Talking Mick Jagger’s Tour Costumes

MOVES LIKE JAGGER: Mick Jagger has been a fashion icon for more than 50 years — and the musician proved he’s still a trendsetter in Chicago when The Rolling Stones kicked off their “No Filter” North American tour with two shows at Soldier Field. The second show was Tuesday.
Over a two-hour set that spanned hits like “Jumpin’ Jack Flash,” “Paint It Black,” “Gimme Shelter” and “Satisfaction,” the 75-year-old Stones frontman strutted, sprinted and grooved all over the stage — remarkable, considering he underwent heart surgery in April and was forced to postpone the tour.
Changing outfits numerous times as the band moved through the songs, Jagger opened the tour wearing a sharply tailored black-and-white diamond intarsia leather bomber jacket with a silk lining — one of his many pieces created for the tour by London-based designer Jane Hayward.
“Mick is always keen to evolve his look for every tour and is closely involved,” said Hayward, who has been designing Jagger’s tour clothes since 2014. “For this part of the ‘No Filter’ tour, leather biker and speedway jackets were referenced and reworked in bold colors and graphics with sportswear details. This was an evolution from the sharp colorblocking from the previous [European] tour.”
Hayward

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Nightmare Cinema – Alejandro Brugues, Ryuhei Kitamura, David Slade, Joe Dante & Mick Garris

Alejandro Brugues, Ryuhei Kitamura, David Slade, Joe Dante & Mick Garris - Nightmare Cinema  artwork

Nightmare Cinema

Alejandro Brugues, Ryuhei Kitamura, David Slade, Joe Dante & Mick Garris

Genre: Horror

Price: $ 14.99

Rental Price: $ 6.99

Release Date: June 21, 2019


In this twisted horror anthology, five strangers are drawn to an abandoned theater and forced to watch their deepest and darkest fears play out before them. Lurking in the shadows is the Projectionist, who preys upon their souls with his collection of disturbing films. As each reel spins its sinister tale, the characters find frightening parallels to their own lives.

© © 2019 Nightmare Cinema Productions, LLC

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Temple Grandin – Mick Jackson

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Temple Grandin

Mick Jackson

Genre: Drama

Price: $ 9.99

Rental Price: $ 3.99

Release Date: February 6, 2010


Golden Globe(R)-winning actress Claire Danes shines in this fact-based story of an autistic woman who became an unlikely hero to America's cattle industry–and to autistic people everywhere. Based on the writings of the real Temple Grandin, this HBO Films production is an engaging portrait of a stigmatized, misunderstood young woman who learned to channel her unique gifts into a brilliant career as a scientist, author and groundbreaking animal advocate. Catherine O'Hara co-stars with Julia Ormond and David Strathairn. Directed by Mick Jackson; screenplay by Christopher Monger and William Merritt Johnson, based on the books 'Emergence' by Temple Grandin and Margaret Scariano and 'Thinking in Pictures' by Temple Grandin.

© © 2010 Home Box Office, Inc.

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Mick Jagger’s Daughter’s Ex-BF Off the Hook in Alleged Vicious Attack

Mick Jagger’s daughter’s ex-boyfriend will not face criminal charges for allegedly beating a man who’s dating Suge Knight’s alleged son … TMZ has learned. Here’s how this “only in Hollywood” celeb spawn tale went down. We broke the story … Georgia…

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The Bodyguard (1992) – Mick Jackson

Mick Jackson - The Bodyguard (1992)  artwork

The Bodyguard (1992)

Mick Jackson

Genre: Drama

Price: $ 7.99

Rental Price: $ 3.99

Release Date: November 25, 1992


This box office blockbuster stars Academy Award-winner Kevin Costner ("The Guardian," "The Upside of Anger") and Grammy Award-winner Whitney Houston ("Waiting to Exhale") in a romantic suspense thriller about an ex-secret service agent-turned-professional-bodyguard, who never leaves anything up to chance, until he meets a pop superstar-turned-actress whose fabulous career takes a life threatening turn when she becomes the target of an obsessive fan. Written by Lawrence Kasdan ("The Big Chill," "Raiders of the Lost Ark"), The New York Post calls this film "Costner's sexiest role to date," and Gannett News Service calls it "an entertaining, suspenseful, romantic thriller… Costner and Houston generate sparks!"

© © 1992 Warner Bros. Entertainment Inc.

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Mick Jagger’s Daughter’s BF Arrested for Vicious Attack Requiring Brain Surgery

Mick Jagger’s daughter is allegedly dating a VERY violent man … ’cause he got busted for punching the hell outta another man so badly he needed brain surgery. Law enforcement sources tell TMZ … Georgia May Jagger’s BF, Norman Theuerkorn, was at…

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Denial – Mick Jackson

Mick Jackson - Denial  artwork

Denial

Mick Jackson

Genre: Drama

Price: $ 4.99

Rental Price: $ 3.99

Release Date: September 30, 2016


Oscar® winner Rachel Weisz stars in this powerful true story based on the acclaimed book, Denial: Holocaust History on Trial. When Deborah Lipstadt (Weisz) speaks out against Holocaust denier David Irving (Timothy Spall) over his falsification of history, she discovers that the stakes are higher than ever in the battle for historical truth. Now faced with a libel lawsuit in British court, Lipstadt and her attorney (Tom Wilkinson) have the heavy burden of proving that the Holocaust actually happened, in a riveting legal fight with stunning consequences.

© © 2016 Bleecker Street Media LLC. All Rights Reserved

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Mick the Web Series: His Prison Wife Was Inconsolable

Mick the Web Series: His Prison Wife Was Inconsolable

Mick the Web Series: His Prison Wife … 3:39
Mick and his fellow midday bar patrons speculate on the awkward and lasting impression we might leave on people when we die. “Mick” the web series is based on the stand up comedy of Mick Diflo.
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Mick Fleetwood Denies Stevie Nicks Kicked Lindsey Buckingham Out of Band

[[tmz:video id=”0_sien8cxe”]] Mick Fleetwood’s typically a man of few words when it comes to band drama, and he only needed one word when asked if a major rumor circulating is true — “No.” The Fleetwood Mac co-founder and drummer repeatedly denied…

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John Mayall & the Bluesbreakers and Friends: 70th Birthday Concert – Mick Taylor, John Mayall & The Bluesbreakers, Chris Barber & Eric Clapton

Mick Taylor, John Mayall & The Bluesbreakers, Chris Barber & Eric Clapton - John Mayall & the Bluesbreakers and Friends: 70th Birthday Concert  artwork

John Mayall & the Bluesbreakers and Friends: 70th Birthday Concert

Mick Taylor, John Mayall & The Bluesbreakers, Chris Barber & Eric Clapton

Genre: Concert Films

Price: $ 12.99

Rental Price: $ 2.99

Release Date: January 1, 2003


It's a warm summer's Saturday night, July 19, 2003 in Liverpool England and the eager audience patiently waits. In celebration of John Mayall's 70th birthday and for the benefit of UNICEF's fight against child exploitation, The Bluesbreakers (Tom Canning, Hank Van Sickle, Jo Yuele and Buddy Whittington) kick off with "Jacksboro Highway." After a few more numbers the place erupts as John Mayall appears to a standing ovation. The Godfather of British Blues has arrived and straight away he's playing fantastic harmonica and keyboards. Then (and after 38 years since they first played together) the "friends" and soul mates are reunited to a tumultuous reception as Eric Clapton appears on stage. Joining them is Mick Taylor and British Blues pioneer, Chris Barberas as they blast through nearly 21/2 hours of stunning blues. From blues standards to classics from the "Beano" album and on to contemporary Bluesbreakers material, an ecstatic Liverpool crowd laps up one of the finest nights of blues this millennium.

© © 2003 Eagle Rock

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Romeo and Juliet – Patrick Fournillier, Roberto Bolle, Misty Copeland, Antonino Sutera, Mick Zeni, Marco Agostino, Riccardo Massimi, Alessandro Grillo, Emanuela Montanari, Luigi Saruggia, Chiara Borgia, Monica Vaglietti, Matthew Endicott, Christian Fagetti, Virna Toppi, Denise Gazzo, Beatrice Carbone, Giuseppe Conte, Francasca Podini, Vittoria Valerio, Agnese Di Clemente, Marta Gerani, Daniela Cavalleri, Chiara Fiandra, Alessandra Vassallo & Ballet Company of Teatro alla Scala

Patrick Fournillier, Roberto Bolle, Misty Copeland, Antonino Sutera, Mick Zeni, Marco Agostino, Riccardo Massimi, Alessandro Grillo, Emanuela Montanari, Luigi Saruggia, Chiara Borgia, Monica Vaglietti, Matthew Endicott, Christian Fagetti, Virna Toppi, Denise Gazzo, Beatrice Carbone, Giuseppe Conte, Francasca Podini, Vittoria Valerio, Agnese Di Clemente, Marta Gerani, Daniela Cavalleri, Chiara Fiandra, Alessandra Vassallo & Ballet Company of Teatro alla Scala - Romeo and Juliet  artwork

Romeo and Juliet

Patrick Fournillier, Roberto Bolle, Misty Copeland, Antonino Sutera, Mick Zeni, Marco Agostino, Riccardo Massimi, Alessandro Grillo, Emanuela Montanari, Luigi Saruggia, Chiara Borgia, Monica Vaglietti, Matthew Endicott, Christian Fagetti, Virna Toppi, Denise Gazzo, Beatrice Carbone, Giuseppe Conte, Francasca Podini, Vittoria Valerio, Agnese Di Clemente, Marta Gerani, Daniela Cavalleri, Chiara Fiandra, Alessandra Vassallo & Ballet Company of Teatro alla Scala

Genre: Concert Films

Price: $ 12.99

Rental Price: $ 3.99

Release Date: January 28, 2017


Act I – Scene 1: The market place: The scene is in Verona. Romeo, son of Montague, tries unsuccessfully to declare his love for Rosaline and is consoled by his friends Mercutio and Benvolio. As day breaks and the townspeople meet in the market place, a quarrel develops between Tybalt, a nephew of Capulet, and Romeo and his friends. The Capulets and Montagues are sworn enemies and a fight soon begins. The Lords Montague and Capulet join in the fray, which is stopped by the appearance of the Prince of Verona who commands the families to end their feud. Scene 2: Juliet’s ante-room in the Capulets’ house: Juliet, playing with her nurse, is interrupted by her parents Lord and Lady Capulet. They present her to Paris, a wealthy young nobleman who has asked for her hand in marriage. Scene 3: Outside the Capulets’ house: Guests arrive for a ball at the Capulets’ house. Romeo, Mercutio and Benvolio, disguised in masks, decide to go in pursuit of Rosaline. Scene 4: The ballroom: Romeo and his friends arrive at the height of the festivities. The guests watch Juliet dance. Mercutio, seeing that Romeo is entranced by her, dances to distract attention from him. Tybalt recognises Romeo and orders him to leave, but Capulet intervenes and welcomes him as a guest in his house. Scene 5: Outside the Capulets’ house: As the guests leave the ball, Capulet restrains Tybalt from pursuing Romeo. Scene 6: Juliet’s balcony: Unable to sleep, Juliet comes out onto her balcony and is thinking of Romeo, when suddenly he appears in the garden. They confess their love for each other. Act 2 – Scene 1: The market place: Romeo can think only of Juliet and, as awedding procession passes, he dreams of the day when he will marry her. In the meantime Juliet’s nurse pushes her way through the crowds in search of Romeo to give him a letter from Juliet. He reads that Juliet has consented to be his wife. Scene 2: The chapel: The lovers are secretly married by Friar Laurence, who hopes that their union will end the strite between the Montagues and Capulets. Scene 3: The market place: Interrupting the revelry, Tybalt fights with Mercutio and kills him. Romeo avenges the death of his friend, and is exiled. Act 3 – Scene 1: The bedroom: At dawn next morning the household is stirring and Romeo must go. He embraces Juliet and leaves as her parents enter with Paris. Juliet refuses to marry Paris, and hurt by her rebuff he leaves. Juliet’s parents are angry and threaten to disown her. Juliet rushes to see Friar Laurence. Scene 2: The chapel: She falls at Friar Laurence’s feet and begs for his help. He gives her a phial of sleeping potion which will make her fall into a death-like sleep. Her parents, believing her to be dead, will bury her in the family tomb. Meanwhile Romeo, warned by Friar Laurence, will return under cover of darkness and take her away from Verona. Scene 3: The bedroom: That evening Juliet agrees to marry Paris, but next morning, when her parents arrive with him, they find her apparently lifeless on the bed. Scene 4: The Capulet family crypt: Romeo, failing to receive Friar Laurence’s message, returns to Verona stunned by grief at the news of Juliet’s death. Disguised as a monk, he enters the crypt, and finding Paris by Juliet’s body, kills him. Believing Juliet to be dead, Romeo drinks a phial of poison. Juliet awakes and, finding Romeo dead, stabs herself.

© © 2017 RAI Com

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L.A. Story – Mick Jackson

Mick Jackson - L.A. Story  artwork

L.A. Story

Mick Jackson

Genre: Comedy

Price: $ 4.99

Release Date: February 8, 1991


A wacky TV weatherman loses his job after taking off yet another weekend – after all, he figures, L.A. weather never changes, does it? And his personal life is a mess too, because his relationship with his long-time girlfriend has gone kaput. Everything looks pretty dismal, when he unexpectedly meets a British journalist on assignment in L.A. and falls instantly in love. He fears he has no chance with her, but while driving down a L.A. freeway, he suddenly realizes that one of the highway signs is trying to communicate with him. He stops to read the messages, takes a risk, and trusts in them to save his life.

© © 1991 Canal + D.A. All Rights Reserved.

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Fleetwood Mac at 50: Mick Fleetwood shares tales of blues and friendship from the band’s early days

For many, the story of Fleetwood Mac begins with the 1974 arrival of Lindsay Buckingham and Stevie Nicks, the talented yet combustible American duo who ignited an explosive string of hits that continue to define the band. But Mick Fleetwood wants to move past those rumors. Fans of the group’s pop jewels would hardly recognize their original incarnation as one of the most respected British blues bands of the ’60s. Now the founding drummer is telling the tale of those formative years in Love That Burns: A Chronicle of Fleetwood Mac, Volume One 1967–1974, a lavish new book by Genesis Publications due out Sept. 19. Featuring never-before-scene photos, insightful interviews from band members and intimates, and even a vinyl 7-inch of rare early recordings, it brings this often forgotten chapter of Fleetwood Mac’s history to life. The band initially coalesced around Peter Green, a 20-year-old guitarist whose formidable chops had earned him Eric Clapton‘s former slot in the seminal London blues outfit John Mayall’s Bluesbreakers. It was while playing with Mayall that he forged a musical alliance with Fleetwood and bassist John McVie. They ultimately splintered off to form a new project—which Green named in honor of his rhythm section. After experimenting in the studio, the group made their live debut on Aug. 13, 1967 at the Windsor Jazz & Blues Festival with the lineup of Green, Fleetwood, guitarist Jeremy Spencer, and bassist Bob Brunning. McVie, who was literally watching in the wings, would join for good soon after, as would a third guitarist, Danny Kirwan. From there, they began notching chart entries in the U.K. that include the original version of Santana’s “Black Magic Woman,” and the sublimely soulful instrumental “Albatross.” In what would become something of a recurring theme in their career, serious interpersonal problems soon threatened to tear the group apart from within. By the dawn of the ’70s, Green and Kirwan departed due to struggles with mental illness exacerbated by drug use, while Spencer parted ways with the group following a religious conversion. With the abdication of their primary creative forces, Fleetwood and McVie soldiered on with guitarists Bob Welch and Bob Weston, as well as the multi-talented Christine McVie, who happened to be married to the bassist. Fittingly, Love That Burns closes with an image of the El Carmen, a Mexican eatery in Los Angeles where Fleetwood and the McVies held an “audition” over dinner with Buckingham and Nicks. But that’s a different book. Fleetwood spoke to PEOPLE about those early days in the Swinging Sixties, reconnecting with his past, and the friendship that formed the heart and soul of one of the biggest bands in rock history. Over the years you’ve become the unofficial archivist of the band. Was there a time when you made a conscious decision to hold onto things because you knew they’d be historically significant? I held onto a chunk of stuff, though part of the story is that in truth it wasn’t as much as I thought. But the book company, Genesis, is hugely conversant with researching and finding stuff that maybe I had elements of, but not the negatives and all that. So we ended up with, in a way, upping the whole approach. These presentations are really a rarity when you get into the workings of how they come together; it’s a real piece of art in itself. All the care and attention and research became an education in how to take it a step further. “Well, we could do this, what if we do that? What if we find these people…” If ever there’s a Volume Two, I’m very well prepared for that. I used to get ribbed even back in the day with the other band members. “What are you taking the pictures for, Fleetwood?” I’d go, “Hang on a sec!” They would just be snapshots of stuff, so I’ve done that. My father loved taking pictures so to that extent, I had something that was relevant. But we’ve ended up trying to tell a story about this strange band from whence we have come. And that starts with 1967, 50 years since we’ve done our first show at the Windsor Jazz Festival. The book is a perfect way to mark the anniversary. Was that the intent all along? The fact that we ended up doing it with Genesis is really a story in itself that goes back many, many years when I saw a book they did with George Harrison [1980’s I Me Mine] which was gorgeous and stunning and meaningful. It was a fantasy that one day….[laughs] Then it sort of went off the radar. But it came back a couple of years ago when I was in a shop in LA and I saw a book they had done with Jimmy Page from Led Zeppelin [Jimmy Page by Jimmy Page]. We opened it up and said, “There it is! It’s them guys again!” We called the book company up and said, “Would you be interested?” And we’ve ended up here two years later. It’s a document that is driven by pictorial images for the most part, with some editorial. I’ve done an autobiography and in many ways this gets to the point quicker. There are so many things that came out as images, you had to very selective in the end result. It has to then tell the story. And that’s what we’ve tried to do, and I’m really happy and proud. It’s a trip. It’s appropriate that it’s 50 years of Fleetwood Mac, but that wasn’t part of the plan. It just inadvertently … “Oh my God!” We just took our time doing it and realized, “Wow, it’s coming out when we’re 50 years old as a band.” So it became even more poignant and more relevant as a document. This book is mostly focused on how we started, as it should be. But in terms of an incredible collage of different moments, and an unbelievable amount of different styles, with Bob Welch and Christine [McVie] joining and Jeremy [Spencer] and Danny [Kirwan] taking over when Peter [Green] left. It’s all featured in this book right up to the moment that Lindsay [Buckingham] and Stevie [Nicks] joined. Me and John were always banging away there, which I think helped bring some kind of continuity to it, but it is an unusual story. I hope that someone picking this [book] up will go, “Wow, what was that? Kiln House? Never heard of it!” That’s an important part of this document, and I do consider it a document that is part of something before it might go off the radar. There’s no doubt, rightly so, that the present day incarnation of Fleetwood Mac is doubtless going to be remembered as, “That was Fleetwood Mac.” This is understandably never going to be that, but it’s nice to know that bits and pieces that might find this period interesting. I’m glad that I’m connecting to this document. The start of the book reads almost like a Dickens story: you come to London at age 15 and immediately meet David Hockney and the Beatles, and have your hair cut by Vidal Sassoon. Was it as incredible at the time as it seems now? Well, in a different way. Anyone who was in London then witnessed, and in some ways was involved in, a whole movement in fashion, music, and art that pushed away what the Second World War had done. It was real, and it’s still here. The tentacles of what happened were that powerful, especially in music. The game has not played out. Those guys like the Beatles and the Rolling Stones are still relevant. I blundered into being around the Beatles because I was going out with Jenny [Boyd], and of course she was Pattie’s sister who was going out with George. All of that extra stuff became more relevant looking back. Now I go, “Wow!” At the time I thought, “Oh, this is cool …. Whatever.” I was just a struggling player. But what was relevant then was this band of players that I was around, ostensibly the original four—and then five—members of Fleetwood Mac, with Danny [Kirwan] joining quite soon after we started. We were just ensconced and focused on what we were doing. We had no idea it was going to be attached to what was going on in London. It wasn’t very fashionable. It wasn’t pop music. We were living out our dream following our blues train down the rails, and then it became part of something very relevant. We were very authentic about what we were doing. You had trailblazers; the Rolling Stones came from that world, and very quickly morphed into skilled songwriters. The Yardbirds were before us bunch, too. We came and really emulated Elmore James and early Delta Blues stuff that reflected in those early recordings. And then we took our journey that was led by Peter Green with “Oh Well” and “Rattlesnake Shake,” and “Albatross,” and all the weird songs that came out of the period were all represented in our story. It’s funny when you think of everything to come, but I understand you weren’t a big fan when you first heard Peter play. That’s one of my confessions, considering he’s my favorite guitar player and in many ways mentored me and gave me my self-worth as a player. I always say that I was a guy who happened to play drums versus “a drummer that found himself.” I just lucked out. When I first heard Peter, he auditioned for a band called the Peter B’s Looners with Peter Bardens, who was the guy who knocked on my door and started my journey as a drummer. He said, “I heard you playing in the garage!” It was like one of those fairy tales. The whole thing has been a bit like that. It was me and Dave Ambrose, a great bass player who went on to play with Brian Auger. Me and Dave said, “He’s good, but he doesn’t play very much.” But Peter Bardens, to his great credit, said, “You’re both wrong. This guy has something unusual.” And very quickly we learned that we nearly made a terrible mistake. Anyone who listens to and enjoys Peter Green’s approach—not only the tone but also the approach and the power of condensing passion without just pissing it down the drain and over extending those moments—knows he was a master of the adage “less is more.” In an interview in the book, John McVie talks of you cementing your friendship on a bumpy flight to London from Dublin during an early gig with John Mayall’s Bluesbreakers. What are your memories of that trip? You are well-informed! Freesias! That’s a longstanding joke. Occasionally John will get a collage of freesias, the sweet-smelling flowers. On that flight, for some reason I turned up at that airport [with them]. I was thanking him for something and I said, “I have something for you.” And John’s very upright. Very different from me, I’m an old drama queen. He’s like, “I don’t understand how you can wear pink socks!” or whatever. I got into that a little bit, but he was very straightforward. So I turn up with the flowers and he’s like, “What’s all this about?” And it became this longstanding joke. So now from time to time he’ll get some freesias. And he gets it, hence him saying that. It was me reaching out. He became very much a supportive [force]. When I first joined John Mayall’s Bluesbreakers, I took over from a very, very, very talented drummer called Aynsley Dunbar. He was a genius drummer, like John Bonham. And I’m going, “I don’t understand why he’s moving on.” The reality was that he was so clever, it got to a point where he was too complicated to be playing [the blues] and John Mayall made the decision that he wanted to change. And Peter phoned me up and said, “I got you the gig in John Mayall’s.” I was painting walls at the time, and I’m going, “Why would you be getting rid of this genius drummer?” Aynsley had a huge following. In those days people would come and cheer, “Aynsley Dunbar!” “Mick Taylor!” “Eric Clapton!” “Peter Green!” It was hero-worshipping at these pubs and clubs where we used to play. It was a whole thing in London. We used to follow people and cheer for them. So I’m suddenly there and not Aynsley. He did this incredible drum solo, and I couldn’t cut that sort of mustard at all. At one of my first gigs there were some hecklers in the back of this little theater saying, “Where’s Aynsley.” And I’ll always remember, John McVie came up to the mic, holding his Fender Jazz bass as if to say, “Any more of that s— and you’re going to get this wrapped around your neck!” I was always very grateful. John’s very not forward onstage, it was probably one of the few times he would come up to a microphone to say “Hello” or “Goodnight,” or anything. John is … John. But he went straight up to the mic and said, “If you don’t give this guy a f—ing chance…” and told them all to shut up. And they did! That was my first or second show I ever did with him. I remain grateful—hence he gets the flowers. You mention Delta Blues and Elmore James forming the bedrock of the music you played with John Mayall and later with Peter Green in early Fleetwood Mac. What was it like having the opportunity to play in the actual Chess studios with people like Willie Dixon and Buddy Guy? It was extreme. That’s a very powerful moment. Fleetwood Mac was playing with our heroes. It was much to the credit of Mike Vernon, of our little record label, Blue Horizon. He went to see all of these blues shows in England and, I suspect, knew Willie Dixon—or at least how to get to him—and he arranged that whole thing. “You mean we’re going to Chicago and making an album with all of these guys that Willie Dixon put together? What do you mean?! Oh wow, Chess Records!” We’d be like little kids listening to that stuff back in the day, even before Fleetwood Mac, so it was very important. We paid some real attention to that moment in the book; I’m glad you brought that up. It amplifies the very nuts and bolts of what this was all about. We were a blues band, a bunch of kids that played the blues and aspired to as good as we could, and we were blessed as a band with Peter Green and Jeremy Spencer. In the beginning, if you listen to Elmore James and put Jeremy on, he was Elmore James. He became not just a copyist, but he actually lived somehow that style of slide playing. We didn’t get to play with Elmore, because he passed away, but on [sessions for] Blues Jam at Chess, there’s pictures in the book of little Jeremy, who’s five foot nothing with a huge guitar, with J.T. Brown, who was Elmore’s sax player. That is powerful stuff to see that. It was huge for the band, and that just amplifies what was going on. We were playing with our heroes. For Jeremy it was: “Elmore’s not here but I’m playing with J.T. Brown, doing an Elmore James song!” I remember J.T going, “God damn, this weird little guy! I’m closing my eyes and it’s like I’m back in my band!” I remember Peter went down to a place where, quite frankly, white folks didn’t go. Willie Dixon took him down to one of the blues clubs and Peter apparently got up and played, and everyone’s looking him down. There were no white folks in there, and I was told by one of our road managers who had gone down there that Peter cut the mustard. He was a magical, powerful player who resonated with people who were our heroes. So the whole trip to Chicago was extreme and certainly has a place in this book. What kept you going when Peter left? Was there ever a point when you wondered if you should pack it in? The first lesson was abject, extreme sadness. I just thought, “God, what are we going to do?” We rented a house from a friend of mine, which was Kiln House. It was a form of closing the ranks. We were very frightened. What was the formula for survival? I think, “We better close ranks or this is over.” Then that whole method of survival was probably repeated many times, which is why we’re still here. Part of the reason was always wanting to continue having a partnership with John and two or three other band members. So it was, “Let’s not throw this away. Let’s give this a go and see if we can keep going.” When you’re in a rhythm section and you don’t have someone to play with, what do you do? Play in your living room? And I’m not making light of it, but I’m giving a reason that I think was probably more important: “Let’s see if there’s a way to keep your job.” And that became a model that we never gave up. We were very blessed along the journey with people who were part of the survival, which eventually led to a major, major chapter in Fleetwood Mac that everyone knows about. But they don’t know about the period in these pages to that extent—and they never will. Some people who aren’t here—Bob Welch isn’t here anymore—but there are people and moments that should be accoladed, and this book is part of it. Fifty years down the road, it’s a few pages that needed to be seen. The book really gives its due to Peter Green, even down to the name The Love That Burns. How did you arrive at the title? It’s one of Peter’s loveliest songs that he used to sing and it became very relevant. I see him when we go to England but we’re not connected. That’s a whole other story. This is about the music and what we were doing, not what happened to the people and all the blood and guts. But there was a moment, I did an interview with him [for the book] that went on about three hours, just so that Peter had a little bit of a voice. But I took license at one point and I asked him, “Why did you ask me to play drums?” He could have picked anybody. I knew him and we’d played together, but it wasn’t planned. Everyone thinks that the three of us dumped John Mayall and formed Fleetwood Mac. It was nothing of the sort. He was pressured into putting a band together and said, “Would you like to play?” I said, “Well, why did you ask me?” One would imagine it was something like, “Well you’re a pretty good drummer…” but it was totally nothing to do with music at all. He said, “Don’t you remember? You were really sad. That’s when you broke up with Jenny.” I eventually married her later on, but I was devastated. He said, “You were so sad. You had nothing to do and you needed to pull your socks up.” The point being, that is the power of what is encompassed on and off through the whole history of Fleetwood Mac. It’s a mass of fear and loathing and love. [Afterwards] I burst into tears because it was so moving. He said, “I was your friend.” Later on, in a comedic way I say, “S—, I thought it was because maybe I was a halfway decent drummer!” [laughs] But there’s a lot of charm to that, hence the title made even more sense because the truth is, for better or for worse, that is still going on. And that’s a whole other story. This article was originally published on PEOPLE.com
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Mick Jagger gets political on two new songs

Mick Jagger has surprised with two sharply political new tracks. Gotta Get a Grip and England Lost, released Thursday, are urgent responses to the "confusion and frustration with the times we live in," he says in a statement. The songs are about the "anxiety" and "unknowability of the changing political situation." On England Lost, which features British rapper Skepta, the Rolling Stones frontman uses a football team's losing game as an analogy for a country at a political crossroads. "It’s about a feeling that we are in a difficult moment in our history," Jagger writes. "It's obviously got a fair amount of humor because I don’t like anything too on the nose, but it's also got a sense of vulnerability of where we are as a country." Gotta Get a Grip, meanwhile, is about how "despite all those things that are happening, you gotta get on with your own life, be yourself and attempt to create your own destiny," he says. Jagger started writing the songs in April and said they're not attached to any specific album. "I didn’t want to wait until next year when these two tracks might lose any impact and mean nothing," he writes. The rock icon was particularly inspired by hip-hop titan Kendrick Lamar, who is "also talking about discontent and he really nailed it," he says. As for the current political climate, ‘’we obviously have a lot of problems," Jagger writes. "So am I politically optimistic? … No.” Jagger released videos for both Gotta Get a Grip and England Lost, which star Girls actress Jemima Kirke and Beauty and the Beast's Luke Evans, respectively.
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Check Out Mick Jenkins’ Outrageously Retro Video for “Your Love”

Along with earning the honor of being this year’s XXL Freshman, Mick Jenkins has been acquiring fans with his debut album, Wave[s]. Yesterday, the Chicago rapper released an official set of visuals for his single off of the project titled “Your Love”. The video definitely feeds off of style from the 70’s, with Jenkins trying aimlessly to pull a chick after being rejected severely the first time. It’s a humorous storyline that fits the song. “Your Love” originally premiered on MTV Jams yesterday, so expect to see it in rotation more.

Check out the video below.

Filed under: Music, Videos Tagged: Mick Jenkins, Waves, Your love
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Mick Jagger Sings ‘Satisfaction’ With Taylor Swift

Mick Jagger joined Taylor Swift on stage at a Nashville show to sing the Rolling Stones classic “Satisfaction.” “The person I’m about to bring out has been so incredibly kind to me over the years,” Swift said, introducing Mick. “This person is one of the greatest entertainers of all time . . . This person has been knighted.”
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Taylor Swift, Mick Jagger Perform Rolling Stones’ ‘Satisfaction’

Taylor Swift closed her second sold-out concert at Nashville’s Bridgestone Arena Saturday night (Sept. 26) with an extra special guest: iconic rock’n’roll singer Mick Jagger.
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Volcano – Mick Jackson

Mick Jackson - Volcano  artwork

Volcano

Mick Jackson

Genre: Thriller

Price: $ 9.99

Rental Price: $ 2.99

Release Date: March 9, 1999


Something unspeakably chilling is heating up The City of Angels. Beneath the famed La Brea Tar Pits, a raging volcano pushes to the surface, raining a storm of deadly fire bombs and an endless tide of white-hot lava upon the stunned city. Experience the pulse-pounding thrills as the dream capital of the world erupts into the stuff nightmares are made of.

© © 1997 Twentieth Century Fox Film Corporation.

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L.A. Story – Mick Jackson

Mick Jackson - L.A. Story  artwork

L.A. Story

Mick Jackson

Genre: Comedy

Price: $ 9.99

Release Date: February 8, 1991


A wacky TV weatherman loses his job after taking off yet another weekend – after all, he figures, L.A. weather never changes, does it? And his personal life is a mess too, because his relationship with his long-time girlfriend has gone kaput. Everything looks pretty dismal, when he unexpectedly meets a British journalist on assignment in L.A. and falls instantly in love. He fears he has no chance with her, but while driving down a L.A. freeway, he suddenly realizes that one of the highway signs is trying to communicate with him. He stops to read the messages, takes a risk, and trusts in them to save his life.

© © 1991 Canal + D.A. All Rights Reserved.

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Foreigner: Live – Mick Jones, Kelly Hansen, Tom Gimbel, Jeff Pilson, Michael Bluestein, Jason Bonham & Foreigner

Mick Jones, Kelly Hansen, Tom Gimbel, Jeff Pilson, Michael Bluestein, Jason Bonham & Foreigner - Foreigner: Live  artwork

Foreigner: Live

Mick Jones, Kelly Hansen, Tom Gimbel, Jeff Pilson, Michael Bluestein, Jason Bonham & Foreigner

Genre: Concert Films

Price: $ 15.99

Rental Price: $ 3.99

Release Date: July 12, 2011


Universally hailed as one of the most popular rock acts throughout the ‘70s and ‘80s, Foreigner still puts on an absolutely thrilling and sensational show thirty years later. Singer Kelly Hansen and lead guitarist Mick Jones are a wicked combination on songs like “Hot Blooded” and “Double Vision.” Foreigner’s showmanship is outstanding and this sensational concert is packed with smash hits like “Cold As Ice,” “Juke Box Hero” and “Urgent,” as well as the newest single “Too Late.” Song List: Night Life, Head Games, Cold As Ice, Waiting For A Girl Like You, Too Late, Say You Will, Long Long Way From Home, Double Vision, Blue Morning, Blue Day, Dirty White Boy, Starrider, Feels Like the First Time, Urgent, Juke Box Hero, I Want to Know What Love Is, Hot Blooded.

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Mick Jagger And Martin Scorsese’s Rock Drama Titled Vinyl

The 1970s rock-themed show in development between Mick Jagger and Martin Scorsese has been dubbed Vinyl. The show has been years in development and is now set to hit the screen in 2016. The show will star Bobby Cannavale, Olivia Wilde and Ray Romano. It is described by network HBO as, “Set in 1970s New York . . .”
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John Mayall & the Bluesbreakers and Friends: 70th Birthday Concert – Mick Taylor, Chris Barber, John Mayall & The Bluesbreakers & Eric Clapton

Mick Taylor, Chris Barber, John Mayall & The Bluesbreakers & Eric Clapton - John Mayall & the Bluesbreakers and Friends: 70th Birthday Concert  artwork

John Mayall & the Bluesbreakers and Friends: 70th Birthday Concert

Mick Taylor, Chris Barber, John Mayall & The Bluesbreakers & Eric Clapton

Genre: Concert Films

Price: $ 12.99

Rental Price: $ 2.99

Release Date: January 1, 2003


It's a warm summer's Saturday night, July 19, 2003 in Liverpool England and the eager audience patiently waits. In celebration of John Mayall's 70th birthday and for the benefit of UNICEF's fight against child exploitation, The Bluesbreakers (Tom Canning, Hank Van Sickle, Jo Yuele and Buddy Whittington) kick off with "Jacksboro Highway." After a few more numbers the place erupts as John Mayall appears to a standing ovation. The Godfather of British Blues has arrived and straight away he's playing fantastic harmonica and keyboards. Then (and after 38 years since they first played together) the "friends" and soul mates are reunited to a tumultuous reception as Eric Clapton appears on stage. Joining them is Mick Taylor and British Blues pioneer, Chris Barberas as they blast through nearly 2 1/2 hours of stunning blues. From blues standards to classics from the "Beano" album and on to contemporary Bluesbreakers material, an ecstatic Liverpool crowd laps up one of the finest nights of blues this millennium.

© © 2003 Eagle Rock (US)

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Mick Jagger Discusses Inspiration Behind ‘Moonlight Mile’

Rolling Stones fronter Mick Jagger says that the Sticky Fingers cut “Moonlight Mile” almost didn’t make the record. Speaking with the Wall Street Journal, Mick says he wrote the lyrics months before it was recorded, prompting the band to record it on the fly. “What makes ‘Moonlight Mile’ special is that it’s a song and a recording at once,” observed Jagger.
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Hollywood Hologram Wars: Vicious Legal Feud Behind Virtual Mariah, Marilyn and Mick


From Homer Simpson to Jimmy Kimmel to Disney’s upcoming ‘Star Wars’ movie, Hollywood’s new technology already is transmitting stars to multiple spots and reviving ones long gone. But now, a legal war between two entrepreneurs is holding back a potentially massive business as they squabble on social media (“Come at me, bro,” says one).

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Hollywood Reporter

Slipknot Guitarist Mick Thomson Stabbed In The Head During Knife Fight

Slipknot guitarist Mick Thomson was stabbed in the back of the head early Wednesday morning during a knife fight with his brother, police say.

Thomson, 41, and his brother Andrew, 35, were reportedly fighting inside Mick’s home in Clive, Iowa. The altercation got physical when it spilled outside. The brothers were found in the front yard, fighting with knives, according to KCCI.

Police said both men were intoxicated and were seriously hurt in the fight, but that none of the injuries were life-threatening. Both were taken to the hospital in separate ambulances.

No charges were initially charged.

Mick, whose full name is Mickael Gordon Thomson, plays guitar for the heavy metal band Slipknot. The band’s manager told Time that the incident wouldn’t impact future shows.

Late Wednesday, Slipknot’s lead singer Corey Taylor tweeted that Thomson was recovering.

There was no word on what injuries Andrew sustained.
Entertainment – The Huffington Post
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