Here’s our drummer, Tony Thompson, and me at the airport. Even when we were traveling, we kept our fashion game up. Cheryl Hong
As a top Motown executive, Suzanne de Passe entrusted the label’s biggest star, Diana Ross, to Chic. It was a rocky road to Diana, but the album became the bestselling one of Ms. Ross’s career. Isaac Sutton/Ebony Collection via AP Images
Diana Ross was royalty, but as fun and unpretentious as she was beautiful and glamorous. Harry Langdon/Getty Images
My brother Bunchie wasn’t a rock star, but he was still living the dream. Darlene Dale
Here I am with the band for my second solo album, filming a video for our single, “State Your Mind.” A black man fronting a big-haired white band was a novelty then, but not the popular kind. David Allen
Working with David Bowie on the Let’s Dance album transformed my career—and, to some degree, his. Paul Hardy/GEMS
Steve Ferrone, John Taylor, Simon Le Bon, and me. I hooked Steve up with the band after they lost their first drummer, Roger Taylor. John Bellissimo/RETNA
Debbie Harry was a close friend and an excellent clapper. Courtesy of Danny Fried; photograph by Dominick Conde
My mother, or “Chic Bev” as her vanity license plate read, having fun in Long Beach. Author’s collection
Me with Brett Ratner and Nick and Julie Anne Rhodes. David Allen
Here I am wearing Rick James. Courtesy of Danny Fried; photograph by Dominick Conde
In the studio with the Thompson Twins, recording Here’s to Future Days. David Allen
Even in makeup, hakama, and kendo gloves, I’m not far from my guitar. Curtis Knapp
The delightful B-52’s, whose Cosmic Thing album I co-produced. Andy Freeberg/Hulton Archive/Getty Images
With fellow Honeydrippers Robert Plant and Jeff Beck. Ebet Roberts/Redferns/Getty Images
The remarkably talented Vaughan brothers. I first worked with Stevie Ray on the Let’s Dance album and we remained friends until his tragic death. Stephanie Chernikowski
Playing at Live Aid with Madonna, backing up the Thompson Twins. Courtesy of Danny Fried; photograph by Dominick Conde
At a party at the penthouse of Nirvana’s Shyamser Wadude—1980s glamour, decadence, and crazy eyes. David West
I became friends with Eddie Murphy while working on the Coming to America soundtrack. Courtesy of Danny Fried; photograph by Dominick Conde
The downward spiral was in full effect. With my girlfriend Lamya Al-Mugheiry and the actor Jaye Davidson. Jaye was red-hot at the time for his starring role in The Crying Game. Author’s collection
Keith Richards was pivotal, ironically, in getting me into rehab. Katz/AP Photo
My first sober show after rehab. I shouted “I belong here!” at the end of the set, confusing everyone, but it had to be said. Author’s collection
With Bernard and our interpreter, Masako, on a promotional tour in Japan. Author’s collection
Nancy Hunt (second from right), the head of my charity, the We Are Family Foundation. Marc Birnbach
In the wake of 9/11, we gathered to re-record “We Are Family,” with a roster of over 200 performers, from Diana Ross and Patti LaBelle to New York City emergency workers. Theo Wargo/WireImage/Getty Images
This book is dedicated to my biological, spiritual, and musical family. Without you there’d be no me. I love you very much.
Acknowledgments
David Kuhn, for inviting me to lunch, asking me to tell my story, convincing me to write it myself, and introducing me to Andrew.
Andrew Essex, for everything. Your musical background enabled you to speak to me in a language that I really understood: form, structure, verses, choruses, and repeatedly asking me, “Do the words sing to you?” Finally they did. You’ll eternally have my utmost respect, admiration, and friendship.
Debbie Ford, for letting me read to you on the beach during vacation.
Nancy Hunt, for simply being you and hanging in there with me. I love you.
Joseph Harris, M.D., for looking up the emergency room records of my father, Nile Rodgers Sr., which led me to the cemetery of the unclaimed dead.
Chris Jackson, who was a pleasure to work with because he always went that extra mile. I’m happy you were not offended at our first meeting when I said, “Damn, you must be the Colin Powell of editing.”
Cindy Spiegel and Julie Grau, for taking a page out of my book and working with an opening act.
The great staff at Spiegel & Grau: publicist Maria Braeckel, who tirelessly took my crazy emails that started with, “Ooo, maybe we can …”; the marketing team led by Avideh Bashirrad and Erika Greber; the art director Greg Mollica and designer Evan Gaffney; Julie and Chris’s assistant editor Laura Van der Veer; and assistant editor Mya Spalter, who offered useful notes early in the process.
All images courtesy of the author except for the following:
1.1 Capitol/EMI
2.1 Everett Collection
2.2 Archives, Los Angeles County Metropolitan Transportation Authority
3.1 Ministerstvo Kinematografii/The Kobal Collection
3.2 Ed Ford/Associated Press
4.2 Myriam Babin/Photonica/Getty Images
5.1 Everett Collection
5.2 John Bryson/Sygma/Corbis
6.1 Filmstills.net
6.2 Charlie Gillett Collection/Redferns/Getty Images
6.3 ARChive of Contemporary Music
p2.1 Waring Abbott/Getty Images
7.1 ARChive of Contemporary Music
7.2 Bob Gruen
7.4 Diane Alexander White
7.5 Bettmann/Corbis
8.5 ARChive of Contemporary Music
8.7 Ian Dickson/The Hell Gate
9.1 Steve Kagan/Getty Images
10.1 Ron Galella/WireImage/Getty Images
10.2 Shutterstock
11.1 New York Daily News Archive/Getty Images
11.2 Everett Collection
12.1 ARChive of Contemporary Music
p3.1 Everett Collection
13.1 k-ko/Flickr/Getty Images
About the Author
NILE RODGERS is an American musician, composer, arranger, and guitarist, and is considered one of the most influential music producers in the history of popular music. His recordings have sold in excess of 100 million copies.