Stevie Nicks turns up in the video by Destiny's Child for their song "Bootylicious." She's there because the single lifts a guitar sample from her song "Edge of Seventeen." Nicks doesn't play guitar, but she pretends to in the video (although not believably).For 25 years, Nicks has been what people want her to be. She's one of the most malleable human texts in rock history. In Fleetwood Mac, she was the earth mother, the beauty queen, the witch, the poet; her failed romance with guitarist Lindsey Buckingham informed most of her songs. She was loved and hated with equal fervor. She was at home in the opposite camps of rock & roll traditionalism and then-modern synth-pop. Today, she's beloved by punk-rock feminists and chick-flick filmmakers.
On her new album, Trouble in Shangri-La, Nicks works with seven producers and eight songwriters or co-writers . The best songs -- "Candlebright," "Sorcerer" -- have been in her back pocket for years, yet she sounds at home in the new millennium, addressing the complexities of love from every angle. Put her in front of a crowd and she starts twirling around and singing in that familiar voice -- reduced in range but still capable of delivering the songs the audience wants, from all stages of her career.
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