where is danny nozell from

And yawn and stretch and try to come to life. Dolly Parton’s publicity contact is: Marcel Pariseau c/o True Public Relations … “It starts with a song, and I hope it’ll end with a song,” she tells me during our first conversation. Its pages are filled with items that Parton must have decided to keep long before she was famous: a dry-cleaning receipt of Wagoner’s on which she scrawled the lyrics to her 1971 classic “Coat of Many Colors”; the first royalty check she received for a song she wrote (dated February 1966), in the amount of $1.02. The Promoter 101 Podcast features CTK Management's CEO Danny Nozell discussing his work with Slipknot, Dolly Parton, Barry Gibb, Kenny G and so much more! Danny has 1 job listed on their profile. Still, I like to think that in that extra, unscheduled 10 minutes, Parton was able to sit down by herself somewhere to write something — or rest. Photo in background: Chris Walter/Getty Images, Craig McDean. This landline phone number is associated with him. Nozell tells me that, when she hired him in 2004, she had not had a manager since the early 1990s, did not have a website and seldom toured; when she did, she was booked to play arenas that sold a mere fraction of available tickets. This, in any case, is the impression I get when we first speak, by phone, in late September. … But when it comes to my writing … it’s just that little special thing that’s just mine.” Talking about music draws out a side of Parton that is particularly candid and serious. Danny Nozell works in the industry of Human Resources & Staffing, Business Services. THE WORD THAT you’re going to have to use over and over when describing her is ‘work,’” Summers tells me. She had parted ways with her longtime label, RCA (for reasons that are still subject to dispute), but she had started her own label, Blue Eye Records, and was still making great music: Between 1999 and 2002, she recorded a trio of bluegrass albums, including the Grammy Award-winning “Grass Is Blue,” that are some of her proudest achievements. This here-then-gone dance is one of Parton’s many legacies for female artists, even those who are too young to know she also proved women could succeed in country music without being managed by or paired as a duo with their husbands (as was the case for Kitty Wells and Loretta Lynn, she notes). The Promoter 101 Podcast features CTK Management's CEO Danny Nozell discussing his work with Slipknot, Dolly Parton, Barry Gibb, Kenny G and so much more! PEOPLE WANT HER gifts, her glow, her time; and Parton, who, as she says, “loves everybody and wants everybody to love me,” is often happy to oblige. We provide email, phone, address, along with clients info for thousands of entertainment professionals. Parton famously devised and played the song’s rhythm by brushing her long acrylic nails together; and that sound, which evokes both a washboard and a typewriter, reminds us that music, like beauty and housekeeping, is work. Pulling this off has been complicated and risky. Nashville, Tennessee, 37209, When Nozell came in, he strategically targeted a younger generation through “heavy TV and viral marketing” and European tours in 2007 and 2008. It later dawned on me that I was disappointed she didn’t want to mask up and keep chatting. Where does Danny Nozell live? The agency will represent the country superstar for North American touring and personal appearances. Extremely poor, but confident and creative, Parton wrote her first songs at age 5 or 6, got her first guitar at age 8 and appeared on a local radio and television show at age 10. Hello, I’m Dolly, she says repeatedly, through mutually reinforcing media platforms of musicals, films, TV shows, theme parks and books. YOU COULD SAY Parton is having a moment, although it is one of many she has enjoyed and endured over the past 15 years. The song hails the possibility of breaking an exploitative cycle, of making tomorrow’s 9 to 5 different from today’s — and Parton’s lyrics themselves push beyond routine and toward escape: She enlivens the daily grind with the buoyant words “tumble” and “stumble”; surprises us with the winning phrase “cup of ambition”; and brings the solitary worker into alliance with the collective at the level of rhyme, where “pumping” blood meets “jumping” traffic. firm: “I was born — we’ll start with when I was born, OK? Though I live in Nashville now, I grew up in New England in the 1980s: far from the region where Parton is regarded as a secular saint, but never far from a television, one of her primary domains in that decade. Parton’s safekeeping of these objects speaks to her sense of legacy; but it also lets us in on one of the most intimate, elusive aspects of any artist’s life: her process. She tells me she would much rather discuss her music than politics or her “new product line” (she has several, including greeting cards and perfume). Danny Nozell is a manager, and works at CTK Management. There are times, she writes in the book, when “A great line will just come to me, and I’ll go, ‘Hey, thank you, Lord. Known as Nove Entertainment, the property is located at 6705 Centennial Blvd. She has a schedule resembling that of a tech CEO with a cult following: Often starting at 4 a.m., Parton and her longtime manager, Danny Nozell, review what her team calls the “Ask Dolly” list, a log of opportunities and decisions for Parton to weigh in on that Nozell keeps to no more than 50 items to present in one sitting. Only as an adult did I see how widely and warmly (if sometimes ironically) Parton has been embraced by people with little else in common. Makeup: Dolly Parton. Whitepages people search is … Want to contact Danny Nozell? d***@ctkmgmt.com. Take, for instance, the faded, stained draft of her theme song for the film “9 to 5.” In Parton’s recorded version of the song, a propulsive Top 40 hit backed by an R&B horn chart, she sings these opening lines: Tumble out of bed and I stumble to the kitchen. Born as they are of inspiration, collaboration and craft, her songs exceed Parton herself, just as they will outlast her when she is gone. With every new element, such as background vocals, Parton keeps tweaking: “ ‘Ooh, that line feels a little weak right there,’ or ‘I could do better than that.’” Although she can’t read music or “write the charts,” she says, she has always been involved in every aspect of arrangement and production. In 1976, Parton became the first woman in country music to have her own TV program, “Dolly.” In 1980, she moved into film by starring alongside Jane Fonda and Lily Tomlin in “9 to 5,” then transitioned from country to pop via duets with Kenny Rogers, including 1983’s “Islands in the Stream,” and founded the amusement park Dollywood — her hometown, Pigeon Forge’s, joyful answer to Presley’s Graceland — in 1986. Our interview has been postponed for weeks because of scares within Parton’s circle — people exposed to the virus meant press and production shutdowns, at a cost, Nozell estimates, of $100,000 per day. Summers sees it differently, though. … So I just pray about it, and I just reach out there and do it. HQ Phone (615) 463-8791. Shop for Vinyl, CDs and more from Danny Nozell at the Discogs Marketplace. Danny Nozell Contact Information. Summers, 56, who first began working for Parton in 1991 as a performer at Dollywood, and who, since 2000, has overseen several aspects of her career, including her stage shows, lighting and wardrobe — she paid his tuition to attend New York’s Fashion Institute of Technology in the aughts — says she doesn’t take any time off: “I can call her 24 hours a day, seven days a week to discuss business and she will never get mad at me. But for an artist who spends so much time explaining herself, it must be a relief to discuss something else. Last year, for example, Parton produced and acted in the Netflix series “Heartstrings,” in which her songs were reimagined as the basis for inclusive family dramas; oversaw a restaging in London of “9 to 5: The Musical,” a play that originally opened on Broadway in 2009, for which she composed the music; and recorded an inspirational duet with Zach Williams, “There Was Jesus,” which became her first single to reach No. Parton says she “lives on creative and spiritual energy” — and the more she talks about “rising above” her physical self to meet the demands of each day, I see she means this literally: She subsists on energy instead of typical amounts of sleep (she gets no more than six hours a night, and is fine on three). The address on file for this person is 688 Legends Crest Dr, Franklin, TN 37069-4656 in Williamson County. View the profiles of people named Danny Nozell. This interplay between confidence and humility marks Parton’s comments on her life and work. She might have asked if I had kids, and if they’d ever been to Dollywood. (Her 1994 memoir, “Dolly: My Life and Other Unfinished Business,” opens with a self-mythologizing echo of her interview with Corbin: “Once upon a time and far, far away, back in the hollers at the foothills of the Great Smoky Mountains. — I was born on January the 19th, in 1946, in Sevier County, in Sevierville, Tenn. It’s a little town between Knoxville, Tenn., and Gatlinburg, Tenn. And you might shorten it by saying, ‘the foothills of the Great Smoky Mountains.’” Parton dutifully answers Corbin’s questions (telling him she most enjoys writing and singing “real strong, pitiful, sad, crying ballads”), before steering the conversation toward a topic he hasn’t asked about, but should have: “Well, I have a new album out, I didn’t mention — or it’s not out, but … it should be out by the end of this month. Never.” Parton does take vacations, she says, but she finds it a drag to pack and travel and, besides, her “mind is always working” on her next endeavor. Parton's manager, Danny Nozell, spent $1.6 million to convert a warehouse outside Nashville over six months last year, and when he finished, A Holly Dolly Christmas could finally proceed. “I just wanted to do really good work, and I wanted it to make a really big difference in the world … to uplift mankind and glorify God,” Parton says to me, justifying her early ambition, as she conveyed it in a 1977 interview with Barbara Walters, to become a “superstar.” I wish she didn’t feel compelled to defend this, but I understand: Wherever one places Parton on the spectrum of contemporary feminism, her candor about her professional ambition remains remarkable for a woman, then as now. ‘Dolly’s Deathbed Songs’! “She can write anything,” says Debbie Allen, the iconic dancer and director best known for her work on the 1980s TV series “Fame,” who directed, choreographed and executive produced the film. …”) Same old me, but now I’m in the movies, she implied when moving from country music to Hollywood via the 1980 working women’s comedy “9 to 5.” Even Parton’s transition from commercial pop to folksy bluegrass in the late 1990s was framed not as a detour but as a return: These are my musical roots. Parton was 21, and had yet to release her first solo album, but the surviving audio recording reveals that she was already shaping her account of herself with the editorial finesse of a one-woman P.R. Her ability to navigate social and conceptual divides helps explain why this is: She is country without being retrograde; a friend to the outcast whose basic political philosophy, that people should get paid to do what they do best, is uncontroversial. He describes Parton as a “musical savant” who hears songs “complete in her head.” If Parton looked as formidable as she is, “you couldn’t process it,” Summer says. Danny T. Nozell is listed as an Agent with Ctk Records, LLC in Tennessee. “I’m really not that ‘high maintenance,’” she writes in the new book, “I can put on my makeup, costume and wig and be ready for anything in 15 minutes or less.” Summers describes a “beautiful Western sheer kimono concept over a white pantsuit that’s cut off into capris” that was crafted by the Los Angeles-based designer Robért Behar and that Parton named Roger White. Which industry does Danny Nozell work in? Certainly, she is a curiosity: a fiercely ambitious musician turned industry who seems to have sprung, fully formed yet inexplicably, from a poor, white, Christian, Southern milieu often tied to patriarchal conservatism, and whose gravity-defying breasts, wind-defying platinum wigs and age-defying face tell, or refuse to tell, their own story. Watch popular content from the following creators: Danny diezel(@dannydiezel), Danny diezel(@dannydiezel), Danny diezel(@dannydiezel), Danny diezel(@dannydiezel), Danny diezel(@dannydiezel) . More than 50 years into her legendary career, she’s still capturing America’s particular mythology — its dreams and its disappointments — like no other. The company is a Tennessee Domestic Limited-Liability Company, which was filed on July 6, 2012. Photos in background, from left to right: Photo by Hope Powell, permission Hope Powell Estate, courtesy of Dolly Parton; Chris Walter/Getty Images, Dolly: My Life and Other Unfinished Business. Hence her decision to write the song “Travelin’ Thru” for the 2005 film “Transamerica,” about a trans woman’s attempts to connect with her son; and, in 2017, to join Miley Cyrus on the pro-gay anthem “Rainbowland.”, But for “Christmas on the Square,” a feel-good holiday film in which Parton plays an angel sent to soften the heart of a rich villain played by Christine Baranski, Parton wrote not just for multiple character types, but in myriad styles: contemporary R&B with affecting vocal cries for the singer Matthew Johnson, who plays an earnest single Black father; plot-advancing musical theater numbers for stage veterans Baranski and Treat Williams, who plays Baranski’s old flame; and folksier fare for herself. I know I didn’t think of that.’” Though her songs come to her naturally, they’re not ready-made. What’s more, she says, “When I go to those [Broadway] shows, I think, ‘Well, I could do that!’ … I love having to rise to an occasion, and … being able to do something that I hope might impress somebody. “She wore that outfit on and off for 10 years,” her creative director adds — so often that he finally “had to hide it,” telling her that “social media will kill you if you put this on one more time.” It was a loss tempered only by the fact that Parton had had the outfit made in other colors, known as Roger Black and Roger Maroon. Like her songwriting, Parton’s work as a duet artist pushes her to reach beyond herself, for notes she didn’t know she could hit. But if I had to choose just one thing to be,” she continues, “I would choose to be a songwriter. The urgent guitar riff that animates her 1973 hit “Jolene,” as well as her decision to begin that song with the chorus (unconventional at the time, though common now), implies that the speaker has no time to wait in trying to reclaim her man from Jolene, whom she depicts with the ardor of a Shakespearean sonnet: “Your beauty is beyond compare, / With flaming locks of auburn hair, / With ivory skin and eyes of emerald green.” In her 2008 song, “Cologne,” she doubles the first and last lines of the opening verse — “You ask me not to wear cologne, / She’ll know you’ve been with me alone, / And you can’t take our secret home, / So you ask me not to wear cologne” — a choice that formally blocks or walls the lovers in, just as the man hopes to do with their affair. … I could happily just sit in my house forever, enjoy life and write songs.” If the image of Parton sitting at home on her couch with a notebook seems out of step with her status as America’s most socially skilled glamour queen, we might consider how much of her musical output has never been heard by the public: Since the 1960s, Parton and others, including country legends such as Hank Williams Jr. and Emmylou Harris, have recorded but a fraction of the several thousands of songs she is estimated to have written. Parton’s collaborative energy explains why, despite her singular flair, Parton excels at duets — a country staple and a form that has been essential to her career since her work with Wagoner. Even if, one day, she can no longer play shows, she can still write music and “do my a cappella album: ‘From the Bedside With Dolly’! In many of her public appearances, she says, she can answer or evade questions about her life and politics “right off the top of my head” (“you know, a lot of them are basically the same”) — but “Songteller” reveals “that little simple, deep-seated part of me that really thinks of myself as a songwriter, or a poet.” She continues, “I’ve got a big ol’ mouth and personality, so it’s easy for me to get out and entertain. With folks like me on the job from 9 to 5. That Parton prizes showbiz efficiency more than variety is in keeping with what she told Walters: that her outsize appearance was a means to an end, a gateway to her art. (“She likes to name things that are her favorites,” Summers says; she named this one after her personal assistant Judy Ogle’s brother Roger, who liked it, too.) These projects also come on the heels of a 2019 documentary directed by the British producer Francis Whately, “Here I Am”; a 2019 New York Public Radio series, “Dolly Parton’s America,” which sees Parton as the “great unifier” of a desperately divided nation; and a recently released book by the writer Sarah Smarsh, “She Come by It Natural,” on the feminist meanings of her songs. Danny Nozell c/o CTK Management 2817 West End Ave PO Box 389 Nashville, TN 37203. Select this result to view Danny Nozell's phone number, address, and more. But it’s called ‘Hello, I’m Dolly.’”. What I Did During The Covid Shutdown with Jay Goldberg Events' By Thursday morning, three of them — Parton, Kenny G, … Music industry executive Danny Nozell has opened a new rehearsal space and high security storage facility in Nashville. 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