#Jagger Unauthorized

[omg-hellgirl]

"Anita was an exotic, ambitious, sexy, decadent, dangerous woman," observed Mankowitz. "In a word, she was trouble."

Christopher P. Andersen, Jagger Unauthorized.

[waugh-bao]

[bluesrocknrollinstones]

Mick in the Jagger Unauthorized magazine

[patiencesinners]

Dear Campaign Committees: As artists, activists, and citizens, we ask you to pledge that all candidates you support will seek consent from featured recording artists and songwriters before using their music in campaign and political settings. This is the only way to effectively protect your candidates from legal risk, unnecessary public controversy, and the moral quagmire that comes from falsely claiming or implying an artist’s support or distorting an artists’ expression in such a high stakes public way. This is not a new problem. Or a partisan one. Every election cycle brings stories of artists and songwriters frustrated to find their work being used in settings that suggest endorsement or support of political candidates without their permission or consent. Being dragged unwillingly into politics in this way can compromise an artist’s personal values while disappointing and alienating fans – with great moral and economic cost. For artists that do choose to engage politically in campaigns or other contexts, this kind of unauthorized public use confuses their message and undermines their effectiveness. Music tells powerful stories and drives emotional connection and engagement – that’s why campaigns use it, after all! But doing so without permission siphons away that value. The legal risks are clear. Campaign uses of music can violate federal and (in some cases) state copyrights in both sound recordings and musical compositions. Depending on the technology used to copy and broadcast these works, multiple exclusive copyrights, including both performance and reproduction, could be infringed. In addition, these uses impact creators’ rights of publicity and branding, potentially creating exposure for trademark infringement, dilution, or tarnishment under the Lanham Act and giving rise to claims for false endorsement, conversion, and other common law and statutory torts. When campaign commercials or advertisements are involved, a whole additional host of rules and regulations regarding campaign fundraising (including undisclosed and potentially unlawful “in-kind” contributions), finance, and communications could also potentially be breached. More importantly, falsely implying support or endorsement from an artist or songwriter is dishonest and immoral. It undermines the campaign process, confuses the voting public, and ultimately distorts elections. It should be anathema to any honest candidate to play off this kind of uncertainty or falsely leave the impression of an artist’s or songwriter’s support. Like all other citizens, artists have the fundamental right to control their work and make free choices regarding their political expression and participation. Using their work for political purposes without their consent fundamentally breaches those rights – an invasion of the most hallowed, even sacred personal interests. No politician benefits from forcing a popular artist to publicly disown and reject them. Yet these unnecessary controversies inevitably draw even the most reluctant or apolitical artists off the sidelines, compelling them to explain the ways they disagree with candidates wrongfully using their music. And on social media and in the culture at large, it’s the politicians that typically end up on the wrong side of those stories. For all these reasons, we urge you to establish clear policies requiring campaigns supported by your committees to seek the consent of featured recording artists, songwriters, and copyright owners before publicly using their music in a political or campaign setting. Funding, logistical support, and participation in committee programs, operations, and events should be contingent on this pledge, and its terms should be clearly stated in writing in your bylaws, operating guidelines, campaign manuals, or where you establish any other relevant rules, requirements, or conditions of support. Please let us know by August 10th how you plan to accomplish these changes. Sincerely,

Aerosmith, Alanis Morissette, Amanda Shires, Ancient Future, Andrew McMahon, Artist Rights Alliance, B-52s, Beth Nielsen Chapman, Blondie, Butch Walker, CAKE, Callie Khouri, Courtney Love, Cyndi Lauper, Dan Navarro, Daniel Martin Moore, Duke Fakir, Elizabeth Cook, Elton John, Elvis Costello, Erin McKeown, Fall Out Boy, Grant-Lee Phillips, Green Day, Gretchen Peters, Ivan Barias, Jason Isbell, Jewel, Joe Perry, John McCrea, John Mellencamp, Keith Richards, Kurt Cobain estate, Lera Lynn, Lionel Richie, Linkin Park, Lorde, Lykke Li, Maggie Vail, Mary Gauthier, Matt Nathanson, Matthew Montfort, Michelle Branch, Mick Jagger, Okkervil River, Pearl Jam, Panic! At The Disco, Patrick Carney, R.E.M., Regina Spektor, Rosanne Cash, Sheryl Crow, Sia, Steven Tyler, T Bone Burnett, Tift Merritt, Thomas Manzi, Train

[krispyweiss]

If the Stones Have their Way, Trump Won’t Get What he Wants

Having got no satisfaction from the Trump campaign, the Rolling Stones are looking to ensure the so-called president can’t always get what he wants - namely, to play their songs at campaign events.

A lawsuit may be in the offing, Deadline and Rolling Stone magazines report.

“This could be the last time (Donald) Trump uses any (Mick) Jagger/(Keith) Richards songs on his campaigns,” a Stones spokesperson said, referring to the use of “You Can’t Always Get What You Want” at the campaign’s sparsely attended rally in Tulsa, Okla.

Trump has ignored the band’s cease-and-desist orders, so the Stones enlisted BMI to exempt their songs from the campaign’s Political Entities License.

“The BMI have notified the Trump campaign on behalf of the Stones that the unauthorized use of their songs will constitute a breach of its licensing agreement,” band’s rep said. “If Donald Trump disregards the exclusion and persists, then he would face a lawsuit for breaking the embargo and playing music that has not been licensed.”

The Stones have been trying without success to prevent Trump from using their songs since 2016.

“Mick, Keith, Charlie (Watts) and Ronnie (Wood) stand with all who object to racism, violence or bigotry,” the band wrote on social media earlier this month.

The family of Tom Petty also called on the Trump campaign to stop using the late songwriter’s works on the campaign trail after “I Won’t Back Down” was played inside Tulsa’s quarter-full arena.

6/27/20

[howaminotinthestrokesyet]

No Stones Unturned: Mick Jagger

Sir Michael Jagger was born in Dartford, England to a middle-class family. Both his father and grandfather were teachers, while his mother of Australian descent was a hairdresser. Both his parents had hoped he would follow in his father’s footsteps becoming a teacher, but Jagger has stated that he had always wanted to be a singer from a young age. "I always sang as a child. I was one of those kids who just liked to sing. Some kids sing in choirs; others like to show off in front of the mirror. I was in the church choir and I also loved listening to singers on the radio–the BBC or Radio Luxembourg–or watching them on TV and in the movies." Until 1954, he lived next to and went to school with Keith Richards. The artist that led Jager to rhythm and blues was in fact the flamboyant singer, Little Richard. In 1961, Jagger left school after testing out of seven O levels and two A levels. He moved in with Keith Richards and Brian Jones in an apartment on Edith Grove in London. Richards and Jones had planned to start a rhythm and blues group called Blues Incorporated, while Jagger attended the London School of Economics as an undergraduate student. A common misconception is that they all met on that first day, then the Rolling Stones started. It happened as more of a gradual process. For his part, Jagger began to jam with Jones and Richards, which eventually led to the formation of the Rolling Stones. Yet, this emerged as a process because Jagger still kept one foot within the academic world.

From the beginning of the band, they would often perform for no money. Their first gigs were playing the intermission between sets for musician Alexis Corner. Their first live performance officially as the Rolling Stones was at the Marquee Club in July 1962. Jager officially left school by the autumn of 1963 in order to pursue music full-time. Another misconception was that the collaboration between him and Keith Richards took shape from the very beginning. Once again, this was a gradual process that took a bit of time to develop. Their first hit song was a blues cover, “Little Red Rooster.” Their first Rolling Stones original hit, “The Last Time”in 1965 took a lot of inspiration from the Staples Singers song, “This May Be the Last Time.” They did not really hit their stride until the song “Satisfaction”was released, which also emphasized an image of rebellion. The singer would say this in 1992 in an interview in Vanity Fair. “I wasn't trying to be rebellious in those days; I was just being me. I wasn't trying to push the edge of anything. I'm being me and ordinary, the guy from suburbia who sings in this band, but someone older might have thought it was just the most awful racket, the most terrible thing, and where are we going if this is music?... But all those songs we sang were pretty tame, really. People didn't think they were, but I thought they were tame."

In the 1970’s, Jagger changed his look, but more importantly his music as well. By the time of Sticky Fingers, he had learned to play guitar with contributions even on that album. On subsequent albums, the singer contributed guitar parts on every release with the notable exception of Dirty Work in 1986. By the 1972 tour for Exile on Main Street, Jagger had fully embraced the glam rock style that would define him for the rest of the decade. He would even admit himself this embrace of an androgynous look in an interview years later. The singer would often perform live wearing glitter and eyeliner. By the time of that album, Jagger had also taken over business decisions for the band in conjunction with his personal investment manager Prince Rupert Loewenstein. This partnership still exists to this day. Some have said that financially he helped to save the band because management had been robbing them blind since the beginning. In a 1994 60 Minutes story, a promoter for the Voodoo Lounge tour noted how unique it was to have a lead singer so plugged into the business side of things.

In the mid-1980’s, Jagger decided that it was time for him to record a solo album. This decision would almost lead to the end of the Rolling Stones. He would say in Rolling Stone magazine, there was a need to establish an artistic identity outside of the band. Keith Richards felt the complete opposite in that anything musically should be directed towards the Rolling Stones. In 1985, he would release his first solo album, She’s the Boss, which actually sold pretty well. Two years later in 1987 the singer released a second solo album entitled, Primitive Cool, which emerged as a modest success. Sandwiched between that was the release of a 1986 Rolling Stones album, Dirty Work. At the time of recording that album, Jagger and Richards could not even be in the same room together. The only reason that album even exists is probably because Ron Wood acted as peacemaker between the two during the recording sessions. To make matters worse, Jagger refused to tour after the completion of the 1986 album, but instead wanted to tour his solo material instead. This decision put the future of the band very much up in the air. The other band members went ahead and worked on their own side projects as well. The irony came in that Jagger was the only one who did not really grow from the experience of going solo when the band reunited for Steel Wheels.

Jagger has also starred in some well-known films throughout his career. His debut took place in the film Performance, which also starred Keith Richards girlfriend. Jagger portrayed an aging rockstar recluse in the film that has gone on to achieve almost a cult film status today. His next film took place with the film, Ned Kelly, where he portrayed the infamous Australian outlaw. The singer seemed very selective in the roles that he chose as they seem to take on a feel of art house. He did audition for the role in Rocky Horror Picture Show, but Tim Curry was eventually chosen for that film. Jagger also had planned to star in an adaptation of the book Dune, but the movie never went into production. Ironically, the film would be made in the 1980’s, but starring former lead singer of the Police, Sting. In more recent film roles, he has tended to play more of a bad guy as seen in 1992’s Freejack. In 1995, the singer even started a film company that released a 2008 remake of George Cukor’s The Women. The film did very poorly at the box office and critically panned by everyone with the possible exception of Roger Ebert.

Mick Jagger has been married once and been in several other relationships with women over the years. From 1966 to 1970, he was with singer Marianne Faithfull. A year later he was married to Nicaraguan model, Bianca Perez Mora Macias. They were divorced in 1978 on the grounds of adultery. He would reportedly have an affair from 1974 to 1976 with Bebe Buell, but they both have denied that this ever occurred. In 1977, Jagger began dating Jerry Hall, who had four children together. Another positive aspect of this relationship emerged in that Hall got the singer to give up heroin. Next up was Carla Bruni, who the singer had an affair with from 1991 to 1994. She would go on to marry the future president of France becoming that country’s first lady for a time. His relationship with Hall ended after yet another affair. A court in England ruled that their marriage was not legally binding when she sued for divorce. From 2001 to 2014, the Jagger was in a relationship with L’Wren Scott until she committed suicide in 2014. In her will, she left her entire $9 million estate to Jagger. Finally, ballet dancer Melanie Hamrick, who had his child in 2016 when he was 73.

Mick Jagger has left an indelible mark on pop-culture outside of the Rolling Stones. In 1975, Andy Warhol painted his likeness, which ended up on the wall of the palace of the Shah of Iran. His wife had purchased the painting. The band Maroon 5 had a hit song entitled “Moves Like Jagger” a few years ago. One thing he said about the song was unfortunately he didn’t hear receive royalties from it. In the film, Almost Famous, his name is mentioned when the character played by Jimmy Fallon asked the question, do you think make Mick Jagger is going to be going up on stage when he’s 50? In 1973, Carly Simon wrote the song “You’re So Vain,” but she has never revealed what guy the song is actually about. Some have speculated that the song is indeed referring to Jagger. This does seem unlikely since he did background vocals on the track. Don McLean created the iconic song “American Pie” with references to many of the musicians of the 1960s including Jagger. In the lyrics, McLean sings about Satan, which many believe is a reference to the singer. In 1967, a photographer took a picture of Jager‘s naked buttocks with the original going up for auction in 1986. The image sold for $4000.

For his part, Mick Jagger will go down as quite simply one of the most influential lead singers in the history of rock and roll. David Bowie once said that he dreamed as a boy about becoming the next Mick Jagger. Universities have had classes where they study the movement of Jagger as it relates to power, sexuality, and gender. They argue about how much the singer is really acting on stage, and whether he actually means everything that he sings about in his songs. Another aspect of his legacy emerges in his longevity. He has done it longer than anyone else in the history of music. A few years ago Jon Bon Jovi commented on this, where he was simply astounded at how much running and jumping around an older man does on stage. He wondered if there was any way that he could do that at the same age.

In 1980, Mick Jagger was persuaded to write an autobiography. The reason being came in that there were quite a few unauthorized biographies of him already out there. He wanted to set the record straight and went ahead in producing a 75,000 word book. Yet, at the last minute, the singer decided to completely shelve the manuscript. There is only one copy of it in existence, which belongs to the person that persuaded him to write it, Lord Weidenfield. There is no word yet as to whether this work will see the light of day upon his passing. In my personal opinion, I am not sure that it would be a worthwhile read since the book would only include the first 15 years of the Rolling Stones. He had not even begun to feud with Keith Richards at that time.

Jagger in his limited free time loves sports. He is a diehard fan of both soccer and cricket. The Rolling Stone regularly follows the English national soccer team, and will travel to see them play in the World Cup, if they qualify. Jagger also started an Internet site that follows and announces cricket games, Jagger Internetworks. His politics have also changed quite a bit over the years. In the beginning, he was very liberal writing songs about revolution and protest like “Street Fighting Man.” Yet, nowadays Jagger is a strong proponent of the conservative party in England. For a long time, he remained a large supporter of Margaret Thatcher. Finally, the singer has participated in a great amount of philanthropy in England towards music education and local schools. He started a Mick Jagger Center at his former school in Dartford, England. Another thing he started was the Little Red Rooster music program, which is featured in schools throughout the country.

[talhaghafoor2019-blog]

Dolly Parton Goes After Elizabeth Warren for Unauthorized Use of Her Music, Warren Campaign Silent

Singer Dolly Parton did not give Sen. Elizabeth Warren of Massachusetts permission to use her hit “9 to 5” during the launch of the candidate’s presidential bid or subsequent stops on the campaign trail. Parton is now making her displeasure known.

When Warren took to the stage in her hometown of Lawrence last month, she did so to the catchy ditty from the 1980 movie of the same name. The song “9 to 5” reached No. 1 on the Billboard charts almost 40 years ago.

Warren apparently chose the song to burnish her image as a candidate for the working person.

Advertisement - story continues below

The senator used it again during a campaign event on Friday in New York City, The Associated Press reported.

Parton’s manager Danny Nozell told the AP via email, “We did not approve the request (to use the song), and we do not approve requests like this of (a) political nature.”

See Warren’s entrance to “9 to 5” at 51:13.

Advertisement - story continues below

According to the AP, Nozell did not respond when asked whether Parton’s team intended to register a formal complaint against Warren.

The candidate’s campaign declined to comment about the controversy.

Do you think Parton is wise to keep her political views to herself?

Completing this poll entitles you to The Western Journal news updates free of charge. You may opt out at anytime. You also agree to our Privacy Policy and Terms of Use.

You're logged in to Facebook. Click here to log out.

Fox News reported that Parton is notorious for keeping her political views to herself.

After “9 to 5” co-stars Lily Tomlin and Jane Fonda bashed President Donald Trump on stage during the 2017 Emmys, Parton lightened the mood.

“Well, I know about support,” the country legend said, pointing at her chest.

Advertisement - story continues below

“I don’t voice my political opinions,” she told Fox News at the time. “I just get out there and entertain. To me, that’s what I do. I don’t condemn them.”

She elaborated in an interview last month with The Guardian saying, “I’ve got as many Republican friends as I’ve got Democrat friends and I just don’t like voicing my opinion on things.

“I’ve seen things before, like the Dixie Chicks. You can ruin a career for speaking out,” Parton said.

“I respect my audience too much for that, I respect myself too much for that. Of course I have my own opinions, but that don’t mean I got to throw them out there because you’re going to piss off half the people.”

Advertisement - story continues below

There have been many instances over the years of performers objecting to candidates using their songs at campaign events.

One of the more high profile examples was when Bruce Springsteen asked then-President Reagan to stop using the song “Born in the U.S.A.” during his 1984 successful re-election bid.

The Rolling Stones also objected to President Donald Trump playing some of their songs at campaign rallies, according to The Daily Beast.

Lead singer Mick Jagger later said they could not stop him, presumably because the Trump campaign acquired a use license for the Stones’ songs.

Advertisement - story continues below

RT @PattyBGood430 I heard u asked Trump 2 stop using ur music at rallies Y can’t u make him stop? pic.twitter.com/7szmwMyeEc

— The Rolling Stones (@RollingStones) October 12, 2016

The New York Times reported that musicians can and have sued politicians for false advertising, if the use of the song appears to imply the artist has endorsed the candidate.

We are committed to truth and accuracy in all of our journalism. Read our editorial standards.

This content was originally published here.

[liketotallydest]

Harry Styles' New Direction A year in the life of the One Direction star as One Direction's Harry Styles goes deep on love, family and his heartfelt new solo debut in our revealing feature. Theo Wenner for Rolling Stone January 2016. There's a bench at the top of Primrose Hill, in London, that looks out over the skyline of the city. If you'd passed by it one winter night, you might have seen him sitting there. A lanky guy in a wool hat, overcoat and jogging pants, hands thrust deep into his pockets. Harry Styles had a lot on his mind. He had spent five years as the buoyant fan favorite in One Direction; now, an uncertain future stretched out in front of him. The band had announced an indefinite hiatus. The white noise of adulation was gone, replaced by the hushed sound of the city below. Theo Wenner for Rolling Stone The fame visited upon Harry Styles in his years with One D was a special kind of mania. With a self-effacing smile, a hint of darkness and the hair invariably described as "tousled," he became a canvas onto which millions of fans pitched their hopes and dreams. Hell, when he pulled over to the side of the 101 freeway in L.A. and discreetly threw up, the spot became a fan shrine. It's said the puke was even sold on eBay like pieces of the Berlin Wall. Paul McCartney has interviewed him. Then there was the unauthorized fan-fiction series featuring a punky, sexed-up version of "Harry Styles." A billion readers followed his virtual exploits. ("Didn't read it," comments the nonfiction Styles, "but I hope he gets more than me.") But at the height of One D–mania, Styles took a step back. For many, 2016 was a year of lost musical heroes and a toxic new world order. For Styles, it was a search for a new identity that began on that bench overlooking London. What would a solo Harry Styles sound like? A plan came into focus. A song cycle about women and relationships. Ten songs. More of a rock sound. A bold single-color cover to match the working title: Pink. (He quotes the Clash's Paul Simonon: "Pink is the only true rock & roll colour.") Many of the details would change over the coming year – including the title, which would end up as Harry Styles – but one word stuck in his head. "Honest," he says, a year later, driving through midcity Los Angeles in a dusty black Range Rover. He's lived here off and on for the past few years, always returning to London. Styles' car stereo pumps a mix of country and obscure classic rock. "I didn't want to write 'stories,' " he says. "I wanted to write my stories, things that happened to me. The number-one thing was I wanted to be honest. I hadn't done that before." There isn't a yellow light he doesn't run as he speaks excitedly about the band he's put together under the tutelage of producer Jeff Bhasker (The Rolling Stones, Kanye West, "Uptown Funk"). He's full of stories about the two-month recording session last fall at Geejam, a studio and compound built into a mountainside near Port Antonio, a remote section of Jamaica. Drake and Rihanna have recorded there, and it's where Styles produced the bulk of his new LP, which is due out May 12th. As we weave through traffic today, the album no one has heard is burning a hole in his iPhone. RELATED See Harry Styles Play Mick Jagger, Perform New Songs on 'SNL' We arrive at a crowded diner, and Styles cuts through the room holding a black notebook jammed with papers and artifacts from his album, looking like a college student searching for a quiet place to study. He's here to do something he hasn't done much of in his young career: an extended one-on-one interview. Often in the past there was another One D member to vector questions into a charmingly evasive display of band camaraderie. Today, Styles is a game but careful custodian of his words, sometimes silently consulting the tablecloth before answering. But as he recounts the events leading up to his year out of the spotlight, the layers begin to slip away. It was in a London studio in late 2014 that Styles first brought up the idea of One Direction taking a break. "I didn't want to exhaust our fan base," he explains. "If you're shortsighted, you can think, 'Let's just keep touring,' but we all thought too much of the group than to let that happen. You realize you're exhausted and you don't want to drain people's belief in you." After much discussion, the band mutually agreed to a hiatus, which was announced in August 2015 (Zayn Malik had abruptly left One D several months earlier). Fans were traumatized by the band's decision, but were let down easy with a series of final bows, including a tour that ran through October. Styles remains a One D advocate: "I love the band, and would never rule out anything in the future. The band changed my life, gave me everything." Harry Styles reveals the inspiration behind his new music. Here's five things we learned about Harry Styles' new album. Still, a solo career was calling. "I wanted to step up. There were songs I wanted to write and record, and not just have it be 'Here's a demo I wrote.' Every decision I've made since I was 16 was made in a democracy. I felt like it was time to make a decision about the future  ...  and maybe I shouldn't rely on others." As one of the most well-known 23-year-olds in the world, Styles himself is still largely unknown. Behind the effervescent stage persona, there is more lore than fact. He likes it that way. "With an artist like Prince," he says, "all you wanted to do was know more. And that mystery – it's why those people are so magical! Like, fuck, I don't know what Prince eats for breakfast. That mystery  ...  it's just what I like." Styles pauses, savoring the idea of the unknown. He looks at my digital recorder like a barely invited guest. "More than 'do you keep a mystery alive?' – it's not that. I like to separate my personal life and work. It helps, I think, for me to compartmentalize. It's not about trying to make my career longer, like I'm trying to be this 'mysterious character,' because I'm not. When I go home, I feel like the same person I was at school. You can't expect to keep that if you show everything. There's the work and the personal stuff, and going between the two is my favorite shit. It's amazing to me." Soon, we head to the Beachwood Canyon studio of Jeff Bhasker. As we arrive, Styles bounds up the steps to the studio, passing a bored pool cleaner. "How are ya," he announces, unpacking a seriously cheerful smile. The pool cleaner looks perplexed, not quite sharing Styles' existential joy. Inside, the band awaits. Styles opens his notebook and heads for the piano. He wants to finish a song he'd started earlier that day. It's obvious that the band has a well-worn frat-house dynamic, sort of like the Beatles in Help!, as directed by Judd Apatow. Styles is, to all, "H." Pomegranate-scented candles flicker around the room. Bhasker enters, with guru-length hair, multicolored shirt, red socks and sandals. He was initially busy raising a new baby with his partner, the singer and songwriter Lykke Li, so he guided Styles to two of his producer-player protégés, Alex Salibian and Tyler Johnson, as well as engineer and bassist Ryan Nasci. The band began to form. The final piece of the puzzle was Mitch Rowland, Styles' guitarist, who had worked in a pizza joint until two weeks into the sessions. "Being around musicians like this had a big effect on me," Styles says. "Not being able to pass an instrument without sitting down and playing it?" He shakes his head. It was Styles' first full immersion into the land of musos, and he clearly can't get enough. Styles starts singing some freshly written lyrics. It's a new song called "I Don't Want to Be the One You're Waiting On." His voice sounds warm, burnished and intimate, not unlike early Rod Stewart. The song is quickly finished, and the band assembles for a playback of the album. "Mind if I play it loud?" asks Bhasker. It's a rhetorical question. Nasci cranks "Sign of the Times," the first single, to a seismic level. The song began as a seven-minute voice note on Styles' phone, and ended up as a sweeping piano ballad, as well as a kind of call to arms. "Most of the stuff that hurts me about what's going on at the moment is not politics, it's fundamentals," Styles says. "Equal rights. For everyone, all races, sexes, everything. ...  'Sign of the Times' came from 'This isn't the first time we've been in a hard time, and it's not going to be the last time.' The song is written from a point of view as if a mother was giving birth to a child and there's a complication. The mother is told, 'The child is fine, but you're not going to make it.' The mother has five minutes to tell the child, 'Go forth and conquer.'" The track was a breakthrough for both the artist and the band. "Harry really led the charge with that one, and the rest of the album," says Bhasker. "I wish the album could be called Sign of the Times," Styles declares. "I don't know," says Bhasker. "I mean, it has been used." They debate for a bit. Nasci plays more tracks. The songs range from full-on rock ("Kiwi") to intricate psychedelic pop ("Meet Me in the Hallway") to the outright confessional ("Ever Since New York," a desperate meditation on loss and longing). The lyrics are full of details and references – secrets whispered between friends, doomed declarations of love, empty swimming pools – sure to set fans scrambling for the facts behind the mystery. "Of course I'm nervous," Styles admits, jingling his keys. "I mean, I've never done this before. I don't know what the fuck I'm doing. I'm happy I found this band and these musicians, where you can be vulnerable enough to put yourself out there. I'm still learning ...  but it's my favorite lesson." The album is a distinct departure from the dance pop that permeates the airwaves. "A lot of my influences, and the stuff that I love, is older," he says. "So the thing I didn't want to do was, I didn't want to put out my first album and be like, 'He's tried to re-create the Sixties, Seventies, Eighties, Nineties.' Loads of amazing music was written then, but I'm not saying I wish I lived back then. I wanted to do something that sounds like me. I just keep pushing forward." "It's different from what you'd expect," Bhasker says. "It made me realize the Harry [in One D] was kind of the digitized Harry. Almost like a character. I don't think people know a lot of the sides of him that are on this album. You put it on and people are like, 'This is Harry Styles?' " Styles is aware that his largest audience so far has been young – often teenage – women. Asked if he spends pressure-filled evenings worried about proving credibility to an older crowd, Styles grows animated. "Who's to say that young girls who like pop music – short for popular, right? – have worse musical taste than a 30-year-old hipster guy? That's not up to you to say. Music is something that's always changing. There's no goal posts. Young girls like the Beatles. You gonna tell me they're not serious? How can you say young girls don't get it? They're our future. Our future doctors, lawyers, mothers, presidents, they kind of keep the world going. Teenage-girl fans – they don't lie. If they like you, they're there. They don't act 'too cool.' They like you, and they tell you. Which is sick." "Teenage-girl fans – they don't lie," Styles says. Styles drives to a quiet dinner spot in Laurel Canyon, at the foot of Lookout Mountain Avenue, onetime home to many of his Seventies songwriting heroes. He used to have a place around the corner. As the later tours of One Direction grew larger, longer and more frenetic, he offers with irony, "It was very rock & roll." He's not a heavy drinker, he says, maybe some tequila on ice or wine with friends after a show, but by the band's last tour there wasn't much time even for that. John Lennon once told Rolling Stone that behind the curtain, the Beatles' tours were like Fellini's Satyricon. Styles counters that the One D tours were more like "a Wes Anderson movie. Cut. Cut. New location. Quick cut. New location. Cut. Cut. Show. Shower. Hard cut. Sleep." Finding a table, Styles leans forward and discusses his social-media presence, or lack thereof. Styles and his phone have a bittersweet, mature relationship – they spend a lot of time apart. He doesn't Google himself, and checks Twitter infrequently. "I'll tell you about Twitter," he continues, discussing the volley of tweets, some good, some cynical, that met his endorsement of the Women's March on Washington earlier this year. "It's the most incredible way to communicate closely with people, but not as well as in person." When the location of his London home was published a few years ago, he was rattled. His friend James Corden offered him a motto coined by British Prime Minister Benjamin Disraeli: "Never complain, never explain." I mention a few of the verbal Molotov cocktails Zayn Malik has tossed at the band in recent interviews. Here's one: "[One D is] not music that I would listen to. If I was sat at a dinner date with a girl, I would play some cool shit, you know what I mean? I want to make music that I think is cool shit. I don't think that's too much to ask for." Styles adjusts himself in his chair. "I think it's a shame he felt that way," he says, threading the needle of diplomacy, "but I never wish anything but luck to anyone doing what they love. If you're not enjoying something and need to do something else, you absolutely should do that. I'm glad he's doing what he likes, and good luck to him." Perched on his head are the same-style white sunglasses made famous by Kurt Cobain, but the similarities end right there. Styles, born two months before Cobain exited Earth, doesn't feel tied to any particular genre or era. In the car, he'll just as easily crank up the country music of Keith Whitley as the esoteric blues-and-soul of Shuggie Otis. He even bought a carrot cake to present to Stevie Nicks at a Fleetwood Mac concert. ("Piped her name onto it. She loved it. Glad she liked carrot cake.") This much is clear: The classic role of tortured artist is not one he'll be playing. "People romanticize places they can't get to themselves," he says. "That's why it's fascinating when people go dark – when Van Gogh cuts off his ear. You romanticize those people, sometimes out of proportion. It's the same with music. You want a piece of that darkness, to feel their pain but also to step back into your own [safer] life. I can't say I had that. I had a really nice upbringing. I feel very lucky. I had a great family and always felt loved. There's nothing worse than an inauthentic tortured person. 'They took my allowance away, so I did heroin.' It's like – that's not how it works. I don't even remember what the question was." Styles wanders into the Country Store next door. It's a store he knows well. Inspecting the shelves, he asks if I've had British rice pudding. He finds a can that looks ancient. He collects a roll of Rowntrees Fruit Pastilles ("since 1881"), Lindor Swiss chocolates ("irresistibly smooth") and a jar of Branston Pickles. "There's only two shops in L.A. that stock all the British snacks. This area's kind of potluck," he says, spreading the collection on the counter. The clerk rings up the snacks. In the most careful, deferential way, the young worker asks the question. "Would you  ... happen to be ...  Harry Styles?" "Yep." "Could I get a selfie?" Styles obliges, and leans over the counter. Click. We exit into the Laurel Canyon evening. "Hey," shouts a grizzled-looking dude on the bench outside the store. "Do you know who you look like?" Styles turns, expecting more of the same, but this particular night denizen is on a different track. "River Phoenix," the man announces, a little sadly. "You ever heard of him? If he hadn't have passed, I would have said that was you. Talented guy." "Yes, he was," agrees Styles, who is in many ways the generational opposite of Phoenix. "Yes, he was." They share a silent moment, before Styles walks to his car. He hands me the bag filled with English snacks. "This is for you," he says. "This was my youth ..." Styles at age three. Courtesy of Harry Styles Harry Edward Styles was born in Worcestershire, England, in true classic-rock form, on a Tuesday Afternoon. The family moved to Cheshire, a quiet spot in Northern England, when he was a baby. His older sister, Gemma, was the studious one. ("She was always smarter than me, and I was always jealous of that.") His father, Desmond, worked in finance. He was a fan of the Rolling Stones, Fleetwood Mac, a lot of Queen, and Pink Floyd. Young Harry toddled around to The Dark Side of the Moon. "I couldn't really get it," he says, "but I just remember being like – this is really fucking cool. Then my mom would always have Shania Twain, and Savage Garden, Norah Jones going on. I had a great childhood. I'll admit it." But in fact, all was not perfection, scored to a cool, retro soundtrack. When Harry was seven, his parents explained to him that Des would be moving out. Asked about that moment today, Styles stares straight ahead. "I don't remember," he says. "Honestly, when you're that young, you can kind of block it out. ... I can't say that I remember the exact thing. I didn't realize that was the case until just now. Yeah, I mean, I was seven. It's one of those things. Feeling supported and loved by my parents never changed." His eyes moisten a little, but unlike the young man who wept over an early bout with Internet criticism, a powerful moment in the early One Direction documentary A Year in the Making, Styles tonight knocks back the sentiment. Styles is still close with his father, and served as best man to his mom when she remarried a few years ago. "Since I've been 10," he reflects, "it's kind of felt like – protect Mom at all costs. ... My mom is very strong. She has the greatest heart. [Her house in Cheshire] is where I want to go when I want to spend some time." In his early teens, Styles joined some school friends as the singer in a mostly-covers band, White Eskimo. "We wrote a couple of songs," he remembers. "One was called 'Gone in a Week.' It was about luggage. 'I'll be gone in a week or two/Trying to find myself someplace new/I don't need any jackets or shoes/The only luggage I need is you.'" He laughs. "I was like, 'Sick.'" It was his mother who suggested he try out for the U.K. singing competition The X Factor to compete in the solo "Boy" category. Styles sang Stevie Wonder's "Isn't She Lovely." The unforgiving reaction from one of the judges, Louis Walsh, is now infamous. Watching the video today is to watch young Harry's cheery disposition take a hot bullet. "In that instant," he says, "you're in the whirlwind. You don't really know what's happening; you're just a kid on the show. You don't even know you're good at anything. I'd gone because my mum told me I was good from singing in the car ...  but your mum tells you things to make you feel good, so you take it with a pinch of salt. I didn't really know what I was expecting when I went on there." Styles didn't advance in the competition, but Simon Cowell, the show's creator, sensed a crowd favorite. He put Styles together with four others who'd failed to advance in the same category, and united the members of One D in a musical shotgun marriage. The marriage worked. And worked. And worked. You wonder how a young musician might find his way here, to these lofty peaks, with his head still attached to his shoulders. No sex tapes, no TMZ meltdowns, no tell-all books written by the rehab nanny? In a world where one messy scandal can get you five seasons of a hit reality show ...  how did Harry Styles slip through the juggernaut? "Family," answers Ben Winston. "It comes from his mom, Anne. She brought him and his sister up incredibly well. Harry would choose boring over exciting ... There is more chance of me going to Mars next week than there is of Harry having some sort of addiction." We're in Television City, Hollywood. Winston, 35, the Emmy-winning executive producer of The Late Late Show With James Corden, abandons his desk and retreats to a nearby sofa to discuss his good friend. More than a friend, Styles became an unlikely family member – after he became perhaps the world's most surprising houseguest. Their friendship was forged in the early stages of One D's success, when the band debuted on The X Factor. Winston, then a filmmaker and production partner with Corden, asked for a meeting, and instantly hit it off with the group. He became a friendly mentor to Styles, though the friendship was soon tested. Styles had just moved out of his family home in Cheshire, an inconvenient three hours north of London. He found a home he liked near the Winstons in Hampstead Heath. The new house needed two weeks of work. Styles asked if he could briefly move in with Winston and his wife, Meredith. "She agreed," Winston says, "but only for two weeks." One Direction on 'The X Factor,' 2010 Ken McKay/TalkbackThames/REX/Shutterstock Styles parked his mattress in the Winstons' attic. "Two weeks later and he hadn't bought his house yet," continues Winston. "It wasn't going through. Then he said, 'I'm going to stay until Christmas, if you don't mind.' Then Christmas came, and ..." For the next 20 months, one of the most desired stars on the planet slept on a small mattress in an attic. The only other bit of house-dressing was the acoustic guitar that would rattle into the Winstons' bedroom. While fans gathered at the empty house where he didn't live, Styles lived incognito with a couple 12 years his senior. The Winstons' Orthodox Jewish lifestyle, with a strong family emphasis, helped keep him sane. "Those 20 months were when they went from being on a reality show, X Factor, to being the biggest-selling artists in the world," recalls Winston. "That period of time, he was living with us in the most mundane suburban situation. No one ever found out, really. Even when we went out for a meal, it's such a sweet family neighborhood, no one dreamed it was actually him. But he made our house a home. And when he moved out, we were gutted." Styles jauntily appears at the Late Late office. He's clearly a regular visitor, and he and Winston have a brotherly shorthand. "Leaving Saturday?" asks Winston. "Yeah, gotta buy a cactus for my friend's birthday," says Styles. "My dad might be on your flight," says Winston. "The 8:50? That'd be sick." Winston continues the tales from the attic. "So we had this joke. Meri and I would like to see the girls that you would come back with to the house. That was always what we enjoyed, because we'd be in bed like an old couple. We'd have our spot cream on our faces and we'd be in our pajamas and the door would go off. The stairwell was right outside our door, so we'd wait to see if Harry was coming home alone or with people." "I was alone," notes Styles. "I was scared of Meri." "He wasn't always alone," corrects Winston, "but it was exciting seeing the array of A-listers that would come up and sleep in the attic. Or he'd come and lounge with us. We'd never discuss business. He would act as if he hadn't come back from playing to 80,000 people three nights in a row in Rio de Janeiro." "Let's go to the beach," says Styles, pulling the Range Rover onto a fog-soaked Pacific Coast Highway. Last night was his tequila-fueled birthday party, filled with friends and karaoke and a surprise drop-in from Adele. He's now officially 23. "And not too hung over," he notes. Styles finds a spot at a sushi place up the coast. As he passes through the busy dining room, a businessman turns, recognizing him with a face that says: My kids love this guy! I ask Styles what he hears most from the parents of young fans. "They say, 'I see your cardboard face every fucking day.' " He laughs. "I think they want me to apologize." The subject today is relationships. While Styles says he still feels like a newcomer to all that, a handful of love affairs have deeply affected him. The images and stolen moments tumble extravagantly through the new songs: And promises are broken like a stitch is ... I got splinters in my knuckles crawling 'cross the floor/Couldn't take you home to mother in a skirt that short/But I think that's what I like about it ... I see you gave him my old T-shirt, more of what was once mine ... That black notebook, you sense, is filled with this stuff. "My first proper girlfriend," he remembers, "used to have one of those laughs. There was also a little bit of mystery with her because she didn't go to our school. I just worshipped the ground she walked on. And she knew, probably to a fault, a little. That was a tough one. I was 15. "She used to live an hour and a half away on the train, and I worked in a bakery for three years. I'd finish on Saturdays at 4:30 and it was a 4:42 train, and if I missed it there wasn't one for another hour or two. So I'd finish and sprint to the train station. Spent 70 percent of my wages on train tickets. Later, I'd remember her perfume. Little things. I smell that perfume all the time. I'll be in a lift or a reception and say to someone, 'Alien, right?' And sometimes they're impressed and sometimes they're a little creeped out. 'Stop smelling me.'" With Taylor Swift in Central Park, 2012 David Krieger/Bauer-Griffin If Styles hadn't yet adapted to global social-media attention, he was tested in 2012, when he met Taylor Swift at an awards show. Their second date, a walk in Central Park, was caught by paparazzi. Suddenly the couple were global news. They broke up the next month, reportedly after a rocky Caribbean vacation; the romance was said to have ended with at least one broken heart. The relationship is a subject he's famously avoided discussing. "I gotta pee first. This might be a long one," he says. He rises to head to the bathroom, then adds, "Actually, you can say, 'He went for a pee and never came back.' " He returns a couple of minutes later. "Thought I'd let you stew for a while," he says, laughing, then takes a gulp of green juice. He was surprised, he says, when photos from Central Park rocketed around the world. "When I see photos from that day," he says, "I think: Relationships are hard, at any age. And adding in that you don't really understand exactly how it works when you're 18, trying to navigate all that stuff didn't make it easier. I mean, you're a little bit awkward to begin with. You're on a date with someone you really like. It should be that simple, right? It was a learning experience for sure. But at the heart of it – I just wanted it to be a normal date." He's well aware that at least two of Swift's songs – "Out of the Woods" and "Style" – are considered to be about their romance. ("You've got that long hair slicked back, white T-shirt," she sang in "Style.") "I mean, I don't know if they're about me or not ..." he says, attempting gallant discretion, "but the issue is, she's so good, they're bloody everywhere." He smiles. "I write from my experiences; everyone does that. I'm lucky if everything [we went through] helped create those songs. That's what hits your heart. That's the stuff that's hardest to say, and it's the stuff I talk least about. That's the part that's about the two people. I'm never going to tell anybody everything." (Fans wondered whether "Perfect," a song Styles co-wrote for One Direction, might have been about Swift: "And if you like cameras flashing every time we go out/And if you're looking for someone to write your breakup songs about/Baby, I'm perfect.") Was he able to tell her that he admired the songs? "Yes and no," he says after a long pause. "She doesn't need me to tell her they're great. They're great songs ... It's the most amazing unspoken dialogue ever." Is there anything he'd want to say to Swift today? "Maybe this is where you write down that I left!" He laughs, and looks off. "I don't know," he finally says. "Certain things don't work out. There's a lot of things that can be right, and it's still wrong. In writing songs about stuff like that, I like tipping a hat to the time together. You're celebrating the fact it was powerful and made you feel something, rather than 'this didn't work out, and that's bad.' And if you run into that person, maybe it's awkward, maybe you have to get drunk ... but you shared something. Meeting someone new, sharing those experiences, it's the best shit ever. So thank you." He notes a more recent relationship, possibly over now, but significant for the past few years. (Styles has often been spotted with Kendall Jenner, but he won't confirm that's who he's talking about.) "She's a huge part of the album," says Styles. "Sometimes you want to tip the hat, and sometimes you just want to give them the whole cap ...  and hope they know it's just for them." In late February 2016, Styles landed a plum part in Christopher Nolan's upcoming World War II epic, Dunkirk. In Nolan, Styles found a director equally interested in mystery. "The movie is so ambitious," he says. "Some of the stuff they're doing in this movie is insane. And it was hard, man, physically really tough, but I love acting. I love playing someone else. I'd sleep really well at night, then get up and continue drowning." When Styles returned to L.A., an idea landed. The idea was: Get out of Dodge. Styles called his manager, Jeffrey Azoff, and explained he wanted to finish the album outside London or L.A., a place where the band could focus and coalesce. Four days after returning from the movie, they were on their way to Port Antonio on Jamaica's remote north coast. At Geejam, Styles and his entire band were able to live together, turning the studio compound into something like a Caribbean version of Big Pink. They occupied a two-story villa filled with instruments, hung out at the tree-house-like Bush Bar, and had access to the gorgeous studio on-site. Many mornings began with a swim in the deserted cove just down the hill. Life in Jamaica was 10 percent beach party and 90 percent musical expedition. It was the perfect rite of passage for a musician looking to explode the past and launch a future. The anxiety of what's next slipped away. Layers of feeling emerged that had never made it past One Direction's group songwriting sessions, often with pop craftsmen who polished the songs after Styles had left. He didn't feel stifled in One D, he says, as much as interrupted. "We were touring all the time," he recalls. "I wrote more as we went, especially on the last two albums." There are songs from that period he loves, he says, like "Olivia" and "Stockholm Syndrome," along with the earlier song "Happily." "But I think it was tough to really delve in and find out who you are as a writer when you're just kind of dipping your toe each time. We didn't get the six months to see what kind of shit you can work with. To have time to live with a song, see what you love as a fan, chip at it, hone it and go for that  ... it's heaven." The more vulnerable the song, he learned, the better. "The one subject that hits the hardest is love," he says, "whether it's platonic, romantic, loving it, gaining it, losing it  ...  it always hits you hardest. I don't think people want to hear me talk about going to bars, and how great everything is. The champagne popping  ...  who wants to hear about it? I don't want to hear my favorite artists talk about all the amazing shit they get to do. I want to hear, 'How did you feel when you were alone in that hotel room, because you chose to be alone?'" To wind down in Jamaica, Styles and Rowland, the guitarist, began a daily Netflix obsession with sugary romantic comedies. Houseworkers would sometimes leave at night and return the next morning to see Styles blearily removing himself from a long string of rom-coms. He declares himself an expert on Nicholas Sparks, whom he now calls "Nicky Spee." After almost two months, the band left the island with a bounty of songs and stories. Like the time Styles ended up drunk and wet from the ocean, toasting everybody, wearing a dress he'd traded with someone's girlfriend. "I don't remember the toast," he says, "but I remember the feeling." Styles in Jamaica. Styles recorded much of his album there, turning his studio complex into a Caribbean version of Big Pink. Courtesy of Harry Styles Christmas 2016. Harry Styles was parked outside his childhood home, sitting next to his father. They were listening to his album. After lunch at a pub, they had driven down their old street and landed in front of the family home. Staring out at the house where Styles grew up listening to his father's copy of The Dark Side of the Moon, there was much to consider. It was a long way he'd traveled in those fast few years since "Isn't She Lovely." He'd previously played the new album for his mother, on a stool, in the living room, on cheap speakers. She'd cried hearing "Sign of the Times." Now he sat with his father – who liked the new song "Carolina" best – both having come full circle. Styles is moved as he describes how he felt. We're sitting in Corden's empty office, talking over a few last subjects before he returns to England. "I think, as a parent, especially with the band stuff, it was such a roller coaster," he says. "I feel like they were always thinking, 'OK, this ride could stop at any point and we're going to have to be there when it does.' There was something about playing the album and how happy I was that told them, 'If all I get is to make this music, I'm content. If I'm never on that big ride again, I'm happy and proud of it.' "I always said, at the very beginning, all I wanted was to be the granddad with the best stories ...  and the best shelf of artifacts and bits and trinkets." Tomorrow night he'll hop a flight back to England. Rehearsals await. Album-cover choices need to be made. He grabs his black notebook and turns back for a moment before disappearing down the hallway, into the future. "How am I going to be mysterious," he asks, only half-joking, "when I've been this honest with you?"

[duaneodavila]

HBO Wins Copyright Infringement Case Over Graffiti Artist Relying On The De Minimis Copyright Exception

I talk a lot about fair use since it is, without question, the most important limitation and exception in U.S. copyright law, representing a powerful user right. What often doesn’t get enough attention, though, is what is known as the de minimis exception where a court need not go through a full fair use analysis because the amount of the material copied is so small.

HBO recently won a case, Gayle v. Home Box Office, Inc., involving its TV series, Vinyl, a single-season series created by Mick Jagger and Martin Scorsese about a record executive in the 1970s. One episode of the show included a scene of a woman walking down a street in New York City where she passes by a dumpster tagged with graffiti that says “art we all.” The graffiti artist, Itoffee R. Gayle, claims that this depiction violated his copyright and trademark rights. According to his complaint, HBO never tried to contact him or license the graffiti. Of course, as the court agreed, HBO didn’t actually need to try to contact Gayle and no license fee was needed because not all copying is unlawful.

The District Court for the Southern District of New York points out that Gayle must prove unauthorized copying of the work and that the infringing work is substantially similar to his, which requires that the amount taken was more than de minimis. The court notes, “In the copyright arena, de minimis can ‘mean[] what it means in most legal contexts: a technical violation of a right so trivial that the law will not impose legal consequences,’ or it can mean ‘that copying has occurred to such a trivial extent as to fall below the quantitative threshold of substantial similarity, which is always a required element of actionable copying.” In other words, de minimis means just what you think it means.

Looking at the use of the graffiti art in the episode, the court notes that Gayle’s claims “are premised on a fleeting shot of barely visible graffiti painted on what appears to be a dumpster in the background of a single scene” and that the art appears for no more than two to three seconds. Two to three seconds. Of an entire episode. Yup, sounds pretty de minimis to me. The court goes on, noting that the graffiti is not pictured by itself or close-up, plays no role in the plot, and “is hard enough to notice when the video is paused at the critical moment. It is next to impossible to notice when viewing the episode in real time.” The judge seems pretty annoyed by the copyright infringement claim, noting that “Gayle’s [claims] border on frivolous.”

While Gayle attempts to argue that HBO intentionally picked this particular piece of graffiti art to use in the background, the court concludes, “HBO’s motive in depicting the graffiti is irrelevant to the de minimis inquiry.” The copying is not actionable, because its use was so small, even if there was a thematic reason for it. For similar reasons, the court also rejects Gayle’s trademark claims.

Examples of court opinions upholding the de minimis use of copyrighted materials abound, often highlighted in uses by the art and entertainment industry. The court in Gayle v. HBO extensively cites Gottlieb Dev. LLC v. Paramount Pictures Corp, a case involving an infringement suit for the depiction of a pinball machine in a particular scene in the 2000 rom-com, What Women Want, featuring Mel Gibson. Similarly, a case brought against the 1995 crime thriller, SE7EN, featuring Brad Pitt and Morgan Freeman, resulted in a court finding that the use of copyrighted photos that appeared fleetingly and out of focus was de minimis and not liable for copyright infringement.

While rightholder communities often push for strong intellectual property rights and greater protections, it’s important for them to reflect on all the ways that limitations and exceptions allow them to produce and create, as well. Copying is not just for “pirates,” it’s a basic necessity in the creation of culture and innovation.

Krista L. Cox is a policy attorney who has spent her career working for non-profit organizations and associations. She has expertise in copyright, patent, and intellectual property enforcement law, as well as international trade. She currently works for a non-profit member association advocating for balanced copyright. You can reach her at kristay@gmail.com.

HBO Wins Copyright Infringement Case Over Graffiti Artist Relying On The De Minimis Copyright Exception republished via Above the Law

[omg-hellgirl]

According to Pallenberg, Jagger repeatedly implored her to dump Richards and replace Marianne in his life; as an inducement he offered to find another film project for them to star in together. "Mick wanted for us to be a couple," Pallenberg told Victor Bockris, "but I just didn't want it. Mick just wanted to walk around and show me off like he did with all his women.

Keith needed a more human kind of attention and care and love."

Christopher P. Andersen, Jagger Unauthorized.

[usnewslatest]

Famous musicians threaten politicians

Famous musicians threaten politicians

Mick Jagger, Sia and several other famous musicians wrote an open letter urging politicians to ask permission before using their tapes in campaigns.

Rock, pop and hip-hop stars have repeatedly spoken out against the unauthorized use of their works at political rallies without permission. Now they are uniting to defend their rights.

Gathering in the Alliance for the Rights of Artists, the…

[groovefmdc]

via Groove FM

[bloodforvinyl]

Skip to main content

[ptgn123]

via Twitter https://twitter.com/ptgn123

[fornowrecords]

https://ift.tt/eA8V8J

[tune-collective]

Publisher Claims He Has Mick Jagger's Secret 'Masterpiece' Memoir, Which Will Never Be Released

Publisher Claims He Has Mick Jagger's Secret 'Masterpiece' Memoir, Which Will Never Be Released

We heard everything Keith Richards had to say in his 2010 memoir, Life. But, we’ve just learned, Mick Jagger could have gotten the first word on life in the Rolling Stones if only he’d have sensationalized his story a bit. Publisher/author John Blake writes in an essay in The Spectator that he’s got the 75,000-word “pristine typescript” cooked up by Jagger under lock and key after getting his hands on the long-rumored autobiography three years ago. 

Jagger has been asked over and over if and when he’ll release a memoir and he’s always answered the same way: never. “Except what virtually nobody knows is that he already has,” writes Blake, who published a Stones book called Up and Down with the Rolling Stones: My Rollercoaster Ride with Keith Richards in 2011. “It is an extraordinary insight into one of the three most influential rock stars of all time,” he says, explaining that Jagger was finally convinced to give it a whirl around 1974, after tiring of all the unauthorized books about his band.

“The popular, often-repeated version of events is that Mick approached Bill Wyman, the Rolling Stones’ self-appointed archivist, to help him with research,” says Blake. “Wyman, legend has it, told Mick to go forth and multiply. He was going to write his own book. Then, so the story goes, Mick floundered. All the years of drugs and debauchery had addled his brain so badly that he could not remember anything.”

Jagger then reluctantly returned his one-million pound advance and walked away, claims Blake, who traveled extensively with the Stones as a rock journalist. “I thought that was the end of the story until three years ago, when a mutual friend handed me a pristine typescript Mick had written,” he writes. “I was dumbfounded. This was the rock ’n’ roll equivalent of the Dead Sea Scrolls. So far as I have been able to ascertain, a publisher rejected the manuscript because it was light on sex and drugs. In the early 1980s, when it was written, shock and awe was a vital part of any successful autobiography. Read now, however, it is a little masterpiece. A perfectly preserved time capsule written when the Stones had produced all their greatest music, but still burned with the passion and fire of youth and idealism.”

Blake reveals that the book shows a “quieter, more watchful Mick,” who divulges that the elaborate feasts the band allegedly demanded backstage largely went untouched, and that he bought the historic Stargroves mansion while high on acid, then nearly died while riding a horse on the grounds of his new purchase. “It is delicious, heady stuff. Like reading Elvis Presley’s diaries from the days before he grew fat and washed-up in Vegas,” he says. Once it was in his hands, Blake says that he was determined to get it published and that Jagger’s manager seemed game, though her client couldn’t even remember writing it.

He got as far as Jagger committing to penning a foreword to the book to establish that he wrote it “long ago and far away,” but then life intruded and “the steel gates clanged shut. Mick wanted nothing further to do with this project. He never wanted to see it published.” 

According to The Guardian, Stones’ manager Joyce Smyth said in a statement that: “John Blake writes to me from time to time seeking permission to publish this manuscript. The answer is always the same: He cannot, because it isn’t his and he accepts this. Readers will be able to form a view as regards the matters to which John Blake refers when Sir Mick’s autobiography appears, should he choose to write it.” A spokesperson for Jagger had no comment at press time.

Read Blake’s full essay here.

Source: Billboard

http://tunecollective.com/2017/02/20/publisher-claims-he-has-mick-jaggers-secret-masterpiece-memoir-which-will-never-be-released/