Saturday, July 11, 2009

A Chat with Tiffany By Joshua O'Connell







When most people hear the name Tiffany, they probably get the visions of the 80s pop star, singing “I Think We’re Alone Now” in a mall.

Sure, take the easy way out.

For a group of fans that have stayed with her, they’ve witnessed an incredible reinvention of the former teen pop star since her late-80s run atop the charts. The Tiffany of 2009 isn’t doing the cheesy dance moves anymore, but is instead consistently putting out engaging music in various genres, focusing more on a songwriting approach (even moving to Nashville from California), and has been surprising this music reviewer for upwards of a decade now.

While Tiffany is no stranger to Connecticut, her return to the state for Hartford Pride is a welcome one, both for her fans and for Tiffany herself.

"I have never done Connecticut, so I’m really excited about it,” Tiffany said in a phone interview from Nashville. “You never have to twist my arm to come to Connecticut. I think it looks a lot like England. Some of the cities are named after English cities. It was one of the first places we went when my husband came to America, and we came to Connecticut quite often.

“I have great memories of Connecticut. The people there are warm. I do well with warm people. I think [Hartford Pride will] be off the hook.”

Tiffany began attending Pride events a few years ago, a natural outgrowth of her fans’ desires, but also the fact that the music took her there. “I had the ability to do a big TV show in England called ‘Hit Me Baby.’ I did a song called ‘Love Machine’ [originally sung by U.K. group Girls Aloud] there that was uptempo. That started a lot of e-mails that said, ‘We would really like to see you do a dance album.’

She continued, “I was working with producers. We started to write some stuff and it turned into this great project. I was heavily infl uenced by heavy European dance at the time. Just really had a good time doing the album. It was a different adventure for me. I wanted to give my fans what they really wanted.”

The challenge of bringing a band along also held up Tiffany’s ability to tour as much. “I think a lot of people wanted me to attend, but the music had to apply. Once I did 'Dust Off and Dance,' it was a changing event for me. I can do it to track, I don’t have to drag a whole band. That was brought on by my fans more than anything. They ride with me going down different projects.”
She added, “It was a great growing experience for me working with different producers and now to have a different dance life. Now I’ve worked with Dave Aude and Josh Harris. It’s opened me up to clubs and pride events and to have stuff on the charts is an awesome thrill for me.”
Indeed, Tiffany made the Billboard Club Play charts with “Higher,” 20 years after “I Think We’re Alone Now” made that chart. But while Tiffany enjoys the fun and light-hearted nature of dance music, she’s put a lot of her energy into evolving into a songwriter, and returning to her roots performing country, hinted at in tracks on her latest full-length CD, “Just Me,” on such gems as “Mind Candy” and “Hiding Behind the Face.”
“Those are the direction we’re going,” Tiffany said. “‘Hiding Behind the Face’ I wrote with Tim Feehan and is about L.A. and young stars. And it’s not what everyone things it is. They’re still searching and hiding behind beauty and skinnyness. But there’s a mess there. How long can you keep going on like that before you crash and burn? It’s very serious. I wanted to write something like that.

She continued, “That song ended up being more of a country kind of thing. That was cool. I loved the track. You kind of get started and go where the lyrics go. It’s always great where you see where these little babies take you. You sit down with someone, you have a title and it makes this huge transformation before your eyes and you have a song and go ‘wow.’

“I wanted to tell the fans again that this is the direction we’re going, a country/pop kind of direction. I got great responses from it.”

She also listens to fans feedback as the music evolves, taking cues if there’s something that may be off. “I love playing my stuff in front of fans and finding out what they think, taking their pulse. If I need to go in and adjust, if I was a little crazy… I admire their opinion.”

“Just Me” continues down the path of 2000 release “The Color of Silence,” which established the more intimate side of Tiffany. Where “The Color of Silence” was a rock-edged effort with clever songs as “Piss U Off” mixed with an interesting worldview on songs like “I’m Not Sleeping” and “Open My Eyes,” “Just Me” softens the sound a bit, mixing in a heavier country influence on some of the tracks, yet flows quite nicely from “Silence.” Both albums show Tiffany getting much more involved with the songwriting part of the process, and she proves to have a good ear for strong, sturdy material to record, such as the strong pop single “Feels Like Love.”

In between those two releases was the release of her fi rst dance-oriented album, “Dust Off and Dance,” which came out in 2005, and most recently Tiffany released a few dance singles, “Higher,” “Just Another Day,” and a song also called “Dust Off and Dance.”

Tiffany says that the most important aspect of her career at this point is whether she’s recording dance, country or pop music, the quality of the song is the most important thing to her. “I think sometimes it’s really hard for a dance album and have every track be great unless you’re going to work with mega producers with a mega budget,” she said. “I’m not going to mortgage my house. Been there, done that! [laughs] There are a lot of great people who are up and coming. They are great but don’t cost an arm and a leg.

“You have to be really choosy, really picky and the songs have to be amazing. It think we’ve been lucky with the songs that have come out like ‘Higher’ and ‘Just Another Day’ and the ‘Dust Off and Dance’ album. I’m a stickler about the songs. All of those songs I do now in my live show. I can take ‘Just Another Day’ and do it acoustically and it translates.”

She continued, “A song has to be a good song. You can take it and to whatever you want. I love Kylie Minogue, a lot of dance artists like that where the lyrics don’t matter. But there’s an image behind that. There’s a stage show behind that. I wouldn’t really be able to at this point in time do that. So it really comes down to the song.”

She added, “I think there’s room in the entertainment industry for ‘let me just sit down and sing to you’ singers. I think I probably fi t into that category the best.”

Being that she’s still new in the pride circuit, she’s touring a lot, but still has ground to cover. “I’m doing Hawaii [Pride]. That’s going to be really difficult! [laughs] That’s next month. There’s a couple of other ones in the works. I haven’t done Boston or New York. I did L.A. one year. I’m kind of working the rounds a little bit.”

Tiffany promises that her pride appearance will be upbeat music, fi tting with the celebratory mood of a pride event. “I do old school. I try to keep it uptempo. When you have pride events, they’re there to have a party. It’s hard to translate [the pop, rock and country leaning] songs without a band. It’s lacking something, it needs musicians there.

“I usually just do straightforward dance. It’s a perfect setting for it. That’s what dance music is meant to do. I’m very lucky that my stuff allows me to show I can sing. I have to do that and focus and show I can sing, but I keep the energy up but [the crowd is] ready to party, have a good time.”

If you’ve seen Tiffany at another event previously, she’s careful about that, and tries to shake things up. “My fans are really great. They hop on planes and fl y in from all over. They plan their vacations round me. If it sounds interesting they hop on planes and come down. It keeps it fresh for me."

She added, “If I know I’m going to see the same faces I try to give them a different show. If I know it’s the same songs, I’ll put something old school I haven’t done something in a long time or work up something new. Just try to make it a little different so it’s not like wow, it’s the same old thing.”


Tiffany, gracious and polite on the phone while chatting on her porch, only asked one request, for those coming out to the show or the later appearance at Chez Est that night: “I rely on my fans to come and bring the energy. I bring the music! [laughs]”

For Tiffany's tour schedule, visit http://www.tiffanyontour.com, and to hear some of her latest music, visit her MySpace page.http://www.myspace.com/tiffanymusic

By Joshua O'Connell
Entertainment Editor, Print/Web Designer

Friday, May 29, 2009

Tiffany - Can't Stop A HeartBeat

明治マーブルチョコレート Tiffany

Nice Review from NewYork Time - Perfect Pop From Tiffany - Seriously


REOCRDINGS; Perfect Pop From Tiffany - Seriously
By PETER WATROUS
Published: Sunday, January 8, 1989


Seriousness has hit pop music big. Whether in the high-mindedness of Tracy Chapman or the industrial, mass-produced ditties of Tiffany, seriousness is the flavor of the day.

Tiffany's second album, ''Hold an Old Friend's Hand'' (MCA-6267; all three formats), has her looking longingly and adult-like out from the cover; the lyrics of the songs - none by her, and all about romance, not sex - are printed on the inside cover, as if they were worth scrutinizing like some newly found canto of Ezra Pound. All this for a 17-year-old California kid who has nothing to do with the writing of the music she performs. Nor does she play any instruments. Yet the presentation makes claims; the music is meant seem as if she had created it, as if it were a product of her innermost soul.

We'll be hearing Tiffany on the radio for some time to come, and who wrote or played or conceived her image is irrelevant, since it is the hologram of authorship that counts, along with the melodies and the beats and the textures of the music. ''Hold an Old Friend's Hand'' is flawless pop, easily remembered and repeated melodies that will give high-culturists Orwellian nightmares and the young masses plenty of pleasure.

Tiffany's music is not radically different from any of the mass-produced pop music of the last several decades, but her records have telling details. In their insistence on sobriety and love over ecstasy and lust, they perfectly capture the changed mood of young American culture. It is music so far removed from rock impulses that it could make the claim that the 60's (Tiffany was born in 1972), with all its social experimentation, never existed. The 80's, with shuddering economies and the fear of AIDS, have won out, at least for Tiffany.

''Hold an Old Friend's Hand'' follows in the footsteps of ''Tiffany,'' which sold over four million copies. When it came out in 1987, ''Tiffany'' joined a long list of records by young women singers - Debbie Gibson, Shanice Wilson, Lisa Lisa - who were second-generation versions of Madonna and Cyndi Lauper. But where Madonna and Ms. Lauper made their mark creating their own images and managing their own careers, the second generation is the product of an industry reacting to fill the public's demand for women singers. Record companies set their producers working overtime to fill albums, and where Madonna and Ms. Lauper had an unusual set of icons to represent their personalities, the new crew fumbles along as predictable young-innocents-with-spunk.

There isn't a moment on ''Hold an Old Friend's Hand'' (which is essentially the work of Tiffany's producer, George Tobin) where the needs of the artist conflict with the needs of the record company. They are one and the same, and there isn't even a glint of the traditional tension between an artist's ideas and the record company's need to sell the music. Tiffany (whose last name is Darwisch) isn't at all resistant to the idea of stardom on a record company's terms; she works hard for her money. By 1987 she was singing 20-minute sets to pre-recorded tapes of her first album to audiences at malls across the country. Last year, she instigated a lawsuit to free herself of her mother's control in her business affairs.

In some senses, the record industry is a little like Detroit in its heyday, where the same cars, with a built-in obsolescence factor, were manipulated every year so as to have a different look on the same chassis: tail fins were just made a bit longer or shorter. Tiffany is an updated version of the sentimental pop singer best exemplified by Stevie Nicks of Fleetwood Mac, to whom she has obviously listened; she often sounds very much like her.

In true 80's fashion the arrangements of the songs are all referential, and Mr. Tobin's constructs hint at original styles of music. It's institutional, international pop with muted dance music, muted ballads, muted country-pop and muted rock, all calculated to play with listeners' memories and sense of nostalgia.

It's music that projects no more specific sense of place than perhaps the Western world; it seems to have floated in on the ether and taken over. It is the type of music that will be found, if the record company does its job well, in small towns around the world. Teen-agers with no understanding of English will be pining to the sounds of her voice; young men will dream about her in all the languages of the world.

Tiffany's voice also seems referential. It's familiar; there's nothing alienating about her. And like all good singers, Tiffany has learned a score of tricks to show how emotional she is, regardless of the banality of the words - she sounds as if she means what she sings. She'll change her tone, moving from a three-pack-a-day, on-my-last-pint moan to a clear, girlish voice to a gospelish falsetto. Tiffany can sing; the tricks producers use to hide a singer's inabilities - multiple overdubbing, echo - are conspicuously absent.

Which brings us back to seriousness. Tiffany's material isn't simple dance music. It is equally mindless (which doesn't detract from its pleasure), but it has the air of topic to it, even if all the tunes are about love. And though she's singing as an adult there are still clues to which age market the record is aimed. On ''Walk Away While You Can,'' she sings, ''Better walk away while you can . . . you're still a young girl, he's almost a man . . . it feels so right when we're together boy . . . I'd like to give myself to you but I'm so confused.''

It is music made for a young market that increasingly respects a type of obvious seriousness and sentimentality. And underneath the facade of her earnestness, it is music that is meant to sell, music that changes its shape to please the demand. On the terms it sets for itself, it is perfect.

Photo of Tiffany (Janet Macoska/Star File)
A version of this review appeared in print on Sunday, January 8, 1989, on section 2 page 27 of the New York edition.

Saturday, May 9, 2009

Tiffany & Debbie Gibson - Nostalgie80 - Could've been (April 10, Quebec City)

Tiffany & Debbie Gibson - Nostalgie80 - Could've been (April 10, Quebec City)

Tuesday, April 14, 2009

Beautiful reunion for Tiffany


" Nostalgia 80 The show, which will run at the Coliseum in April, will provide
an opportunity for Tiffany to find an idol, a work colleague and a longtime
friend.

She who made her reputation with the tubes I Think We're Alone, and Could've
Been at the end of the decade 80, says she can not wait to share the stage with
Rick Astley, Samantha Fox and his "rival" of the time Debbie Gibson.

"I was very happy when I was approached for this show. I am a big fan of Rick
Astley. I'm really looking forward to meeting and working with him. I also
worked with Samantha Fox in the 80s. And Debbie and I are good friends, "says
one who will return with the city of Quebec, including that she had visited when
it traveled the globe with New Kids On The Block.

"This tour houses among my fondest memories of 80 years. I could go in different
countries and see people react to my music. It was wonderful. My dream come
true. I wanted to be a singer and it happens. I loved discovering new cultures,
talk to people, see other ways of doing things. "

Tiffany recorded her first album when she was older than 14 years. She was a
member of one of the first cohorts of teen idols. She does not believe she was
too young to make career.

"I think we never really ready, no matter whether you are aged 14 or 35 years.
The industry is completely insane, "says that, to promote her first album, had
entered a tour of shopping malls in the United States

Projects

Although she admits to having made mistakes, she says that they have made her
the artist she is today. Unlike other icons of 80 years, and after taking a
break to raise her son, Tiffany has returned to show business in the 2000s. She
has recorded several albums of dance music, taking part in TV shows and appeared
in films, commercials and television series.

I continue to evolve as an artist. I have projects in mind, there are several
things that I want to do. I am sure that projects will develop in a way that I
would not expected. You should just have an open mind. I live in Nashville,
Tennessee, where he yad'extraordinaires songwriters. My next project will be an
album (which will appear by the end of the year) of country influence, very
Bonnie Rait"


This Article was taken from http://lejournaldequebec.canoe.ca/artsetspectacles/scene/archives/2009/03/20090318-192048.html

Sunday, March 29, 2009

Tiffany at TAO Nightclub






Tiffany 'I Worship The 80's' with hosted by 80's pop icon Tiffany at TAO Nightclub inside The Venetian Resort Hotel Casino Las Vegas, Nevada

Tiffany - Radio romance