Natalie Merchant was still a teenager when she strolled into the community college radio station in Jamestown, New York, arms loaded with albums and eight-tracks she wanted to hear. She met DJs Steven Gustafson and Dennis Drew, and together with Robert Buck and John Lombardo, they formed the band 10,000 Maniacs. They came out with their first record, "Secrets Of The I-Ching," in 1981.
In 1987, the Maniacs released "In My Tribe," selling more than two million copies in the U.S. alone. The band's eclectic lyrics and Merchant's voice, which shimmers, smolders and soothes like a glass of cabernet, captivated alternative-rock fans. In the 1990s, Merchant launched a successful solo career, touring constantly and selling millions of albums over the next dozen years on the Elektra label, including quintuple-platinum "Tigerlily," her solo debut released in 1995.
In 2003, Merchant married documentary filmmaker Daniel de la Calle and had a daughter; she and de la Calle later divorced.
In 1987, the Maniacs released "In My Tribe," selling more than two million copies in the U.S. alone. The band's eclectic lyrics and Merchant's voice, which shimmers, smolders and soothes like a glass of cabernet, captivated alternative-rock fans. In the 1990s, Merchant launched a successful solo career, touring constantly and selling millions of albums over the next dozen years on the Elektra label, including quintuple-platinum "Tigerlily," her solo debut released in 1995.
In 2003, Merchant married documentary filmmaker Daniel de la Calle and had a daughter; she and de la Calle later divorced.
- 1/31/2012
- by Laura Rowley
- Huffington Post
The art world is in flux. Shifts in influence, business practices, marketing strategies, and the dissemination of culture in our global landscape are being shaped and driven forward by a new set of determinants and hard and fast realities. New York gallerist Jeffrey Deitch's recent departure from the commercial art world to join the ranks of the institutional sector, notably as director of the Los Angeles Museum of Contemporary Art (La Moca), sparked a moment of speculation, gossip, conjecture, and outrage. However, this is not the first time we have seen movement between the two sides of the aisle, albeit the flow is usually from non-profit museums into the for-profit sector. Consider David Ross' and Robert Buck's respective moves from the San Francisco Museum of Modern Art and Brooklyn Museum of Art as the directors of major museums to...
- 1/29/2010
- by Pamela Auchincloss
- Huffington Post
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