sábado, 30 de junio de 2012

76º-Richard Carpenter & Donna Summer-


-18 DE JUNIO DE 2010-



video

Como homenaje no sólo a The Carpenters, sino también a la cantante Donna Summer tristemente fallecida el 17 de Mayo, aquí tienen la versión del tema SuperStar que realiza junto a Richard en este concierto.


Con todo mi amor: Ignacio.  

jueves, 28 de junio de 2012

74º-STAR WARS/CLOSE ENCOUNTERS MEDLEY, 1978-



Richard Carpenter hace una aparición como invitado especial en el  "Children's Miracle Network Telethon" donde interpreta una mezcla de Star Wars junto con "Close Encounters of the Third Kind".

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Con Cariño de Ignacio.

miércoles, 27 de junio de 2012

73º-RICHARD CARPENTER Y SU HIJA MINDY: LITTLE ALTAR BOY-



Richard Carpenter interpreta junto a su hija como cantante, el tema "Little Altar boy", que como recordareis, pertenece al álbum navideño "Christmas Portrait" de 1978.  




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Con todo mi amor: Ignacio.

viernes, 22 de junio de 2012

martes, 19 de junio de 2012

69º-The Rolling Stone Magazine Article-



ROLLING STONE

JULY 4, 1974

AFTER 25 MILLION RECORDS, 10 GOLD SINGLES AND 5 GOLD ALBUMS RICHARD & KAREN CARPENTER HAVE DECIDED TO LEAVE HOME 

BY TOM NOLAN



We're just. . . normal people.


Karen Carpenter, the solo singing half of a brother and sister musical duo that has sold over 25 million records world-wide, has classic "good looks" but with something extra. It is the something extra that makes her interesting to look at, some unrealized firmness in her features, a womanliness she does not always allow herself to express. It comes out when she sings – in the emotion that makes her voice intriguing and beguiling.
Karen insists on the right to be normal, even though she is a celebrity known all over the world, but it is impossible for her or for her brother Richard to regain the placid existence of their youth.
At a back table in Beverly Hills' La Scala restaurant, Karen described some conditions that would tend to make an "ordinary" life impossible for her. While everyone else at dinner (including her brother) was enjoying sumptuous pasta, she had before her a simple green salad and iced tea. She was, as usual, on a diet.
"A lot of kids write and ask me for advice," Karen began.
"Some of the things they ask are normal. How do you get into the business? How do you learn to sing?
"A lot write and say they were hung up on drugs, but since they've heard our music they've gotten off of them.
"But a lot of kids who write have mental hang-ups. They're lonely, they want to know why their parents don't love them, why do their brothers and sisters hassle 'em. They haven't had a good life at all, and they just live for our music.
"They ask for advice that I'm not capable of giving. Because I'm not a doctor. It's hard to tell someone how to live their life even if you know 'em, let alone if you've never seen them. It's hard. It really is.
One girl, her boyfriend had gone to Vietnam and gotten himself killed. She wanted to kill herself, and what should she do? I said, God, don't kill yourself! I mean . . . what do you tell 'em?
"Another girl, in Phoenix . . . Remember, Richard?"
"Oh yes," Richard Carpenter said, looking up from his meal. "The first time we played Gammage Auditorium. That big hall Frank Lloyd Wright designed."
"This girl. It was her mother's third marriage. The stepfather hated her. Truly sad. What else, Richard?"
"Something to do with her brother," Richard said slowly. "I can't remember."
"The ones that are really . . . freaky, if you answer once and they write back, then I give them to our manager, Sherwin Bash. You can't really get involved. It gets too heavy. You have to handle each one in a different manner. When you're playing with personal feelings, with someone who's that hung up on you . . . "
One of the first times the Carpenters worked with their current opening act was in a huge coliseum in Houston. During Skiles and Henderson's comedy turn, a young man walked up the ramp to the stage and sat down at Karen's drums. Skiles and Henderson thought maybe the Carpenters were putting them to some kind of test, and the group supposed the guy at the drums was part of the comics' act.
He punched a policeman who approached him and was forcibly carried off, shouting, "Don't touch me! I'm engaged to Karen Carpenter!"
At the jail it was found he had on his person a wedding ring and airplane tickets for the honeymoon.
Another man who inserted himself memorably into Karen's life began his courtship with a letter which she received while they were playing Tahoe. Torturously scrawled like a five-year-old's mash note, it read, "Guess what. I've been waiting all this time to marry Melanie but it looks like it's not gonna come off, so you know who I picked to be my next old lady? That's right, Karen – you!" She and Richard laughed and kept the letter just for kicks, as they keep all the "strangies."
Three months later a GTO with Jesus saves stickers on the back bumper pulled up in front of a home in Downey, California, where Richard and Karen lived with their parents. Their father was in the garage working on a car. The fellow in the GTO got out and asked him if Karen was home.
"Yes," said her father, who cannot learn to lie.
"I'd like to speak to her."
"I really think she's busy right now."
"Oh," the fellow said, "she'll want to speak to me."
"Why is that?"
"Well," he explained, "you know all those songs she's been singing for the last four years? She's been singing them to me."
He showed up the next day, and the day after that. They came to recognize his car as it approached, the GTO of this guy who was not playing with a full deck, the guy who had written the letter they laughed at in Tahoe.
The night Richard and Karen went to the Ali-Norton fight at the Inglewood Forum with Herb Alpert, they returned to find the GTO parked and empty in front of their house.
While their parents were away GTO had pried open a door, setting off the burglar alarm. The police had come instantly. GTO had been very calm. He was not there to rob anything. He was engaged to Karen Carpenter and he had just come in to say hello.
They locked him up for 72 hours, after which he returned for his car.
He sat in the car for another day.
A neighbor called the police. As he was leaving, the black-and-whites pulled up, fencing him in. That was the day Karen had had enough. The police said they couldn't arrest him, all they could do was escort him to the city line, to Norwalk, mere minutes away. "Look," she said, "let's be serious about this. The guy has broken into my home. I don't know anything about the law. But don't tell me I'm supposed to be calm about this guy sitting and staring at my house, looking for me. If you just take him to Norwalk he'll turn around and come right back here."
Sitting there, day after day, staring at the house.
The police said that he had spent some time in a home. He had been in a mental home.
The police wanted her to go outside and say hello to him. Since he wanted so badly to speak to her, maybe that would satisfy him. She told them they were crazy.
The final day of his vigil he got out of his car and walked to the far end of the house. Perhaps that's where he thought her room was. He stood there ten minutes and at the top of his lungs screamed her name, over and over . . .
"Some people center their whole lives around us," Karen continued. "They only live to see us, to hear us. That's getting awfully heavy.
"People get so involved. It's sad to see kids cry if they can't get backstage to see us. They go to sleep with our album covers. Sometimes their mothers send them to be autographed. Especially Close To You. You should see them . . . all crumpled up . . .




"Only the really important letters are handled personally. There was a 12-year-old girl in Utica, New York, who was dying and who wanted a drum set. We got her the drum set. She was supposed to die a couple months before we played Utica, but she wanted to see that show so bad that she stayed alive for it. A few weeks after that . . . that was it. That also happened with a little girl in Notre Dame.
"It's weird to think you could have a meaning like that for someone, to make someone go on living. That's a hell of a responsibility. Someone loving something that much, to keep them alive . . . It's a very strange feeling, to think you could have that much . . . power . . . "
Karen concentrated on articulating thoughts she did not seem often to entertain. "That you could mean that much to someone. It's an eerie feeling. I don't dig being responsible that way.

"I mean . . . we only wanted to . . . make a little music . . . "

I guess I'm really very lucky 

That I've got this thing to play 

Cause it can really make me feel good 

Even when it's cloudy and grey

Yes, after years and years of practice 

And awful allergies that made me sneeze 

And now the other guys are out playin' with their girlfriends 

And I was still. . . bangin' on the keys 

And it got me
Right where I am 

This is me 

Playing the piano 

I hope ya like what I do 

It's for you 
And I'll try and sing right too*

Sometimes I feel like a . . . robot.
Richard Carpenter is technically handsome but really much more interesting looking than that easy term implies. His face reflects his sarcasm, talent, arrogance and pride; his mere good looks are a product of careful grooming. He is a creature of his own design. As assiduously as he has done everything else, Richard transformed himself from a gangly, short-haired, hornrimmed music student into a chubby fellow with Prince Valiant bangs, then into a thin young millionaire with a certain poise and a Sebring cut.

Richard never stops working. It is he who is the driving force behind the Carpenters. It is he who selects the material, arranges it, makes most important decisions and in general keeps the ball in the air. If he is not actively making music, he is thinking about it. His preoccupation extends from the most obvious attention to his own group's performance, through a general and encyclopedic awareness of current pop product, down to the tiniest particular factors bearing on actual sound: that the turntable at L.A. radio station KIIS is a mite slow, for instance, and that KLOS's is a bit fast. Recent cuts he likes include "Puzzle People" ("a perfect track!"), Paul Simon's ballads ("great strings, great everything") and "Jet." Among the pop musicians he has most admired are Frank Zappa, Brian Wilson and Jim Morrison.
Music is almost his sole interest in life. He does not read books. He is not concerned with politics and feels no affinity for either major party, although he was outraged at the 18-minute gap in the White House tapes and at the lenient sentence given Spiro Agnew, two developments which managed to come to his attention.
"I'm not into much besides my music," he says frankly. "And cars. And investing my money. I like to have money, because I like what it gives me. I like to buy nice clothes. I like to eat well at good restaurants. If I hear about some new amplifier or something I want, I like being able to say without thinking twice, 'Yeah, get it.'"
He did not always have that option, and some of his single-mindedness may come from remembering the financial difficulties experienced earlier in his life when their parents worked wonders with a lower middle-class income in order to give their children what they wanted.
"When we were trying to make a go of our music," Richard said, "our parents bought everything they could afford for us. We had a drum set, a piano. Basically the whole thing. But we couldn't really afford to buy amplifiers, or an electric piano, or even mike stands.
"When we wanted to buy a tape recorder, to make demos of this first group we had . . . Dad, he wanted to get it for me, but we just couldn't swing it. It took us months to save enough even to make a down payment on a little Sony."
The Carpenters' early history is not as smooth as some might assume. Children of a lithographic printer, they grew up in New Haven, Connecticut, where 16-year-old Richard studied piano at Yale. The family moved to California in 1963, to Downey, a low-lying, bland suburb near L.A. International Airport. Richard continued his music studies at Cal State Long Beach, where he became interested in vocal arranging and was accompanist for the school choir. A few months after high-schooler Karen had begun playing drums, the Carpenter Trio was formed – a jazz instrumental group consisting of Karen, Richard and a bass-playing friend. In 1966, the trio won a city-wide "Battle of the Bands" televised from the Hollywood Bowl, with Richard taking the Best Instrumentalist award as well.
The trio was signed to an abortive contract with RCA, and some instrumental tracks were cut which pleased no one. Karen had started to sing by this time, but RCA was not interested in listening to her. While Richard and Karen Carpenter were recording light jazz instrumentals for RCA, the company was also cutting vocal tracks with a young unknown singer named Herb Alpert who was unsuccessfully trying to stir up RCA interest in an idea he had for a trumpet record.
When the trio disbanded, Richard and Karen became the nucleus of a vocal group called Spectrum which stressed the harmonies Richard had loved in choral work. Spectrum included four other members – all of them Cal State students – two of whom would eventually find a home in the Carpenters' organization Danny Woodhams, who sings and plays in the Carpenters' touring band, and John Bettis, a tail end folkie who became Richard's lyricist.
Spectrum, all dressed alike and singing original compositions, not pop hits, had difficulty getting gigs. For the year they were together (1968) they mostly played Hoot Night at L.A.'s Troubadour Club, waiting their turn to appear for 15 minutes on the same stage as other unknown hopefuls like Jackson Browne and Brewer and Shipley. After some unsatisfactory contract talks with White Whale Records, Spectrum disbanded.
Richard and John Bettis worked at Disneyland for a time, singing on Main Street dressed in 1900s ice cream suits, writing songs on Pepsi napkins during spare moments.
Soon Richard created a vocal sound similar to Spectrum's with a new group made up of just him and his sister Karen; they achieved harmonic blend through overdubs. Demo tapes were cut in the garage of well-known session bassist Joe Osborn, and Richard made the rounds of the record labels as he had done for Spectrum. He was turned away at the A&M gate, but in 1969 a friend of a friend got the Carpenters' tape a hearing from that company's now famous cofounder Herb Alpert. Alpert gave the Carpenters freedom in, the studio, said nothing when their first album stiffed, and brought them "Close To You," a little-known Burt Bacharach-Hal David tune which became their first Number One single.
The rest is well-known. Twenty-five million singles and albums sold. (Even their atypical debut LP, Offering, is headed for the million-dollar mark.) Three Grammy awards, phenomenal concert attendance in all countries, with concerts bringing them up to $30,000 a night. The Carpenters refrained from issuing figures telling their monetary worth, but they do state they are both millionaires. Their investments include two shopping centers in Downey and two apartment complexes, one named "Just Begun" and the other "Close To You." According to the success ethic, they should be completely untroubled. Life, alas (or fortunately), is not that simple.
The Carpenters have real pressures and problems, hard feelings and confusions which few would associate with the image of the group. Richard and Karen themselves are far from fully acknowledging these feelings. They suffer under strains which even they only dimly comprehend.
The Carpenters seem to be going through what they would like to be a transition period. They have an idea of what they are unhappy with but apparently no clear picture of what would make them more content. They would like to change the image people have of them. They would like to change their way of life. It is just that they are not at all certain what they would like to become. They are reluctant to give up the sheltered existence they have known, and change is such a foreign concept to them they can only approach it with great caution.
Well into their 20s, they still live with their parents in the suburb where they grew up. They are about to move from Downey at last – not into two separate homes, however, but into one home for the two of them.
There is evidence the Carpenters' special circumstances have made it especially difficult for them to break old habits. Their parents have remained parents. When told that Richard and Karen would be driving back to Los Angeles immediately after the final evening performance of a recent Las Vegas engagement, their mother warned, "I wish they wouldn't do that. They are just too tired after a show."
The Carpenters are protected from outside stresses not just by their parents but by a retinue of publicity and management people who carefully screen anyone wishing to make the acquaintance of Richard and Karen. One of the things Richard and Karen are particularly sensitive about at the moment is their home in Downey. It was decorated in their parents' taste, which embraces a Japanese garden, artificial waterfalls, and Astroturf and was probably always meant to be a present to the elder Carpenters.
Although unsure of where they are going and how to get there, they are on firmer ground discussing grievances incurred in getting where they are.
During dinner at Au Petit Cafe, a Hollywood restaurant the Carpenters frequent, Richard and Karen made forays into personal territory. Or rather, Richard expounded while Karen demurred to his lead. Richard had many things he very much wanted to discuss. It seemed he had had few opportunities to explain himself on these points, and what he wanted most was to be understood.
He was openly angry about the Carpenters' image, about the wholesome halo made to hover over the two of them from the very first. The problem, he thought, began and was perpetuated by the publicity pictures and album covers prepared by their record company.
"The pictures, the album covers, the eight-by-ten glossies." He sighed in disgust. "There had been no brother-sister act since Fred and Adele Astaire. They just hadn't known what to do in a photography session. You can't be embracing. And yet . . . they wanted that.
"We didn't say anything when we were getting started except 'yes sir.' So they said: 'OK, sit on the floor back-to-back and smile. Put your arm on his shoulder and smile. Richard, put your arm around her waist and smile.' Every stock Steve and Eydie pose you could imagine.
"In Europe, just last month, it was the same thing. Press conferences with 80 photographers, all saying. Smile! Cheer up! Come on, smile smile smile! I'm sick of smiling. But they're all upset if you don't. So we oblige them, and we get it back in the press. 'The sticky-sweet Carpenters – still smiling those Pepsodent smiles!'.




Con mucho cariño: Ignacio.

lunes, 18 de junio de 2012

68º-WHEN I WAS SIXTEEN INTERVIEW-


KAREN CARPENTER

"When I Was Sixteen"
Phone Interview
by Nancy Hardwick
  



Karen Carpenter, the feminine fox in that love-song duo, The Carpenters, is a sexy, outspoken example of a young girl who made up her mind to "make it" in show business, and DID. Before she was barely 20 years old!.

But in spite of all her scrambling to get to the top, Karen is no Women's Libby. In fact, she puts down the hard-nosed bra-burners in this interview.

Dressed casually in cutoff Levis and a "Carpenters" T-shirt and furry slippers when I was called, I soon discovered that Karen is a very genuine, down-to-earth foxy lady who makes you feel comfortable to be with. She has a friendly sense of humor, and likes to tell the story of how she and her brother Richard first got their group going, and the obstacles they were up against. Karen also raps about the guys she went steady with in high school - and why she didn't think any of them were worth sacrificing her musical ambitions!.

NANCY: Karen, we're especially interested in rapping with you about your early high-school days - what were you like and what got you interested in a show business career?.

KAREN: Well, I looked quite a bit different when I was in high school cause I was heavier, about twenty pounds heavier, to tell you the truth.  And I was just tired of being fat so I went on a diet! In fact, just the other day I was cleaning out my bedroom closet...and it was really hard just getting in there...but when I got in, there I found this sweater I used to wear in high school...Good Lord, I think I could get into it three times today...I mean I don't know how I ever got through a door...Oh, I really wasn't that heavy, but compared to now...wow!.

NANCY: How long were you on a diet?.

KAREN: Uh, good grief...I think it was five weeks...I had lost like twenty-three pounds. It really worked. It was the water diet...that one where you drink eight glasses of water a day...and I despise water.

NANCY: Twenty three pounds? That's incredible...Was it a diet that you your-self designed?.

KAREN: No, I went to a doctor. I decided to go on this diet just at the point when we had our first big hit...and we were running day in and day out...I can remember that we would go to rehearsals and we'd rehearse till about 1am, and then all the guys would want to go to eat at Coco's (and those are the people that make those fantastic onion rings), and I would sit there with my hamburger pattie and cottage cheese...while the guys ordered 47-layer cheeseburgers and giant sundaes! I don't know how I did it...cause I couldn't do it now.

NANCY: You were the only girl in the group at that time?.

KAREN: Right...There were five guys, and Richard and I. That was our first group called The Spectrum.

NANCY: did you have time for guys back then? Did you have a lot of boyfriends? Or one special boyfriend?.

KAREN: When I was in high school I had a couple of boyfriends. But in my junior year, I started getting interested in music...and that kind of came in front of everything...But I did have one special guy in my sophomore year...and another one in my junior year.

NANCY: Were you going steady?.

KAREN: Oh yeah, don't we all? IT was a real serious scene. At that point I thought if we ever split up I'd die...you know with the ring, an going steady and all that garbage!.

NANCY: Did you want to marry him?.

KAREN: Oh sure, that day I did, of course. But when music started to get into my head...kind of everything was you know, put aside...I mean I still dated and everything, but it was kind of hard for guys to understand why music was more important than they were.
 
NANCY: What did you tell them?.

KAREN: Well, for example, a guy would ask, "Do you want to go out Friday night"...and I'd say well, no, we're rehearsing, which didn't go over real big. But that's the way it was. Playing in my brothers group was really all I was interested in...cause that was when we had the Richard Carpenter Trio...it was a jazz trio. We won the Hollywood Bowl Battle of the bands in 1966 when I was 16. And that was when we first started trying to get a record contract with our jazz trio...and that was needless to say, important, more important than going to the movies with some dumb guy.  We were just starting to record at A&M studios. So I would spend most of my time up there recording, and at that point, let's say if we were going to play a job that weekend or whatever, that would always come first. 
 
NANCY: Did you know that you wanted to go into show business when you were 15 or 16?.

KAREN: When I was about 16, that's when it all happened...that's when the turning point was. 
 
NANCY: What made you choose show business...what made you decide to follow your ambitions?.

KAREN: Well, Richard has always been musical since the day he was born...and all through his life his musical interests kind of rubbed off on me, but it didn't hit home till I was 16 years old. And then, all of a sudden, I started to play drums and I started to sing.

NANCY: Was it mostly your own personal initiative or did your parents or your brother encourage you?.

KAREN: Well, my parents always encouraged us, more so Richard because he is the oldest, but when I decided I was going to get into music, it just sort of happened, mainly because I used to follow Richard when he played a job.  I'd go and listen because whatever he was involved with I somehow ended up there too...cause Richard and I have always been very close. And when I found out that I could sing and I could play, it seemed a natural thing. And from then on that's all I was interested in.

NANCY: What kind of conflicts came up because of your decision to go into music? Were there any conflicts between you and your parents or between you and boyfriends, or school?.

KAREN: Well, never between my parents or Richard and myself, because they were always there at all times for whatever was needed. I mean like they bought all the amplifiers, and if Richard decided we wanted a grand piano.  Even if we couldn't afford one, which we couldn't at that time, they found a way of getting him one.  And when I decided I wanted a drum set, they went and they bought me the best one. My parents have always been like that. If they couldn't afford it at the time, they found a way.

NANCY: Are you close to your parents today?

KAREN: Oh, yes, they're right downstairs.

NANCY: Well, how about any conflicts that might have arose between you and school? You said that you went to college, did you finish college?  Or did your career take precedent over that?.

KAREN: Oh, yeah, ...college kind of got in the way! I went through two years of college...and then we signed and that was it. But in high school, the choir director influenced Richard and I quite a bit. We met this choir conductor at school, Frank Pooler, who's now our orchestra conductor. Frank is an extremely talented choral man, and when Richard got into the choir in his junior year at school, all of a sudden he developed an interest in vocal...that's when he decided on a vocal group.  I was just getting started in high school and I had to take gym, which everyone has to take...

NANCY: How did you like that?.

KAREN: I didn't. I mean even though I'm very sports-minded, I didn't like running around a football track at 8 o'clock in the morning...freezing to death...that didn't thrill me at all. So Richard said, "get into the marching band, because if you get in the marching band, you get out of gym! So I said great...what am I going to play?  That's before I did anything...you know. So Richard was real good buddies with the band director.. cause he played gigs with him on the weekends. So he said my sister wants to get into the band, so the band director says fine, what does she do? And Richard says "nothing"...so he says well, OK, I'll give her a glockenspiel, the bells, or whatever you call it...I said well, gee, that's great! So, I learned how to play that...which isn't really exciting, is it? I suppose a glockenspiel could be, but I mean, I wouldn't go out of my way to buy one!.
 
NANCY: Do you play them today?.

KAREN: No, actually no... But anyway... the bells march in the drum line...because they say it is a percussion instrument, as it were. So I marched in the drum section, and one of my good buddies, Frankie Chavez, who had been playing the drums since he was three years old, was a Buddy Rich freak, (you know, Buddy Rich the drummer), like he even ate the same food as Buddy Rich! So I used to march down the street playing these stupid bells, watching Frankie play his tail off on the drums. I mean, he really loved it, and all of a sudden I discovered I had an interest in drums...I loved them!  So what happened was I played bells for like two months, and all the time I'm watching Frankie and these other guys play drums, and it soon occurred to me that Frankie was the only one who knew what he was doing. And all of a sudden it hit me that I could play drums as good as nine-tenths of those boys in the drum line...outside of Frankie...So I told Gifford (he was the band director) that I wanted to play tenor drum...and he kind of looked at me funny. I finally had to talk him into it, because at that time no girl anywhere was in the drum line of any school in the marching band! So Frankie showed me both drum sticks, what to play, how to play and I became very interested in drums, and we completely reworked the entire drum section. We did like a whole rock and toll number in the drum section. The band couldn't march to it...but it was fun!  But the, before long, I decided I wanted a set...you know a full set of drums...so Frankie went up and showed me what I should buy...and I bought a brand new set of Ludwigs. And from then on, that was my main interest...so like all through high school at the time my brother Richard was becoming interested in the vocal thing and we put a vocal group together and I started to sing at the same time I started to play.

NANCY: Can you remember some of the first songs you sang?.

KAREN: Oh, wow...we did stuff like Ebb Tide, and all the stock things at the time like Yesterday, Hey Jude...We were all extremely into the Beatles...I guess that's our all time favorite group.

NANCY:  Is it still?.

KAREN: Oh, yeah. Them and the Beach Boys.

NANCY: Did you break any boy's heart because you put your career before dating?.

KAREN: Well, to tell you the truth, none of the guys I went steady with knocked me out that much that I would have given up or changed what I wanted to do! And I'm so glad that I had enough brains at that point.  Because once I finally got into the music thing...and Richard and I started working, with the groups and all that stuff...nothing seemed to sway what I wanted to do...And, like from the time that we started working, music really became a 24 hour a day thing for both of us. 
 
NANCY: Looking back on your teenage years and your successes, what sort of thoughts would you have for a girl that's about 15, 16 or 17 and wants to be a musician or wants to follow a career in the arts, but she has pressure from her parents or boyfriends?.

KAREN: It depends what the girl wants and if she wants it bad enough.  She can figure it out for herself if she's going to stick to it. And if a guy is really in love with her, he would stick with her. I mean, if a guy was really hung up on a chick... like if a chick wanted to do something really bad, the guy would give of himself and let the chick do what she wants. That's only natural.

NANCY: How about Karen Carpenter today, are you looking for a guy? How about Karen Carpenter today, are you looking for a guy? How long do you think you'll stay in show business? Do you have any long range plans?.
 
KAREN: It's really the only thing that I have an interest for. It's just the love of what we're doing that's really important. And I don't know...there's nobody in particular. There's certain people but not anything that's serious right now. Whether or not I'm looking...when it can happen, I really don't know.

NANCY: You find the role for a woman changing> Do you see more opportunities for a girl to do things that she really wants to do?.

KAREN: Oh yeah! But that's another thing...this bit about Women's Lib.  People always call me because they think that being a chick drummer, I'm a woman's Lib fanatic, and I'm not ! Besides, I don't know that much about what they're fighting for. For myself, when I decided what I wanted to do, I went ahead and did it. Nobody got in the way. If they did, you had to figure out a way to get around them. I think anybody who has enough self respect and enough brains can do what they want to do and the bit about blaming it on somebody else is just garbage!   There's nobody that's going to stand in the way of somebody if they really want it - male or female!.

NANCY: Good, I'm with you.

KAREN: Its stupid you know, just because you're a girl...so what?. 
 
NANCY: RIGHT ON!.

KAREN: We've got as much brains as anybody else. You see a lot of dumb guys around too! This bit about me being a successful girl drummer.  I'm not a successful GIRL drummer, I'm just a drummer that happens to be a girl that's happy! I have a ball!.

NANCY: Do you like being a star?.

KAREN: Oh yeah. It's a kick. At times, it's just a little...well, you have to walk very fast! sometimes you just want to go out, go down the corner and buy a hamburger. But you really can't do that. That gets me sometimes not being able to walk around on my own! Sometimes you get tired of being protected 24 hours a day but...

NANCY: And what about your brother, how does he feel about your success?.

KAREN: Oh he loves it. What I'm trying to say is that both of us are extremely happy and it's a great way to live, but it's a 24-hour-a day job. You're in competition with yourself. But it's really something else to live a life that is not only your own, it's really quite an experience. 
 
NANCY: What kind of clothes do you like? Do you like clothes?.

KAREN: OH YEAH! Whenever I have a chance I go straight to the clothes stores.

NANCY: What do you like to wear if you're getting all dressed up - going to a big party or something?.

KAREN: It depends on where I'm going. If it's really formal, it would be a long gown. I like velvets and chiffons and crepes.

NANCY: Very feminine things?.

KAREN: Yeah, but on the other hand, I love suedes. I have a huge collection of suede. You know, gaucho pants and all that sort of stuff.  Suede pant suits and jackets and purses. I'm definitely a suede person.

NANCY: Your outfits on stage- do you design any of those?.

KAREN: I have a designer whose name is Rick Turner and he works on NBC.  He does all the shows like Carol Burnett and Sonny and Cher and stuff like that. He's very versatile, he can go in many directions. I like my outfits each different from the other. They really have to be or I'd go completely ape. 
 
NANCY: What style of outfits do you like to wear on stage? I've seen you in long gowns.

KAREN: Well, I do wear long gowns on stage because of playing drums...but what I actually do wear is a gown that's really pants, and when I stand up it looks like a dress. It really works very good on stage. I can go from a cotton jumper, little puffy tops with a turtle neck (very casual), or to a long chiffon gown, or a low-cut front with a velvet dress with the rest of the dress done in lace. 
 
NANCY: Sounds like you like very feminine fabrics. 
 
KAREN: I think it's necessary because when there's seven guys on the stage all in their suits, I like to wear something different from the guys. They all wear the same tuxs which is usually co-ordinated with what I have on. The whole group is co-ordinated. Let's say I'm wearing red and blue. Richard'll be in red, and the guys will be in blue.  sometimes it takes us weeks to decide what the heck we're going to wear! It's quite involved.

NANCY: How do you like traveling around with seven guys? What's it like?.

KAREN: Well, in the road group there's 22 people. There's eight of us, a hairdresser, lighting director, a road manager, five roadies, a manager-manager, a promoter- oh it's wild! It's like a party!.

NANCY: Are you the only girl?.

KAREN: No, my hairdresser is a girl. Sometimes the guys are able to bring their wives or it depends on whoever's around at the time!.
 
NANCY: It's like the old chivalrous thing.

KAREN: Oh, it's really funny! To watch the guys on the road - to watch them find the chick they want!.

NANCY: Carpenter groupies?.

KAREN: Oh, yeah! They're very clean cut, but they're there! I can be by myself if I want to, but if I need protection there is always someone around. There always has to be. But everybody has such a great time on the road because everybody's really close. And that helps when you're gone five weeks at a time.

NANCY: Do you enjoy traveling around so much or does it get so hectic you really can't relax?.

KAREN: The last seven-eight months have been relatively easy compared to the way we used to travel. Like a year ago, we used to fly commercial, but there's no way you can carry 22 people and equipment and travel commercially.  So about a year and a half ago, we started flying in two Lear jets.   And we decided that all of a sudden there were 22 of us (there used to be 14) and we couldn't do it all in two Lears. So now we charter a great big plane, a Cessna 580, and it seats 40. We put everybody in the one big plane, and we have our own flight crew and stewardess. And we just have a ball, I mean we really do. We bowl in the aisles, we have quite a good time.

NANCY: You have to have a sense of humor.

KAREN: Oh, we have to, because if we lose control of the show, who will "take it"? In the oldies medley we have, we have an opening act called Skyles and Henderson (who are famous for their noises). And like when we do: Why do the stars go on shining or why do the birds go on singing?   Pete comes out with this gun, and he shoots a bird out of the sky and this huge thing falls onto the piano. It's a classic comedy.
 
NANCY: It sounds like it's a regular burlesque routine. Who dreams up all this stuff?.

KAREN: We do the medleys, but as for the comedy part, it's up to Bill and Pete. And every night, Bill does something different...he comes out as a robot or whatever. I can never tell what he's going to do next.  One night he chases me off the stage, or into the audience, whatever!  If I thought about it, I could come up with a story for every night, like kids crawling in the backstage windows when they're not locked and come right into the dressing room.

NANCY: Oh yeah? How do you handle that?.

KAREN: You call your manager! But some of the things the kids dream up to get to you are hysterical. They really have some damn good ideas, stuff that I'd never think of. I mean, some kids rent a limousine and follow us into a car or they climb all over the car, or you get into an elevator, they watch to see what floor you get off, and then they just knock on every door on that floor. It's wild!.

NANCY: Karen, we've really had fun talking with you.

KAREN: I've had fun too. Thanks for calling!.





Con mucho cariño: Ignacio.