![]() And I would’ve let them make me as dependent as I have always been on them, because that was the way it was from the beginning. In Fleetwood Mac I could never have done it, ’cause going into them as a real young woman-I wasn’t really young in years, but I was really young in what I was getting into, just being on one long six-year tour-if I had tried to do this LP with Fleetwood Mac, they would have done it. ![]() I fought through six years to make this LP. Although there are a lot of wonderful girl singers around, still I think it’s their world. I think the music industry is very male oriented. It doesn’t allow you to be that very much. You live with somebody-well, it doesn’t make for terrifically strong and independent women. I mean, the song “Bella Donna,” which says “come in out of the darkness,” was, as you said, what rock ‘n’ roll is. Nicks: That’s what “Bella Donna” is about. High Times: What I’ve gotten out of your album so far is your special way of combining vulnerability with strength-qualities that are hard to put together. They sipped coffee and wine and spoke of many things: of shoes and discs and Fleetwood Macs and cabbages and kings. She tracked Stevie down to her penthouse suite at the Plaza Hotel and found the ethereal songstress just dying to talk about her solo career and her number-one album, Bella Donna. So we sent Liz Derringer, first lady of rock journalism and a specialist at corralling big names for us. Set ’em up for the heavy DEA informant rap next month.” ![]() Give ’em a break, give ’em some gossamer. “Szasz, Anton Wilson, Leary, Turner, Bukowski. “Look, enough with these heavy interviews,” the guys upstairs told us. To celebrate Stevie Nicks’ birthday May 26, we’re republishing Liz Derringer’s interview with the rock goddess from the March, 1982 issue of High Times.
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