Yolanda Foster shares throwback snaps from her 2011 wedding to David Foster | Daily Mail Online

From dailymail.co.uk

PUBLISHED: 01:10 GMT, 12 November 2014 | UPDATED: 09:49 GMT, 12 November 2014

Three years ago Real Housewives Of Beverly Hills star Yolanda Foster had a wedding fit for a queen.
And on Tuesday the wife of hit songwriter and music producer David Foster shared numerous photos to Instagram from what she calls ‘the most romantic day in my life’.
In the snaps, the former model is seen wearing a strapless beaded Monique Lhuillier wedding gown, and asks her followers to ‘please join me on a little journey today as I view some of the most memorable moments with my love @officialdfoster #OurAnniversary #RomanceAtItsBest’.

The couple’s ceremony began, set to music by a 40-piece orchestra, with British Columbia-born David being escorted down the aisle by two uniformed Royal Mounted Canadian Police and his five daughters from his various three previous marriages
Yolanda revealed, ‘I designed a ceremony with 120 of our closest friends and family gathered in a circle around us #MostRomanticDayInMyLife’.
His 50-year-old bride walked down the aisle with her then 12-year-old son Anwar and her two daughters Gigi and Bella Hadid acting as bridesmaids.
She said of being escorted by her son, ‘I know my daddy was looking down from Heaven, knowing I was in the best hands walking down the isle with my most precious man’.
Alongside a picture from the ceremony Yolanda shared a sentiment about husband David: ‘Nothing more meaningful & precious then my Love’s own written vows #MusicToMyEars’.

Speaking of music, performances during the ceremony included a breathtaking version of Pie Jesu by 11-year-old opera singer Jackie Evancho, a 50-member gospel choir who sang The Beatles’ All You Need Is Love, and finally David’s song The Prayer, which was performed by legendary Italian tenor Andrea Bocelli.
One of Yolanda’s anniversary-themed posts on Tuesday read: ‘After 5 years of dating and a life time full of practice we finally were pronounced Mr & Mrs David Foster on 11-11-2011 #Blessed’.
The ceremony was followed by a reception, where guests were treated to a five-course meal created by Chef Wolfgang Puck.

Of the tented candlelit space, Yolanda wrote: ‘I choose a grey palette for the interior with a pop of pink from my favorite flower the Peony’.
During dinner, reception performers – including Eric Benet, Michael Buble, Natalie Cole, Donna Summer, Peter Cetera, Baby Face, Kenny G, The Canadian Tenors and Neil Sedaka – kept guests entertained.
At one point David got up to perform Change The World with singer Avril Lavigne and actress Kate Hudson acting as back-up vocalists.

At 11:11 the newlyweds cut the first slice of their five-foot-high wedding cake, which was intricately decorated with music notes.
Yolanda gushed of the elaborate confection, ”Needs no explanation #11-11-11 #DarkChocolate’.
If the cake wasn’t enough for the wedding’s attendees, a dessert station was set up with various other options, framed by enlarged black and white photos of the couple’s parents.
‘Both our parents on their wedding day #WithUsInSpirit #OurSpecialDay’, Yolanda wrote with the matching snap.
The sixteen-time Grammy award winner’s fourth wife Yolanda can be seen on The Real Housewives Of Beverly Hills fifth season premiere airing November 18.

Source: Real Housewives Yolanda Foster shares throwback snaps from her 2011 wedding to David Foster | Daily Mail Online.

Malibu Seen: Arthur Janov and David Foster – Malibu Times: Malibu Seen

From malibutimes.com

Posted: Thursday, October 9, 2014 10:00 am
By Kim Devore / Entertainment Editor |

So there I was, on my way to see my favorite stylist at Marie’s Hair Studio on Malibu Road, when something funny happened before I even made my way into the chair.
There, on the front door, I noticed a sign for “Primal Scream: The Musical,” brought to you by Arthur Janov and legendary Malibu music man David Foster.
Something didn’t add up. I remember Arthur Janov and his groundbreaking “The Primal Scream” book from high school and I certainly knew mega-producer David from all my years in Malibu, but how did these two hook up to make of all things – a musical? And what did this have to do with Marie, who was apparently helping bring their vision to life?
Unlikely as it may seem, Arthur Janov teamed up with Dave to turn his best-selling book (based on his experiences working with primal therapy) to the stage at Pepperdine. Foster came across a collection of Arthur Janov’s poems from a quarter of a century ago and put them to music. The rest, they say, is history.
So how did Marie Ferro get into the picture? “Arthur and France Janov are clients that I always found fascinating as we would talk a lot about the in-roads primal therapy made in psychology,” Ferro said. “One day, two years ago, Arthur came in and was talking about a play he, France and David had collaborated on 25 years earlier, and asked if it was something I wanted to help produce.”
The immediate response was an enthusiastic yes. Marie couldn’t help but be inspired by the 90-year-old “The Primal Scream” author.
“His enthusiasm was contagious and the concept of the play was intriguing and innovative. When I heard the music — that sealed the deal. With David Foster’s genius and Arthur’s amazing ability to inject feeling into the songs, it was sure to be a hit,” she explained. “Knowing so many people over the years in the industry, I had a lot of information and contacts of people who could be a fit for the project.”
And they were off. Between blowouts and haircuts, Marie has been juggling rehearsals, promotions and more.
“Primal Scream: The Musical” is a powerful and emotional comedy – yes comedy – that centers on Jim and Julie. The two are lost souls who can’t express their love due to repressed childhood feelings. The audience is invited to join them on their journey as they delve into their troubled pasts to retrieve lost and buried feelings, which have led to all kinds of neurotic behaviors. Not good.
The production features more than 30 song and dance numbers – yup, song and dance numbers – with Janov’s lyrics and music by Foster. Then, get ready for a scream. There will be primals on stage, expressed this time as therapy. The message is that early childhood pain drives much of our behavior as we get on in years so by just getting rid of the painful feelings, you can rid yourself of a lot of anxiety and depression.
So if you are ready to give a shout out to David, Arthur and Marie, head down to the Smothers Theatre at Pepperdine on Oct. 17. And watch out world, warned Marie.
“What started as a labor of love has turned into an incredible journey that is promising to continue on into other theaters in Los Angeles and hopes to move on to Broadway.” New York, here they come!

More info

Source: Malibu Seen: Arthur Janov and Cindy Crawford – Malibu Times: Malibu Seen.

Bryan Adams Discusses New Album ‘Tracks Of My Years,’ Miley Cyrus And Two Forgotten Decades

From musictimes.com

By Alex M. Smith
Sep 30, 2014 12:01 PM EDT

Bryan Adams had such an obsessive work ethic early in his career that he’s forgotten entire stretches of the ’80s and ’90s.
“I wish I could be kidding you,” he said in a phone interview on Monday afternoon. “But I don’t actually remember a lot of my career.”
The Canadian singer, responsible for several Top 10 hits including “Summer of ’69” and “Everything I Do (I Do It For You)” blames the “volume of work” he went through for his memory loss.

He definitely remembers the ’70s, though. That’s the era from which he culled 12 cover songs for his new album, Tracks of My Years (out Tuesday). The tracklist includes re-imagined songs written by Bob Dylan, Ray Charles and The Beatles.
We caught up with the 54-year-old to talk about the new disc, the few things he can still recall from his heyday and Miley Cyrus, among other topics.
You’ve got a big day tomorrow. What’s it like to wake up on the morning of an album release?
I think it’s pretty good. I’m grateful that it’s coming out, and it should be kind of fun, I think.

I kind of remember releasing Reckless, because it was near my birthday in 1984. But I don’t remember the morning of it. I kind of remember the anticipation because I was really excited about the release of the song “Run To You.” I had a feeling that the track would really do something, and it did pretty good.
What was it like to promote a record back then? What else do you remember about that day?
I don’t actually remember a lot of my career. It’s not that I have some sort of amnesia or something, or that I’m suffering from memory loss. It’s just the volume of work that went on between 1983 and 1999 was so intense that there are great waves of my life that I just don’t remember.
Someone will say, ‘Oh, yeah! I saw you at Birmingham in 1987. Do you remember that gig?’ I’m like, ‘I know I played Birmingham sometime. But don’t ask me anything about the gig or what it was, because I don’t remember.’
I always get, ‘I saw you when you opened for Journey.’ I hardly remember that because there were so many gigs.

Did you make a conscious effort in ’99 to pull yourself away from that?
Yeah. I stopped touring like that. There’s no point. It was just work at that point. Now I work differently; I do 10 shows a month as opposed to never going home.
What can fans expect as we get into your run of fall shows? How does the structure of the show work?
In October, I’m doing some Bare Bones [Tour] shows, which is kind of like a presentation of songs from the past 30 years acoustically. Then come November, I’m gearing up the band again, and we’re gonna go out and do a 30th anniversary Reckless Tour. It should be good. I’m looking forward to it.
What are some of the pros and cons of having the band there vs. playing by yourself?

It takes a little more courage. It’s not easy just to walk up there and do it. But I’ve gotten pretty good at it now. I’ve done six years of it. I think I’ve got it kind of figured out now.
Tracks of My Years seems like a fun project; you got to go back and try out a bunch of old songs you love. But how hard was it to make some of these choices?
It was a hard record to make because it’s really hard to choose songs. In my humble opinion, a lot of songs are so sacrosanct they’re untouchable. Especially the songs that really were the influences in my career. I just chose stuff that was sort of around the same time when I first decided music was what I wanted to do. I chose songs that were on the radio at the same time.
Instead of doing “Whole Lotta Love” by Led Zeppelin, I would do something else. It’d be silly of me to do that song. How can you beat that? You can’t. I just chose songs that were great songs; not necessarily songs that I would’ve bought, even, but they stuck in my memory.
Back in the day in the ’70s, radio didn’t really play songs based on categories. They’d play songs if it was a great song. So you get a mix of country and rock and R&B. It was a good time for music, really — certainly inspiring for me.
So when it came time to choose the songs, it was just a matter of going through all those amazing songs and seeing which ones sounded right. They sort of had to sound like me.

Obviously, you’re not writing the lyrics, but you had to rewrite a little bit of the music. How does that process work as opposed to new material you create?
Well, you just give it your best shot. Sometimes I get to the end of recording a song, and say, ‘You know what? This is just sounding too much like the original. There’s no point in doing that. Let’s go back and do something else.’ A lot of time in the studio was kind of wasted because we were just trying stuff all the time.
Verve Records’ criteria was that the songs had to be Top 10 hits on Billboard, otherwise we’re not recording them. So at least for the first 11 songs on the record, I had to do familiar songs. At the end of the day before the album came out, I snuck a few other ones in there. “C’mon Everybody” by Eddie Cochran. I don’t know if that was Top 10. “You Shook Me” by Muddy Waters. I put some other stuff in there to rock up the album a little bit.

There were two different producers on the record besides myself, Bob Rock and David Foster. This is really David’s thing. He likes making records like this. He can just buzz through a bunch of songs that are hits and he makes people enjoy it. He says, “Just give it a try and see what happens.” A couple years later we finished the album.

When it came time to choose an album cover, I decided I wanted to have a photo of me when I was a youngster. I wanted to put a picture on there that was indicative of the time when I figured out music was what I wanted to do. As you can tell from that picture, I was kind of into hard rock. And I never looked back.
The only thing about having hair that long was, it was hard to get a job. So eventually I had to get it cut, which was a drag.
Looking back to that era: Do you think kids are still saving up money for guitars and playing in the basement?
No. I think people are saving up for iPhones. I don’t think the drive to be a musician is anywhere near what it used to be. But I could be wrong, because, apparently, people are making more music now than they ever have. But I don’t hear it in the same way.
Are there any younger artists that have caught your eye?

I hear songs once in a while that stand out. I heard a song the other day… [singing] “I’m all about that bass / About that bass.” That kind of reminds me of something The Shirelles would’ve done, you know?
Actually, you know what, I really like that song by Miley Cyrus, too. “Wrecking Ball.” I love that song. It’s amazing. I wish I’d written that song.
What about “Wrecking Ball” struck you?
I just thought it was a good chorus. She’s hot too, man. She’s so hot. Give me a break. For an old soldier like me. It’s pretty amazing. [Geezer voice] ‘Wouldn’t have done that in my day, let me tell you.’

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Source: Bryan Adams Discusses New Album ‘Tracks Of My Years,’ Miley Cyrus And Two Forgotten Decades : Genres : Music Times.

Bryan Adams goes down memory lane with ‘Tracks of My Years’

From jam.canoe.ca

Sep 25, 2014

Bryan Adams’ image is that of a denim-clad hard rocker from Canada with massive mainstream appeal.

His 65 million in album sales worldwide over the last three-and-a-half decades speaks to that.

So some of the ’50s, ’60s and ’70s covers the Kingston, Ont.,-born-North Vancouver-raised musician chose for his new disc Tracks of My Years, out Tuesday, might surprise his hardcore fans. Think the sunny pop of The Association’s Never My Love or the R&B soul of The Manhattans’ Kiss and Say Goodbye.

“I hope there are good surprises,” said the 54-year-old singer-songwriter-guitarist in Toronto recently.

“Instead of doing the songs that were the ones that really changed things for me, I decided I would do songs that were also around at the time that I remembered … I used to listen to all the songs (in my little transistor radio) … I used to have one little earplug — you didn’t get two, you got one — so that transistor radio was it for me; it was my connection to the outside world. So I remember all this music.

“And radio didn’t discriminate, it played everything. If it was a hit song, it got played no matter (what); whether it was country, R&B or rock. And so, as a result, you’d have Bridge Over Troubled Water into Mississippi Queen.”

The covers album idea was co-producers David Foster and Bob Rock’s idea and choosing the songs was the most difficult part.

Over a two-year period, Adams ended up recording about 40 tunes, but only 16 made the final deluxe edition track listing including The Beatles’ Any Time At All, Bob Dylan’s Lay Lady Lay, and a drastically reworked version of The Beach Boys’ God Only Knows.

“It drove David out of his mind,” said Adams, a long-time London, England, resident, who gets back to Vancouver a couple of times a year and still owns The Warehouse studio there.

“First of all, I wasn’t sure about making a record like this. It wasn’t something I really wanted to do. It wasn’t on my list of priorities. I had to be sort of talked into it. But once I got into it and decided, ‘Yes, I was going to do it,’ I gave it a 100%.

“I don’t do anything in halves. And I wasn’t going to settle for just, ‘Oh, that’s good enough.’ ‘That’s good enough’ is a phrase that doesn’t exist in my vocabulary.

“The challenge of a good cover is to do it in a way that makes it yours,” he continued. “And, I think, I did it.”

But given Adams knows, and has played with, a lot of the artists whose work he covers on Tracks of My Years, did he have to tiptoe around his treatment of these songs?

“I always do what I want to do,” said the musician. “I mean, I hope, at the end of the day, the other artists will like it. These days (in the music business) I guess it’s OK if someone else records your song, you gotta be happy.”

Also, the cover for Tracks of My Years flips Adams’ image on its ear. The album art is a black-and-white 1975 photo of a REALLY long-haired and smiling Adams at 15. He has his arms crossed over his chest, one hand holding a cigarette, and his stance is defiant.

“I’m at school in North Van, and it was the year I dropped out,” said Adams, whose photography career has grown alongside his music over the years. “And we were in art photography class and we had a little Zenith camera … my friend and I would just take pictures of each other, just goofing off.”

Still, Adams did choose it to be on the cover of Tracks of My Years in all its glory.

“The symbolism of that photograph is it’s the time I was sure that music was going to be what I was going to do. And I mean I had no idea where it was going to take me. Even if I was the roadie for a band, I would have been happy.

“But it was definitely music, somehow or another, (maybe) work in a record shop. I tried that, my hair was too long. I tried to get into A&B Sound at Park Royal (a mall in West Vancouver) and they wouldn’t hire me ’cause my hair was too long and I was too young.”

Turns out Adams wasn’t cool enough.

“You have to be a little bit hipper than that. I wasn’t that hip. I was a serious hippie and I was into heavy rock.”

Speaking of rock, Adams’ most recent photography assignment was shooting the new Status Quo album cover for Aquostic (Stripped Bare) in which the veteran British rockers appear naked behind acoustic guitars.

“It was five guys walking around with their balls hanging out the whole time in my studio,” said Adams with a grin. “It was their idea! I’m a big fan of the band anyway so that was great fun to do.

“I wish I had taken (photography) way more seriously, way earlier,” he added. “But I just didn’t really think it was possible to do two things at once; plus I was super focused on the music so there was no way I could have fit anything (else in).

“I don’t even remember the ’90s. That’s because I was working so hard. It’s like that thing in Star Trek, they go, ‘OK, we’re off.’ ”

You mean warp speed?

“Yeah, warp speed, yeah. That’s what I think of when I think of the ’90s … The gigs are just a blur.”

Still, Adams, who became a parent later in life (to three-year-old Mirabella and one-year-old Lula) with his partner Alicia Grimaldi, said he isn’t necessarily slowing down.

“I try to fill my life with lots of interesting things and family is obviously one of them and it’s probably the most important. But, I think, going away and having a diverse career where I can do both things benefits (everybody) because I’m happy,” he said.

Otherwise, Adams — whose last release was 2013’s Live at the Sydney Opera House — is currently making an original record with producer Jeff Lynne (ELO). Moreover, there’s also the Nov. 24 re-release of his monster album Reckless, celebrating its 30th anniversary this year with previously unreleased bonus tracks, and a January-February 2015 tour of Canada to follow.

“It’s such a good record and it’s so different to this (covers record),” he said of his Lynne collaboration.

“It’s going to be one of my best albums, for sure. Jeff’s done an incredible job with the production. It’s just so great. It’s a really rocking (album), really up; you can definitely hear Jeff’s sounds on it. It’s so distinctive; it’s really a fun record. It’s killer.”

Are there any songs that were influenced by fatherhood?

“It’s not going to be about nursery rhymes,” said Adams cheekily. “No, I don’t think so. I have definitely written songs for them, but they’re just sweet little ditties. I think it’s all about the overall happiness factor, about what family brings you. (Fatherhood) doesn’t surprise me because it’s such big love.”

And, now, when he travels the world, does he just have to pack more suitcases?

“Sometimes. It’s tough now that there are two, but I’m looking forward to them coming on the road,” Adams said of his daughters.

“I want them to experience the world. I think it’s a really good thing to be able to see different parts of the world in life ’cause that’s how I travelled as a child (as the son of a British-Canadian army officer-turned-diplomat).

“That was my life. Seeing the world and being in other places … (is) important.”


Bryan Adams covers other people’s songs on his new album, Tracks of My Years, but here are his five best tunes worthy of coverage by others.

1. Cuts Like a Knife (1983) – From Adams’ third album of the same name, this was the first of the great stadium rockers co-written by Adams and his writing partner Jim Vallance. And it perfectly captured the exquisite torture of being in love: “It cuts like a knife and it feels so right.” The Na-Na-Na chorus was inspired by everything from Hey Jude by The Beatles to Na Na Hey Hey Kiss Him Goodbye by Steam.

2. Run to You (1984) – From his huge album Reckless – whose 30th anniversary is being celebrated on Nov. 24 with a re-release followed by a tour of Canada in January-February – this first single about a philanderer – “ I know her love is true But it’s so damn easy makin’ love to you,” was originally pitched to Blue Oyster Cult. It has since been covered by everyone from Lou Barlow to Bananarama.

3. Summer of ‘69 (1984) – The fourth single from Reckless was completely concerned with sex, nostalgia and rock ‘n’ roll: “I got my first real six-string Bought it at the five-and-dime, Played it ‘til my fingers bled It was the summer of ‘69.” Nuff said.

4. It’s Only Love (feat. Tina Turner) (1984) – One of the great rock duets of all time, Adams was a mere 24 years old when he tapped soul-rock queen Tina Turner to sing on this winning sixth single from Reckless.

5. Can’t Stop This Thing We Started (1991) – Yes, Everything I Do (I Do It For You) was the monster hit from Waking Up the Neighbours, but this uber-confident feel-good track co-written by Robert John “Mutt” Lange is the one that blows the roof off the arenas.

Twitter: @JaneCStevenson


Source: Bryan Adams goes down memory lane with ‘Tracks of My Years’.

David Foster Theatre officially opens


Source: vicnews.com

By Kyle Wells – Victoria News
Published: May 07, 2013 12:00 PM
Updated: May 07, 2013 12:11 PM

Amid a camera flash-heavy atmosphere, composer David Foster watched as a rope was pulled in the lobby of the Oak Bay Beach Hotel on Friday to reveal a tribute wall dedicated to the man and his successes.

An acclaimed music producer and philanthropist, the Victoria-raised Foster was at the hotel to officially open the David Foster Foundation Theatre and celebrate the partnership between the hotel and the foundation.

This was Foster’s first trip to the hotel since its opening last year. With his wife Yolanda Hadid at his side, Foster shook hands with familiar faces and congratulated owners Shawna and Kevin Walker on their work.

“It’s so rare to find two people that are as committed as the two of you are to everything we do,” said Foster. “I don’t think we can underplay the importance of what the two of you mean to this community and to our foundation.”

The tribute wall features an autographed photo of Foster, along with framed showcases of three eras of his career. There is also a multimedia touchscreen on which guests can bring up video clips of Foster and the music he has helped create over the years, along with information about the foundation.

“How do we pay tribute to a man who has done so much?” foundation CEO Mike Ravenhill asked. “Not only in the music industry, but as a humanitarian, a philanthropist.”

Foster poked a little fun at himself about the display.

“You see on there Alice Cooper, St. Elmo’s Fire the movie, Dionne Warwick, my solo albums – which were kind of pathetic and nobody bought them,” he joked.

“I did,” came a voice from the crowd.

“You’re the one that bought them? Because I saw that statement: one sale,” Foster laughed.

“I’m not going to get maudlin about this or go on and on, but it does make you reflect.”

The David Foster Foundation raises money to support the families of children who are receiving organ transplants. The money allows families to temporarily live near the hospital while their child is being treated, without having to worry about the financial stress.

A portion of the profit from every ticket sold to events at the David Foster Foundation Theatre goes toward the foundation.

About 800 families have benefitted from the foundation. Nearly $300,000 has been raised so far at the hotel for the cause.

“When you can find a partner that actually speaks, talks, eats and breaths our foundation, it’s amazing,” Ravenhill said. “We can’t do it without the great support of the community and of corporate sponsors and partners, such as the Walkers and the Oak Bay Beach Hotel.”