A Quote by Donovan

All of us '60s pop stars came from old cities which had a jazz club, a folk club, a coffee house, and an art school. — © Donovan
All of us '60s pop stars came from old cities which had a jazz club, a folk club, a coffee house, and an art school.
I remember the first time I was booked into a jazz club. I was scared to death. I'm not a jazz artist. So I got to the club and spotted this big poster saying, 'Richie Havens, folk jazz artist.' Then I'd go to a rock club and I'm billed as a 'folk rock performer' and in the blues clubs I'd be a 'folk blues entertainer.'
Who would be an artist that was perfectly happy? Maybe nowadays, but when I grew up in the '60s, you had nobody in the art club who was popular. No cheerleaders in the art club. I was told that I couldn't be a painter by my first painting teacher. I said I wanted to go to Cooper and be an art student, and he said, "You'll be a waitress." It was really the strangely indifferent parenting.
A great deal of the pupils time was spent going through, once again, the History of the Communist (Bolshevik) Party of the Soviet Union. He had learnt it at elementary school; at secondary school; at his sports club; at the Komsomol; at the university; at a folk dancing course; at the chess-club.
There was one point in high school actually when I was on the chess team, marching band, model United Nations and debate club all at the same time. And I would spend time with the computer club after school. And I had just quit pottery club, which I was in junior high, but I let that go.
When I was 13, I used to go to a jazz club. The owner of the club became my first business manager. She was very gutsy and had a lot of friends, one of whom happened to be the head of jazz at Columbia at the time. That's how it all began.
I was actually the head of the violin after-school club. And then I was also the head of the dance club, the popping club. So one day, just by coincidence, we had to hold the two clubs at the same time. I had to go back and forth. And that's when the idea came up for dancing and playing violin at the same time.
When City came calling, I researched the club, but when I first came through the door, it was weird: it was a big club but at the same time a small club.
When I came out of the military, I had a club in Memphis and I started using the The Bar Kays as my club band. They were still only in the middle school - but I'd take them on the road with me on the weekends, sometimes.
I started to develop my comedy skills when I became resident singer at the Boggery Folk Club in Solihull. My career blossomed from there, and I became a big draw on the folk-club circuit.
We started with that, basically to help kids, and then we created a pole vault school, which is part of the club and exists to this day. The club and school exist.
Comedy is a funny thing, and it's really not like any other art form in that it's very specialized and varied in it's content, but generic in it's title. You would never go to a club just to see "Live music," you would go to a jazz club to see jazz, a blues club to see blues, etc. But when you go to see "standup comedy," if you don't know the performers material, you really don't have any idea what you're gonna get.
When I was in high school I made the discovery that if I was playing in a jazz club, and there were black people in the club, if I could get the black people to like what I was doing, I was on the right track. So I began to play to those people because they knew what the authentic music was. I've always had that in the back of my head.
I had the house rhythm section at a club called the Sundown in Hartford. Stan Getz came up and played with us.
I stayed with them for about a year up there and, at night, worked over in Long Island at a club called The High Hat Club which was like a pseudo jazz / blues place.
My kids are in school and in all these clubs - chess club, fashion club, you name it. When my dad came home from work, it was late, and when he left, it was early in the morning. On my days off, I'm still taking my kids to school and picking them up. I do what I have to do to keep that relationship.
I used to go to the school folk club with my songs when I was only 13 or so and say "this is a traditional folk song" and sing it with a bad Irish accent to disguise the real source.
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