it. It's not a crime to admit this and they must not feel ashamed."

But soon after confessing what friends and family had feared for months, Amy and Blake were back indulging in their habit.

They smoked heroin delivered by a pal to their £3,000-a-night suite at the luxury country hotel.

The Mirror revealed how Amy and Blake agreed to treatment after seeing a top Harley Street GP recommended to them by Kelly Osbourne.

Ironically, the devoted couple only decided to seek help after a feud between their families.

They held a summit at the four star Four Seasons Hotel in Hook, Hants, last Friday called by Amy's dad Mitch and paid for by the star's record company.

Georgette revealed that before a blazing family row with Mitch, she heard Amy's confession.

Georgette said: "Amy looked fabulous. She had earlier been for a spa sauna and massage and was relaxing in a big white gown.

"She was very bouncy and giggly and sat there with a huge tray of Ovaltine and cakes."

Georgette went on: "Blake and Amy feel at ease with us because we treat them as adults not naughty children and don't dictate to them.

"We can't force them to give up drugs, it has to come from them, but we can encourage them to get help. I know my son's had a drug problem ever since he was 20 and moved down to London.

"I needed to know about Amy's problems and we had a chat - just the two of us - on the balcony.

"She told me she was addicted to heroin and cocaine.

"She admitted 'It's silly, but you just get carried away'."

The confession was not a total shock to Georgette and she went to bed proud that her daughter-in-law had been so open with her.

But shortly afterwards, Blake and Amy collected some heroin from a dealer and smoked it until the early hours.

It was over breakfast the next morning that Amy's best friend Juliette Ashby dropped the bombshell on both Blake and Amy's families.

She said she had gone into Amy's suite and spotted charred pieces of foil she suspected Amy had used to smoke heroin the night before.

Georgette revealed: "Mitch was very upset and angry. Amy denied it to her dad but later said she had taken heroin in her room with Blake.

"Mitch blamed Amy's husband and blew his top when Giles tried to defend him."

Primary school head teacher Giles added: "I didn't say anything back to him and didn't retaliate.

"He was getting highly emotional and kept blaming Blake for Amy's problems."

Georgette said: "Later Giles phoned him then he apologised unreservedly." She added: "Ironically Mitch losing his temper at Giles has helped Amy and Blake.

"It has brought home the seriousness of their problems and they are now tackling them."

Amy, who was left in tears by the spectacle, then confessed to both families that she and Blake were badly addicted to drugs.

Georgette said: "There was lots of emotion."

Georgette rang the Harley Street GP who rushed to the hotel and arranged for them to have urgent treatment in the US. She went on: "Both families are just very pleased and proud for them to recognize they have a problem and that they are making steps to cure it.

"They couldn't have done it separately - it's something they had to do together.

It's very reassuring to know they are getting the help they need.

"They're both lost but we are going to get them back. They have to take control of their lives."

Amy in Rehab for Heroin

EXCLUSIVE
Amy admits coke and heroin addiction. She strips to prove she's not injecting. Couple fly to US for rehab together.

By Tracey Kandhola 14/08/2007

Amy Winehouse and husband Blake Fielder-Civil agreed to go into drugs rehab after seeing their dads nearly come to blows, friends said last night.

Amy was in tears after the row during a showdown with their families over their heroin and cocaine addiction.

A source close to the family told the Mirror: "It broke Amy's heart to see her parents and in-laws fighting.

"That was the point when she realised all the drink and drugs were causing huge problems for everybody."

The party-loving couple flew to the US for intensive counselling and detox treatment after also seeing a leading Harley Street doctor recommended by former wild child Kelly Osbourne.

Jazz diva Amy's drink and drug problems came to a head on Wednesday when she collapsed following a three-day bender with 25-year-old Blake.

To read original click HERE.

A-Z of 1977: Pop's Jubilee Year

From Amazorblades to the Zeros - via the Clash and the Sex Pistols - this was the year punk was in its prime. Jonathan Brown reports on a new book that tells the story

Published: 27 February 2006

Just two months in, 2006 may already be on course to become a vintage year for pop. The unpolished genius of the Arctic Monkeys, whose debut album became the fastest selling in history, and the success of the triple-Brit winning Kaiser Chiefs has prompted grand claims to be made on behalf of this year.

But for anyone the far side of 40, the artistic seeds of the two trailblazers of British music clearly sprouted long ago. Examine the DNA of the abrasive sound of the Arctic Monkeys and it can be traced back 29 years - a decade before they were born - to 1977.

It was the year when Britain celebrated the Queen's silver jubilee with street parties and pageantry. Virginia Wade won the ladies' finals on the Centre Court at Wimbledon and the world mourned the passing of Elvis Presley and Charlie Chaplin.

But for a large slice of the nation's youth, 1977 meant only one thing - and it came with a safety pin through its pugnacious nose. That thing was punk rock.

Those who climbed aboard the punk rollercoaster were to enjoy a white-knuckle ride through the most exciting 12 months in the history of popular music. From Penzance to Aberdeen, groups of young men and women were pulling on bondage trousers, spiking up their hair and forming groups, regardless of whether they could play an instrument or not. Many of them were terrible. But a significant number were raw and exciting - the perfect antidote to the preening giants of prog-rock, and over-produced stadium super groups that ruled the pop world at that time.

In what has proved an extraordinary four-year labour of love, Henrik Poulsen, a Danish record company owner now living in Texas, has chronicled every punk band to have cut a record in Britain in that watershed year. The result is77: The Year of Punk and New Wave, published in Britain next month. Mr Poulsen records the young men and women on the scene, where they came from and what happened to them after punk exploded in 1978 - creating dozens of new genres from goth to ska. Beside the big five acts that dominated the year - the Sex Pistols, the Damned, the Clash, the Buzzcocks and the Jam, he includes a wealth of obscure bands which pogoed briefly yet brilliantly in the mosh pit that was punk's short tenure on the dance floor of popular culture.

His A-Z ranges from the frankly obscure - Acme Sewage Company, for example, whose "two note guitar solos" and rather brutal vocals earned them a diehard following in their native Kettering - to the totally forgotten: Zhain, a short-lived combo that contributed a single track to the Raw Deal! compilation, one of the first LPs on one of the first independent punk labels.

Every band to leave its stamp on vinyl is lovingly recorded. For Mr Poulsen, who grew up in a Copenhagen suburb and turned 13 in 1977, punk washed up on his shores in an unlikely way. "I was in the boy scouts and we had an exchange with a group from Glasgow. They played us their punk tapes and taught us how to do the pogo. From that moment I was hooked," he recalls. Denmark's only punk band at the time was an outfit called the Sods.

Mr Poulsen believes that while there is a definitive "77 sound" none of the major punk bands sounded or looked the same. Many unlikely groups and artists found themselves part of the broader new-wave movement, he argues. Ian Dury, Graham Parker, Dr Feelgood and Nick Lowe, were already established on the pub rock scene, but their energy and dynamism made them natural bedfellows with punk. Others, like the Police, the Jam and Ultravox went on to change their sound radically and become hugely successful after riding the punk wave.

But there was a common theme, he says. "The 1977 punk bands took their multiple influences and merged them with one or more of the following attitudes: 'Let's be loud; let's be obnoxious; let's give the finger to society; let's follow our own rules'. The seeds of these attitudes were clearly sown in the turgid, self-indulgent and bloated rock scene as well as the social and economic recession of the mid-70s," he argues.

Both political and popular musical elites were reaching the end of the line in Britain. The government of James Callaghan was to soldier on for two more troubled years amid industrial strife and economic decline. In the charts, Pink Floyd, Elton John and Queen dominated, but had run out of credibility with the new breed of nihilistic and angry young men and women.

In April 1976, Joe Strummer quit the 101'ers and joined the Clash, the Damned released "New Rose" and the Sex Pistols produced their debut single, "Anarchy in the UK", courtesy of that most establishment of labels, EMI.

In December, their foul mouthed appearance on Bill Grundy's Today show created something approaching a moral panic, as well as costing them their recording deal. But punk didn't flower until the following year. On 1 January, Andrew Czezowski opened the doors to The Roxy club, a former gay gangster club in Neal Street, Covent Garden. It gave the movement a physical base. John Peel provided a similar facility on the nation's airwaves with his live Peel Sessions. As luck would have it, the silver jubilee celebrations provided the perfect target for bands like the Sex Pistols, which knew how to generate headlines as well as compelling pop tunes.

Today's angry young pop heroes continue to pay their debt to that astonishing year - even if, like the Arctic Monkeys' Alex Turner, they were not born for a further nine years.

A IS FOR AMAZORBLADES Brighton-based quintet made their debut with "Common Truth" on Chiswick Records.

B IS FOR THE BOOMTOWN RATS Formed in Ireland in 1975, with Bob Geldof on vocals. After opening for the Ramones tour in 1977, Melody Maker proclaimed: "1978 is theirs for the taking."

C IS FOR THE CLASH The biggest and most influential punk band.Joe Strummer and Nicky Headon fed the media's appetite for "filth and fury" headlines when they were twice arrested in the summer of 1977.

D IS FOR THE DAMNED Their debut album, Damned Damned Damned, is considered the first punk album. It attacked conventional hits such as the Beatles' Help, which they played at double speed.

E IS FOR THE EAST COAST ANGELS The Dublin band made their name across rural Ireland playing church halls.

F IS FOR FUSS The full line-up of Fuss is still a complete mystery and "Our Way Must Be Better", released in 1977, remains their only hit.

G IS FOR GAFFA The Nottingham-based five-piece produced hand-made sleeves for their debut single, "Normal Service Will Never Be Resumed" in 1977.

H IS FOR HEAVY METAL KIDS Formed in 1973, the band incorporated metal, glam and rock'n'roll into their sound. Gary Holton's routine involved blowing himself up.

I IS FOR IAN DURY Dury had been around for years under the name Kilburn and the High Roads. In 1977, he released seminal new wave album New Boots and Panties.

J IS FOR THE JAM The Trio originally formed in 1973. Fronted by Paul Weller, they became the first punk band to appear on Top of the Pops and releasing their debut album, In the City in 1977.

K IS FOR KURSAAL FLYERS Taking their name from a ride at the Southend Kursaal amusement park, the band were always more pub than punk. Had a top-20 hit with their single, "Little Does She Know".

L IS FOR LONDON Formed in late 1976 they had released three records by the end of 1977. Reports that they were Paul McCartney's daughter's favourite band did little for their credibility.

M IS FOR THE MODELS Formed from the ashes of the Beastly Cads, they band started off covering Lou Reed and David Bowie but released a single, "Freeze", in 1977.

N IS FOR THE NOSEBLEEDS The group, featuring Ed Banger on vocals, changed their name from Wild Ram when punk took off. They released a single, "Ain't Bin To No Music School", in July 1977.

O IS FOR THE OUTSIDERS Wimbledon line-up's first release was the LP Calling On Youth on the band's own label, Raw Edge.

P IS FOR THE PIRATES Originally formed in 1962, the Pirates re-formed in 1976, 10 years after the death of vocalist Johnny Kidd. The band caught on to the energy and attitude of the punk era but still played their own rock 'n' roll sound.

R IS FOR RIKKI & THE LAST DAYS OF EARTH Forerunner to the gothic music movement, with broody and atmospheric sounds. The band's first 7 inch, Oundle Rocsoc, was released in mid-1977.

S IS FOR SEX PISTOLS Malcolm McLaren brilliantly exploited the disillusion of the nation's youth to create the definitive punk outfit. Their album, Never Mind the Bollocks, was cynical, controversial and utterly compelling.

T IS FOR THE TAKEAWAYS One-hit wonders, their only song to make it on to vinyl was "Food" and appeared on the 1977 compilation, A Bunch of Stiffs.

U IS FOR ULTRAVOX! Previously Tiger Lily, Ultravox! it was one of the few new wave bands to appear at the 1977 Reading Festival. Produced by Brian Eno, with John Foxx on vocals.

V IS FOR THE VALVE The Edinburgh band, billed released their "Robot Love/For Adolfs' Only" single in September 1977, hailed by New Wave bible Sounds as "vital and undiluted".

W IS FOR WRECKLESS ERIC Born Eric Goulden, he is said to have acquired his name because he often fell off stages. His first single, "Whole Wide World", was released in August 1977.

X IS FOR X-RAY SPEX Having seen the Sex Pistols live in concert, Marianne Elliot-Said changed her name to Poly Styrene and formed X-Ray Spex. 1977 saw the release of "Oh Bondage Up Yours!"

Y IS FOR THE YOBS Formed in 1977, the band set about causing a stir by covering Christmas songs and provocatively changing the lyrics. Their first single, "Run Rudolph Run", a cover of the Chuck Berry classic, arrived in November 1977.

Z IS FOR THE ZEROS The band's first single, "Hungry", was released in November 1977 revealing their R&B and rock roots. They went on to release two more singles.

Just two months in, 2006 may already be on course to become a vintage year for pop. The unpolished genius of the Arctic Monkeys, whose debut album became the fastest selling in history, and the success of the triple-Brit winning Kaiser Chiefs has prompted grand claims to be made on behalf of this year.

But for anyone the far side of 40, the artistic seeds of the two trailblazers of British music clearly sprouted long ago. Examine the DNA of the abrasive sound of the Arctic Monkeys and it can be traced back 29 years - a decade before they were born - to 1977.

It was the year when Britain celebrated the Queen's silver jubilee with street parties and pageantry. Virginia Wade won the ladies' finals on the Centre Court at Wimbledon and the world mourned the passing of Elvis Presley and Charlie Chaplin.

But for a large slice of the nation's youth, 1977 meant only one thing - and it came with a safety pin through its pugnacious nose. That thing was punk rock.

Those who climbed aboard the punk rollercoaster were to enjoy a white-knuckle ride through the most exciting 12 months in the history of popular music. From Penzance to Aberdeen, groups of young men and women were pulling on bondage trousers, spiking up their hair and forming groups, regardless of whether they could play an instrument or not. Many of them were terrible. But a significant number were raw and exciting - the perfect antidote to the preening giants of prog-rock, and over-produced stadium super groups that ruled the pop world at that time.

In what has proved an extraordinary four-year labour of love, Henrik Poulsen, a Danish record company owner now living in Texas, has chronicled every punk band to have cut a record in Britain in that watershed year. The result is77: The Year of Punk and New Wave, published in Britain next month. Mr Poulsen records the young men and women on the scene, where they came from and what happened to them after punk exploded in 1978 - creating dozens of new genres from goth to ska. Beside the big five acts that dominated the year - the Sex Pistols, the Damned, the Clash, the Buzzcocks and the Jam, he includes a wealth of obscure bands which pogoed briefly yet brilliantly in the mosh pit that was punk's short tenure on the dance floor of popular culture.

His A-Z ranges from the frankly obscure - Acme Sewage Company, for example, whose "two note guitar solos" and rather brutal vocals earned them a diehard following in their native Kettering - to the totally forgotten: Zhain, a short-lived combo that contributed a single track to the Raw Deal! compilation, one of the first LPs on one of the first independent punk labels.

Every band to leave its stamp on vinyl is lovingly recorded. For Mr Poulsen, who grew up in a Copenhagen suburb and turned 13 in 1977, punk washed up on his shores in an unlikely way. "I was in the boy scouts and we had an exchange with a group from Glasgow. They played us their punk tapes and taught us how to do the pogo. From that moment I was hooked," he recalls. Denmark's only punk band at the time was an outfit called the Sods.

Mr Poulsen believes that while there is a definitive "77 sound" none of the major punk bands sounded or looked the same. Many unlikely groups and artists found themselves part of the broader new-wave movement, he argues. Ian Dury, Graham Parker, Dr Feelgood and Nick Lowe, were already established on the pub rock scene, but their energy and dynamism made them natural bedfellows with punk. Others, like the Police, the Jam and Ultravox went on to change their sound radically and become hugely successful after riding the punk wave.

But there was a common theme, he says. "The 1977 punk bands took their multiple influences and merged them with one or more of the following attitudes: 'Let's be loud; let's be obnoxious; let's give the finger to society; let's follow our own rules'. The seeds of these attitudes were clearly sown in the turgid, self-indulgent and bloated rock scene as well as the social and economic recession of the mid-70s," he argues.

Both political and popular musical elites were reaching the end of the line in Britain. The government of James Callaghan was to soldier on for two more troubled years amid industrial strife and economic decline. In the charts, Pink Floyd, Elton John and Queen dominated, but had run out of credibility with the new breed of nihilistic and angry young men and women.

In April 1976, Joe Strummer quit the 101'ers and joined the Clash, the Damned released "New Rose" and the Sex Pistols produced their debut single, "Anarchy in the UK", courtesy of that most establishment of labels, EMI.

In December, their foul mouthed appearance on Bill Grundy's Today show created something approaching a moral panic, as well as costing them their recording deal. But punk didn't flower until the following year. On 1 January, Andrew Czezowski opened the doors to The Roxy club, a former gay gangster club in Neal Street, Covent Garden. It gave the movement a physical base. John Peel provided a similar facility on the nation's airwaves with his live Peel Sessions. As luck would have it, the silver jubilee celebrations provided the perfect target for bands like the Sex Pistols, which knew how to generate headlines as well as compelling pop tunes.

Today's angry young pop heroes continue to pay their debt to that astonishing year - even if, like the Arctic Monkeys' Alex Turner, they were not born for a further nine years.

A IS FOR AMAZORBLADES Brighton-based quintet made their debut with "Common Truth" on Chiswick Records.

B IS FOR THE BOOMTOWN RATS Formed in Ireland in 1975, with Bob Geldof on vocals. After opening for the Ramones tour in 1977, Melody Maker proclaimed: "1978 is theirs for the taking."

C IS FOR THE CLASH The biggest and most influential punk band.Joe Strummer and Nicky Headon fed the media's appetite for "filth and fury" headlines when they were twice arrested in the summer of 1977.

D IS FOR THE DAMNED Their debut album, Damned Damned Damned, is considered the first punk album. It attacked conventional hits such as the Beatles' Help, which they played at double speed.

E IS FOR THE EAST COAST ANGELS The Dublin band made their name across rural Ireland playing church halls.

F IS FOR FUSS The full line-up of Fuss is still a complete mystery and "Our Way Must Be Better", released in 1977, remains their only hit.

G IS FOR GAFFA The Nottingham-based five-piece produced hand-made sleeves for their debut single, "Normal Service Will Never Be Resumed" in 1977.

H IS FOR HEAVY METAL KIDS Formed in 1973, the band incorporated metal, glam and rock'n'roll into their sound. Gary Holton's routine involved blowing himself up.

I IS FOR IAN DURY Dury had been around for years under the name Kilburn and the High Roads. In 1977, he released seminal new wave album New Boots and Panties.

J IS FOR THE JAM The Trio originally formed in 1973. Fronted by Paul Weller, they became the first punk band to appear on Top of the Pops and releasing their debut album, In the City in 1977.

K IS FOR KURSAAL FLYERS Taking their name from a ride at the Southend Kursaal amusement park, the band were always more pub than punk. Had a top-20 hit with their single, "Little Does She Know".

L IS FOR LONDON Formed in late 1976 they had released three records by the end of 1977. Reports that they were Paul McCartney's daughter's favourite band did little for their credibility.

M IS FOR THE MODELS Formed from the ashes of the Beastly Cads, they band started off covering Lou Reed and David Bowie but released a single, "Freeze", in 1977.

N IS FOR THE NOSEBLEEDS The group, featuring Ed Banger on vocals, changed their name from Wild Ram when punk took off. They released a single, "Ain't Bin To No Music School", in July 1977.

O IS FOR THE OUTSIDERS Wimbledon line-up's first release was the LP Calling On Youth on the band's own label, Raw Edge.

P IS FOR THE PIRATES Originally formed in 1962, the Pirates re-formed in 1976, 10 years after the death of vocalist Johnny Kidd. The band caught on to the energy and attitude of the punk era but still played their own rock 'n' roll sound.

R IS FOR RIKKI & THE LAST DAYS OF EARTH Forerunner to the gothic music movement, with broody and atmospheric sounds. The band's first 7 inch, Oundle Rocsoc, was released in mid-1977.

S IS FOR SEX PISTOLS Malcolm McLaren brilliantly exploited the disillusion of the nation's youth to create the definitive punk outfit. Their album, Never Mind the Bollocks, was cynical, controversial and utterly compelling.

T IS FOR THE TAKEAWAYS One-hit wonders, their only song to make it on to vinyl was "Food" and appeared on the 1977 compilation, A Bunch of Stiffs.

U IS FOR ULTRAVOX! Previously Tiger Lily, Ultravox! it was one of the few new wave bands to appear at the 1977 Reading Festival. Produced by Brian Eno, with John Foxx on vocals.

V IS FOR THE VALVE The Edinburgh band, billed released their "Robot Love/For Adolfs' Only" single in September 1977, hailed by New Wave bible Sounds as "vital and undiluted".

W IS FOR WRECKLESS ERIC Born Eric Goulden, he is said to have acquired his name because he often fell off stages. His first single, "Whole Wide World", was released in August 1977.

X IS FOR X-RAY SPEX Having seen the Sex Pistols live in concert, Marianne Elliot-Said changed her name to Poly Styrene and formed X-Ray Spex. 1977 saw the release of "Oh Bondage Up Yours!"

Y IS FOR THE YOBS Formed in 1977, the band set about causing a stir by covering Christmas songs and provocatively changing the lyrics. Their first single, "Run Rudolph Run", a cover of the Chuck Berry classic, arrived in November 1977.

Z IS FOR THE ZEROS The band's first single, "Hungry", was released in November 1977 revealing their R&B and rock roots. They went on to release two more singles.

To read original click HERE.

Billy Corgan News on Yahoo! Music

Billy Corgan News on Yahoo! Music: Billy Corgan Comes Clean on Past, Present

06/22/2005 12:59 PM, AP Nekesa Mumbi Moody

All things being perfect, Billy Corgan would never have released a solo album.

All things being perfect, Billy Corgan still would have been churning out hits as part of the seminal '90s angst-rock band he founded, the Smashing Pumpkins — or at the very least, would have been readying a follow-up album with the band that followed it, Zwan.

But things have never been perfect for Corgan, the brainchild behind both groups and one of the more mercurial figures in the rock world. He famously smashed the Pumpkins into pieces in 2000 after the band had sold more than 20 million records worldwide with their pathos-laden songs; the relationship between the foursome had disintegrated and Corgan's artistic path for the band was not replicating past pop success. In 2003, he formed Zwan, but that band lasted only a year.

This week, Corgan has decided to step away from the band format with his solo debut, 'TheFutureEmbrace.' But it's not his only individual project. Besides a book of poetry that he released last year, 'Blinking with Fists,' Corgan has been writing about his life on his Web site — detailing everything from the childhood abuse he says suffered at the hands of his father and stepmother to his very adult battles with depression and other demons.

Corgan — a tall and striking figure with his shaved head, pale skin and piercing blue eyes — spoke about putting his life story on the Web, his new album and why a Smashing Pumpkins reunion wouldn't be what you expect in a recent interview with The Associated Press.
___

AP: When did you decide to start writing your autobiography and put it on the Internet?

Corgan: It's something I thought about for two years as far as writing my life story. I went through various scenarios — should I put out a book? You're first thought is conventional thought ... like, this is how it's done, and how much, and what's it for, and what can I say, what can't I say and all that. So after thinking about it like that, every time, I would come up to what can I say, what can't I say, I would get bummed out.

AP: Why?

Corgan: Anytime you take money for something, then it opens the door to another whole range of topics. Like when Jose Canseco put out the steroids book, the first thing they did was to attack him and say that he's lying because he's making money; he's saying these bad things because he's going to make more money. So that gets into a credibility issue. But to me, it you take away the money, then what's the credibility issue? Then it's personal motivation. Is it malice, is it truthful — what is it? I don't have justify it in any way, shape or form. There's no justification, there's no catch all.

AP: What's been the feedback?

Corgan: Amazingly positive. The only ones who seem to have a problem with it are males. No negative feedback from women at all. Zero. Only guys.

AP: Why do you think guys have a problem?

Corgan: Because they get uncomfortable with guys being sensitive. They get really uncomfortable. Guys are brutalized in a certain way, even if they're not brutalized physically. They're sort of pummeled on the feeling end. I faced the same thing in the beginning of the Pumpkins, because the Pumpkins was so far ahead of the sensitive curve ... talking about child abuse, things like that. People were very uncomfortable with that.

AP: When the Smashing Pumpkins broke up, instead of doing a solo album, you formed Zwan, which was short-lived. Why not do the solo album then?

Corgan: I wanted to do a solo album and actually started one, and then the Zwan thing kind of came together, and it was like a fun thing. It was sort of like a welcome relief after the Pumpkins ... I never didn't want to be in a band. I didn't want to leave the Pumpkins. It wasn't my choice, I always thought of being a solo artist in the context of being in the band. Like, you're in a band and you do a solo record. I never thought that I would have to leave my band to go solo.

AP: Do you ever wish the Smashing Pumpkins could reunite?

Corgan: You can't recreate what was.

AP: A lot of bands try, though.

Corgan: That's because they try and go back to what was. I showed it already. I didn't think the Smashing Pumpkins could stay where they were for two years. So I have no desire to go back to a sentimental position to the band. If I ever did go back to the band, it wouldn't be the same thing, it wouldn't be for those reasons. It wouldn't be a reunion to cash in. I have no interest in that. My goals are always artistic, and they were even in the context of the Smashing Pumpkins. If you ever see Smashing Pumpkins on the marquee, it won't be what you think it would be. The Pumpkins was a progressive art concept, it wasn't a normal band. It was meant to sort of disrupt, cause problems, and it did. And we were successful in doing that. But we would never go back ... and on top of that, some of the relationships are totally destroyed. It would take some serious divine intervention to see.

AP: Since you always wanted to be in a band, why not put together another band after Zwan?

Corgan: (Laughs) Not after the last experience, no. I came to the conclusion that trying to start another band was completely naive. It was kind of like trying to start a relationship when you're in love with someone else. It just ain't gonna work. I'm in love with the Smashing Pumpkins ... there would be no other third band. I realize all that now. Everything in Zwan was pretty cool up until we made the album and they started to show their colors ... They were in it for fame and money.

AP: You've talked a lot about depression in your life — are you at a point where you're happy?

Corgan: That's a set up question (laughs). I don't know how to answer that. There are some things that are worse and some things that are better. I feel like for a lack of a better word, empowered. ... I feel completely free to do whatever I want and how I want to do it. I feel unburdened by my past.
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