Becoming a bonafide living legend isn’t as easy as Glen Campbell makes it look. First, you have to have a solid foundation of talent on which to build — like being one of the hottest guitar players in the world. Then you have to record songs that will stand the test of time — standards such as “By The Time I Get To Phoenix” and “Wichita Lineman.” And of course, to be a “living” legend, you need to survive the harsh reality of a celebrity lifestyle.

It certainly doesn’t hurt to have a witty, bantering stage style that draws fans like college students to Daytona Beach, or a hit television show viewed by 50 million people every week for three years.

When you put it all together, the result is a career that spans fifty-plus years and fans that cross generational and international lines. In other words: Glen Campbell.

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He is best known for making science entertaining and accessible for school-age children and adults as the host of a weekly Disney Channel series and guesting on Disney’s Mickey Mouse Club, Late Night with David Letterman, and a range of television and radio shows. He earned a degree in mechanical engineering from Cornell University and worked previously as an engineer at Boeing.

Cosponsored By:
Engineers Week
George Gund Lecture Fund
Committee on Lectures (funded by GSB)

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Fueled by a passion for music, Chicago’s members exploded the conventions of what rock music could or should be. The result was a groundbreaking new form, played by extraordinarily talented musicians.

Once the group began making records, fans rewarded the group with record sales of 100,000,000, 21 Top 10 singles, 5 consecutive Number One albums, 11 Number One Singles and 5 Gold singles. An incredible 25 of their 33 albums have been certified platinum. To date, Chicago is the first American band to chart Top 40 albums in five decades – a landmark accomplishment.

Initially called The Big Thing, they hit the Midwest club circuit in 1967. In 1968, they took the name Chicago Transit Authority, moved to Los Angeles and signed to Columbia Records. Chicago Transit Authority, their double-LP debut (April, 1969), was an underground hit whose sales were fueled by their incessant touring. They simplified their name on the liner notes of the CTA album, and from that point on, the band was called Chicago. Chicago II (January, 1970), another two-record set, contained their first two Top Ten hits, “Make Me Smile,” and “25 or 6 to 4.” Their debut album held two more belated hits and also two of the band’s most requested songs, “Does Anybody Really Know What Time It Is?” and “Beginnings.” A third double album, Chicago III (January, 1971) consolidated their success. Chicago’s historic, four-disc boxed set live album, Chicago at Carnegie Hall (October, 1971), marked the first time a rock and roll band played at Carnegie Hall.

Chicago V (July, 1972) topped the charts for nine weeks and spawned the gold single, “Saturday In The Park.” Chicago VI (June, 1973) was Number One for five weeks and contained the hits “Feelin’ Stronger Every Day” and “Just You ‘N Me,” the latter a Number One in Cash Box and another gold single. Chicago VII (March, 1974) was yet another Number One LP whose hits included “(I’ve Been) Searchin’ So Long,” “Call On Me,” and “Wishing You Were Here.” Chicago VIII (March, 1975) had the group’s fourth straight chart topper, the nostalgic hit, “Old Days.” It’s no small wonder that Chicago IX – Chicago’s Greatest Hits (November, 1975) eventually sold five million copies.

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Brickman’s best-known compositions include the chart-toppers “Valentine,” “The Gift,” “Love of My Life,” “Simple Things” and “Peace.” He’s established a reputation for his collaborations with many gifted musical artists: Lady Antebellum, Martina McBride, Kenny Loggins, Michael W. Smith, Carly Simon, Herb Alpert, Collin Raye, Michael Bolton, Donny Osmond, and Olivia Newton-John.

His signature style has brought him six Gold and Platinum albums, 30 charted adult radio hits, and two Grammy nominations. He recently tied for most Number One albums on Billboard’s New Age chart, and he currently holds four of its Top 10 spots. Brickman received top honors with two SESAC “Songwriter of the Year” awards, a Canadian Country Music Award and a Dove Award presented by the Gospel Music Association.

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Live Nation and Comedy Central welcome Daniel Tosh “The June Gloom Tour” with special guest, Jerrod Carmichael to Stephens Auditorium on Tues., June 4.

The tour kicks off on May 30th in Salt Lake City and travels to over 25 cities across the United States.

“Tosh.0” currently airs on Tuesday nights at 10:00 p.m. ET/PT and consists of 30 episodes throughout 2013. The series premiered on June 4, 2009 and features the razor-sharp humor and biting commentary from comedian Daniel Tosh and delves into all aspects of the Internet from the absolutely absurd to the incredibly ingenious in this weekly, topical series.

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On the road, Straight No Chaser has built a reputation as an unforgettable live a cappella act. They’re performing on the heels of their 4th album to be released on May 7, Under The Influence, featuring collaborations with artists such as Sara Bareilles, Jason Mraz, Rob Thomas, Phil Collins, Seal and more!

Originally formed over a dozen years ago while students together at Indiana University, the group has reassembled and reemerged as a phenomenon – with a massive fan base, more than 20 million views on YouTube, numerous national TV appearances, and proven success with several chart-topping albums.

In an era when so much pop music is the product of digital processing and vocal pro-tooling, Straight No Chaser is the real deal – the captivating sound of ten unadulterated human voices coming together to make extraordinary music that is moving people in a fundamental sense… and with a sense of humor.

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This extraordinary collaboration, 13 years in the making, is a haunting tale of fraternal love, lust, jealousy and revenge, which will be performed by an ensemble cast of 15 actors and a four-piece live band. The album of the musical will be released on June 4 via Hear Music and the Concord Music Group.

The Ghost Brothers of Darkland County saga began when Mellencamp told King about a cabin on his land in Indiana where two brothers had gotten in a fight over a girl; one brother accidentally killing the other, only to die along with the girl in a car crash a short time later. King came up with an outline for a play in a matter of days. And then off and on, back and forth, they began to develop it into a full-length musical.

The superb blues ‘n’ roots music of Ghost Brothers reflects the wide range of styles and influences needed for a work that jumps back and forth across decades. Rather than use the songs to propel the play’s narrative, as in a conventional musical, Mellencamp chose to make them a way to reveal the emotions and inner workings of the characters.

Set in the tiny town of Lake Belle Reve, Mississippi, the Ghost Brothers’ story centers on two sets of brothers: the ghosts of Jack and Andy, dead in an apparent murder/suicide, and their nephews, the living Frank and Drake, who seem to be headed toward the same downward spiral as their uncles. Joe, younger brother of Jack and Andy, father of Frank and Drake, has decided it’s time to reveal his own terrible secret at the site of the tragedy, before it’s too late.

As the story emerged during the writing of the musical, it became clear to the collaborators that Ghost Brothers had taken them into unfamiliar territory — and they liked it that way.

“John can make rock & roll records and I can write books for the rest of our lives, but that’s the safe way to do it, and that’s no way to live if you want to stay creative. We were willing to be educated, and at our age, that’s an accomplishment.”

Stephen King

Putting King’s words and Mellencamp’s songs on the stage is in the skillful hands of acclaimed director Susan Booth, who calls the musical a “a kind of new age travelling medicine show.”

“This is a gothic story-driven rock concert. I want the emphasis to be on this fantastic score and our great singers and how the story advances us from song to song. In most musicals, the songs advance the narrative. With Ghost Brothers, the story will advance the songs.”

Susan Booth, director

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