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John Barbata, drummer for the Turtles, CSNY and Jefferson Airplane, dies at 79

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John Barbata, drummer for the Turtles, CSNY and Jefferson Airplane, dies at 79

John Barbata, the classic rock drummer who played on era-defining records by the Turtles, Jefferson Airplane and Crosby, Stills, Nash & Young, has died. He was 79.

Jefferson Airplane (and its offshoot Jefferson Starship) confirmed Barbata’s death in official posts on their social media accounts. A full list of survivors and exact date of death were not immediately available.

Barbata was “known for his exceptional talent,” Jefferson Airplane wrote in its statement announcing his death. “Back in ‘72, during a hiatus for CSN&Y, David Crosby introduced John to the Airplane, who hired John instantly. You can hear John’s drumming skills on the band’s final studio album, ‘Long John Silver,’ as well as the live album ‘Thirty Seconds Over Winterland.’”

Barbata, born in New Jersey, moved to Southern California as a teenager, playing in surf-rock bands — he was a member of the Sentinels, whose “La Tinia” was a local radio hit in 1961 — before joining the Turtles, then riding high after their 1965 cover of “It Ain’t Me Babe.” Barbata recorded on their chart-topper and defining track “Happy Together” and the follow-up smash “She’d Rather Be With Me.”

Barbata stayed with the group through their final three albums, 1967’s “Happy Together,” 1968’s “The Turtles Present the Battle of the Bands” and 1969’s “Turtle Soup.” In his memoir, he recalled a wild London trip where he partied with John Lennon, Paul McCartney and the Rolling Stones’ Brian Jones, a night that went sideways when a Turtles roadie spilled a pitcher of beer on Lennon.

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After the Turtles broke up, Barbata joined CSNY for a run of tour dates that were documented on the live album “4 Way Street,” where he played drums on Neil Young‘s “Ohio,” written in the wake of the Kent State campus shootings.

When that group went on hiatus, Barbata performed on several of its members’ solo albums, including Young’s “Time Fades Away,” Graham Nash’s “Songs for Beginners” and Stephen Stills’ 1970 self-titled record. (Barbata also famously played a 45-minute drum solo to prevent a riot when 1969’s Atlanta Pop Festival suffered a power outage.)

David Crosby recruited him to join the final Jefferson Airplane lineup, and the band later brought him into Jefferson Starship, where he played on hits like “Miracles” over four LPs: 1974’s “Dragon Fly,” 1975’s “Red Octopus”, 1976’s “Spitfire” and 1978’s “Earth.”

Along the way, he recorded and toured with Linda Ronstadt, Joni Mitchell, Leon Russell, Doctor John, the Everly Brothers and many more. Barbata, as he recounts in his memoir, declined both an opportunity to drum for Elvis Presley and a chance to join the Eagles, telling the Phoenix New Times that “[David] Geffen walked over to me and said, ‘There is a new group forming, and they want you to be part of it. They are called the Eagles.’ I said, ‘Who the hell are the Eagles? I never heard of them.”

A 1978 car accident and long recovery necessitated his departure from Jefferson Starship, and he largely left the music industry afterward. Barbata published a memoir, “The Legendary Life of a Rock Star Drummer,” in 2005. He eventually moved to southern Oklahoma, where he spent his last years.

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“It was a wild ride, and one that I’m glad I had the opportunity to experience,” Barbata told the Oklahoman in 2005. “It was an experience, and one that allowed me to make a lot of money doing what I love to do: make music and perform. I met a lot of great people, learned a lot of hard lessons and eventually met the woman of my dreams.

“What more could a guy from New Jersey ask for?”

Movie Reviews

Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC

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Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC

Nintendo’s Shigeru Miyamoto says he’s surprised at the negative critical reception to the Super Mario Galaxy Movie.

As reported by Famitsu, Miyamoto conducted a group interview with Japanese media to mark the local release of The Super Mario Galaxy Movie.

During the interview, Miyamoto was asked for his views on the critical reception to the film in the West, where critics’ reviews have been mostly negative.

Miyamoto replied that while he understood some of the negative points aimed at The Super Mario Bros Movie, he thought the reception would be better for the sequel.

“It’s true: the situation is indeed very similar,” he said. “Actually, regarding the previous film, I felt that the critics’ opinions did hold some validity. “However, I thought things would be different this time around—only to find that the criticism is even harsher than it was before.

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“It really is quite baffling: here we are—having crossed over from a different field—working hard with the specific aim of helping to revitalize the film industry, yet the very people who ought to be championing that cause seem to be the ones taking a passive stance.”

As was the case with the first film, opinion is divided between critics and the public on The Super Mario Galaxy Movie. On review aggregate site Rotten Tomatoes, the film currently has a critics’ score of 43% , while its audience score is 89%.

Shigeru Miyamoto says he was surprised by Mario Galaxy Movie reviews.

While this is down from the first film’s scores (which were 59% critics and 95% public) it does still appear to imply that the film’s target audience is generally enjoying it despite critical negativity.

The negative reception is unlikely to bother Universal and Illumination too much, considering the film currently has a global box office of $752 million before even releasing in Japan, meaning a $1 billion global gross is becoming increasingly likely.

Elsewhere in the interview, Miyamoto said he hoped the film would perform well in Japan, especially because it has a unique script rather than a simple localization as in other regions.

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“The Japanese version is a bit unique,” he said. “Normally, we create an English version and then localize it for each country, but for the first film, we developed the English and Japanese scripts simultaneously. For this film, we didn’t simply localize the completed English version – instead, we rewrote it entirely in Japanese to create a special Japanese version.

“So, if this doesn’t become a hit in Japan, I feel a sense of pressure – as the person in charge of the Japanese version – to not let [Illumination CEO and film co-producer] Chris [Meledandri] down.

“However, judging by the reactions of the audience members who’ve seen it, I feel that Mario fans are really embracing it. I also believe we’ve created a film that people can enjoy even if they haven’t seen the previous one, so I’m hopeful about that as well.”