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CousinC
Do we know who was with Jagger and how come he was there?
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DeanGoodmanQuote
CousinC
Do we know who was with Jagger and how come he was there?
Right place, right time. The Stones were in L.A. working on Exile in January 1972. They were also both on Atlantic. Ahmet or Jerry probably told them about it.
I don't think I've ever seen any Mick or Charlie comments on this rather historic event.
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PhillyFAN
I love Aretha Franklin. Her music, voice, and legend to American music is undeniable. However, it is another prime example of a black artist having no control of her music, voice, or image. Is she going to make any money on the use of her voice and image? I wonder. If there is money to be made will she get any of it?
I would love to see this documentary but not at the price of screwing her out of being paid for the use of her incredible talent. Maybe I am wrong here because I am not in the music business or really understand these things. There must be a reason why she wants to stop this documentary.
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PhillyFAN
I love Aretha Franklin. Her music, voice, and legend to American music is undeniable. However, it is another prime example of a black artist having no control of her music, voice, or image. Is she going to make any money on the use of her voice and image? I wonder. If there is money to be made will she get any of it?
I would love to see this documentary but not at the price of screwing her out of being paid for the use of her incredible talent. Maybe I am wrong here because I am not in the music business or really understand these things. There must be a reason why she wants to stop this documentary.
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DeanGoodmanQuote
PhillyFAN
I love Aretha Franklin. Her music, voice, and legend to American music is undeniable. However, it is another prime example of a black artist having no control of her music, voice, or image. Is she going to make any money on the use of her voice and image? I wonder. If there is money to be made will she get any of it?
I would love to see this documentary but not at the price of screwing her out of being paid for the use of her incredible talent. Maybe I am wrong here because I am not in the music business or really understand these things. There must be a reason why she wants to stop this documentary.
It transcends race and related stereotyping. All creative endeavors require a ton of legal paperwork before they can be published. Everyone depicted in Amazing Grace will have signed off on having their likeness used, either literally at the bottom of documents, or implicitly by walking past the warning sign on the door (as seen in the trailer).
Additionally, the producers must get clearances from the songs' copyright holders and principal players, and they also will carry what is called a "media perils" insurance policy to protect against lawsuits (which would benefit Aretha, if she is named as a defendant for any reason - this is America, after all).
Since this was recorded for a live album by Atlantic, I imagine the lawyers dotted the i's from the start. Of course, she will get royalties, though I doubt this film will make much money.
Check out David Ritz's wonderful new bio. It has great coverage of the Amazing Grace sessions. But you also learn that she's not exactly a victim. If she'd had her way, Steely Dan would have been blocked from name-checking her in "Hey Nineteen," for example.