This is RSFCO

News 2003 Home Archive

News 2003 JAN. 3 Ford hopes Rolling Stones start up sales By Mark Truby, The Detroit News DEARBORN, Mich. — It may be only rock 'n' roll, but Ford Motor certainly likes it. Looking for a New Year's jump-start, Ford has purchased the rights to the Rolling Stones' song Start Me Up for an advertising blitz that will begin on Jan. 1, only seconds after the strains of Auld Lang Syne die down. The company is expected to announce the deal Tuesday. Ford plans to debut a 30-second commercial featuring Start Me Up and the brand's entire car, pickup and sport-utility vehicle lineup as close to midnight as possible on NBC's The Tonight Show with Jay Leno, according to company officials. The Ford ads mark the second time the song has been licensed for commercial use. Microsoft used the Stones song as a centerpiece of its massive ad campaign that accompanied the rollout of its Windows 95 software. While Ford hasn't revealed how much it spent for the rights to the song, the price tag is probably enough to make a grown man cry. Microsoft reportedly paid $4 million for the rights in the mid-1990s. Major corporations, automakers in particular, are increasingly turning to popular music to pitch their products. Toyota's Everyday People ad campaign was derived from the Sly and the Family Stone tune of the same name. And General Motors' Chevrolet created a well-received campaign around Bob Seger's 1984 hit Like a Rock.  Led Zepplin's Rock and Roll is the anthem for Cadillac's new restyled product line. Some fans of the beloved bands and their music have railed against what they consider the crass commercialism of using iconic tunes to hawk products. Nike's use of The Beatles' song Revolution spurred perhaps the biggest backlash. The Rolling Stones first released Start Me Up as the opening track of their multiplatinum-selling 1981 album Tattoo You. The seminal British rock group is popular internationally among baby boomers as well as twentysomethings — the consumers Ford needs to successfully reach if it hopes to reverse a sales slide. "Start Me Up really gets your blood pumping," said Steve Lyons, Ford Division president. "We picked it to send the message that Ford's back." During the first two weeks of January, the spot will air during every major college football bowl game, the NFL playoffs and highly rated prime-time television shows, including NYPD Blue, The Practice, 60 Minutes and The Simpsons. Six other versions of the ad are planned, and they will air regionally to support the full Ford product line, the company's SUVs and pickups and individual Ford products, including Focus, Ranger and Taurus. Radio versions of the ads also will be produced. The campaign was produced by the Detroit office of J. Walter Thompson U.S.A. Ford also plans to debut a new ad campaign for its blue oval-badged cars and trucks in 2003. The campaign's pitch line, "Look Again," urges buyers to reconsider Ford products. JAN. 3 Touring with the Rolling Stones By Debra Scacciaferro, Daily Record The Rolling Stones have always been known as the bad boys of rock 'n' roll. At their Altamont concert in 1969, a fan died during a melee with Hells Angels motorcyclists hired as security guards. Later the band made headlines with Mick Jagger's well-publicized romances and divorces, and lead guitarist Keith Richards' problems with drugs. But trumpeter Kent Smith paints a very different picture of the Rolling Stones. Smith, 45, of West Milford, took this year off from his job as music teacher at Pope John XXIII Regional High School in Sparta to tour with the band. Six years ago, when Smith first toured with the Stones, Keith Richards and his wife, Pattyi, offered to babysit for Smith's 8-year-old daughter while Smith took his wife out to dinner. "Everyone said, 'You trusted him to babysit your daughter?" Smith said, smiling at his now 14-year-old daughter, Nicole. "I guess that sounds odd to people who don't know them. But when I asked Nicky what it was like being with them, she said, 'Just like the Brady Bunch.'" Smith laughed at the incongruous image. "Keith and Patti and their kids and Nicole all watched TV together." He thought a moment, trying to sum up the Stones. "Mick keeps to himself on tour, but the rest of the guys are just dudes. Their bad boy thing, it's all carefully calculated and marketed. It's an act." So much for the bad boys of rock 'n' roll. If the Stones have mellowed in the long years of their legendary career, they have not changed in musical respects. They are still considered "The World's Greatest Rock 'n' Roll Band" and still play one hell of a live concert, Smith reported. In fact, Smith's students will benefit from the Stones' Jan. 18 concert for HBO at Madison Square Garden in New York City. Smith has donated two concert tickets and backstage passes for the show, to be raffled off by the school. The proceeds will benefit the high school concert band and studio jazz ensemble. Raffle tickets will be on sale Thursday at Pope John High School, 28 Andover Road, Sparta. "The school is very supportive of the bands, but we always have a wish list," Smith said. "A set of orchestral chimes costs five grand." A set of marimbas also costs about $5,000. Smith also hopes to set up a musical computer lab in 2004, where students can learn to compose on a multiple instrumental digital interface program, just as professionals do. Smith spoke at his home in West Milford last week while on a holiday break. Tall and slim, with dark, short-cropped, curly hair, the only sign of his rock 'n' roll status was the official tour sweatshirt he wore, embossed in red with the Rolling Stones "Licks" logo. Instead of heading for the classroom in September, he headed for Boston for the first concert. When his students return to school this week, he'll be heading to Montreal, and then to a dozen more concerts in the United States, before flying to Australia, Japan, China and Europe, ending in London in August. This tour is promoting the Rolling Stones' latest double CD, "Forty Licks," a compilation of 36 past hits, including "(I Can't Get No) Satisfaction," "Ruby Tuesday" and "Brown Sugar." Four new songs also were recorded for the CD: the single "Don't Stop," "Stealing My Heart" (which Jagger describes as "garage rock with a hook"), and two ballads, "Keys to Your Love" and "Losing My Touch" (the latter features Richards on vocals). When the Stones began rehearsing for the tour, they listened to the original recordings they had made 30 years ago. "Then they got up and played it, just like it was 30 years ago," Smith said, admiringly. "But they've never been a studio band. They don't use a click track. They don't record one track at a time. They've always gone in there and set up their instruments and played together, just the way they do on the road. That's why they're so good in concert." The Stones also don't push themselves on tour, Smith said. "They'll do a leg (of the tour) and give you a nice break, do another leg and take a break. That's why they've lasted so long. The Stones kind of invented the giant world tour, anyway, so they've learned from their early mistakes." The band has its own aircraft, and health-conscious Jagger travels with a personal trainer and a vocal coach. Wives, kids and grandchildren join the tour at regular intervals, unlike many bands that ban wives and girlfriends. "The Stones have figured out how to keep it a family thing," Smith said. "It's just healthier." Smith's daughter Nicole has a string of five backstage passes from the concerts they have attended so far. She also keeps a tour journal, with written impressions and mementos, like a piece of confetti from the show and a stick of incense favored by one of the band members. "The entire backstage smells like this," she said, tapping the page. Smith's wife, Deborah, a musician, songwriter, and computer teacher at St. Joseph's School in Newton, plans to join the tour again in Europe. "We try to make it educational," she said. "I try to hit museums and important sights, so we get the most out of traveling." Touring with the Rolling Stones has definitely spoiled Kent Smith. "I guarantee I'll never go out with another band after the Stones," he said. "They treat you like a king. You don't reach in your pockets for anything. They're very nice people. They kind of keep it almost like a family." Still, there is also the glamour of meeting famous stars like Jack Nicholson, James Taylor, designer Tommy Hilfiger, Lenny Kravitz, Sheryl Crow and Sarah "Fergie" Ferguson. And the drama of being driven back to the hotel accompanied by screaming police escorts, which have, on occasion, even delivered fresh ice backstage when the band ran out. All that is a far cry from Smith's middle-class childhood in North Dakota and Minnesota. His father, an FBI agent with a passion for jazz, played recordings of jazz pianists Earl Hines, Fats Waller and Art Tatum. "There was no rock 'n' roll in the house or anything like that," Smith recalled. "In fact, later, when I'd hear rock 'n' roll, it sounded unmusical. It took me till much later to appreciate rock 'n' roll." His older brother played trombone. "I got going on the trumpet in third grade," Smith said. "I enjoyed playing, showed off, took piano lessons. When I got into high school, I thought, I don't want to work for a living; I'll do music. Little did I know how much work it is." He met his wife, who had grown up in New Milford, Pa., at college in Bloomington, Ind., where both majored in music. "We were swinging our way through college," he recalled. "Then we moved to Indianapolis and got our feet wet as professional musicians." But soon they were in New Jersey, close to the New York jazz scene. "I knew the trumpet players in L.A. were fierce," Smith said. "At the time, the talent pool wasn't as deep out here, so I thought there might be more of a place for a guy who is a good player, but not a prodigy." Smith freelanced with Latin bands and toured with singer Paul Anka before joining a horn section formed by Chris Botti (who has since played with Sting and Paul Simon). The group did studio recordings and TV jingles. Hearing the Rolling Stones were looking for horns, they auditioned in Toronto for the "Voodoo Lounge" tour. "We didn't really think they would take us," Smith recalled, "because we were not really rock 'n' roll guys. We were sort of like music school nerds. We knew we played better than those guys, but we didn't look the part." But their preparation impressed the Stones' tenor saxophone player, Bobby Keys, who had played on "Brown Sugar," and they were hired. They followed up with the "Bridges to Babylon" tour in 1997, and the "No Security" arena tour in 1999. After that, Smith was ready to quit touring, and sent out resumes to several high schools. Neva Rae Powers, the music teacher at Pope John High School, hired him on the spot. Originally a singer and Broadway actress, she had taken over the music department after the death of her husband, Frank Kubik, who had built up the school's music program. "I didn't want to see all the work he did go to waste," Powers said. "The program continued to grow, and I stayed on for seven years. I was doing everything." Now, she shares music classes with liturgical expert and choral teacher Kelly Dachisen, who also runs the school's three choirs. Smith, in his first two years, expanded the concert band and started a studio jazz ensemble - a 25-piece band that is often asked to appear at outside conferences and concerts. "I liked him from the first," Powers said. "He's an easygoing guy and very knowledgeable. We all come from a performing background. So we can offer the students a well-rounded program." "For the concert band, we don't play Sousa marches," Smith said. "We do Duke Ellington and Antonio Carlos Jobim medleys ("The Girl From Ipanema"). In real life, where are you going to play Sousa? I want them to be prepared for the real world." The real world of the Rolling Stones tour? Sure, he said. The Rolling Stones have excellent business sense, a commitment to playing live and a professionalism that newer bands don't have. "You get the feeling they're more interested in fashion than in music," he said, ticking off rap stars who can't play, producers who keep session musicians waiting for hours, and record companies that save money by using electronic music instead of live musicians. "I've been exceptionally fortunate to get a gig of this standing (with the Rolling Stones)," Smith said. "Not a lot of guys get to do it. I like to think that I can bring my students the professional prospective." At the very least, he has some great stories to pass on. Like the time Mick Jagger called the horn section together after finishing dress rehearsal. Since there was no audience, the horn players had been milling around, talking quietly during the songs they weren't required to play. "I don't know much about playing the horn," Jagger told them dryly. "But I have learned one thing in my days of touring. It's always better for the audience if you look like you're interested in what's happening on stage." JAN. 3  2002 was a record year for tours, with $2.1 billion in ticket sales; McCartney had top tour Friday, January 3, 2003 (AP),NEKESA MUMBI MOODY, AP Music Writer Classic acts such as Paul McCartney, the Rolling Stones and Cher lured more people to concerts in 2002 and helped the industry make a record $2.1 billion in ticket sales, according to figures released Friday.    This was the fourth straight year concert receipts reached record levels in America. There were $1.75 billion in sales in 2001, according to trade publication Pollstar, which tracks the concert industry.    In 2001, ticket costs rose and sales declined, Pollstar said. Last year, increased ticket sales helped push concert receipts higher.    "We had some very big marquee names out on tour this year," said Pollstar's Gary Bongiovanni. "Paul McCartney has not worked in a long time, and the Rolling Stones only come out every couple of years."    McCartney had the top-grossing tour, raking in $103 million. Fans paid an average of $130 per ticket to see the former Beatle, who hadn't toured the United States in about a decade.    The Rolling Stones tour placed second, coming in at $88 million, with an average ticket price of $119. Pollstar said it was the first time the Stones hadn't hit the No. 1 spot with their U.S. tour.    Cher's tour -- which the singer said would be her last -- was in third place, at $74 million, followed by the Billy Joel & Elton John concerts, which grossed $65 million, and the Dave Matthews Band, at $60 million.    Other acts in the top 10 were Bruce Springsteen & the E Street Band, Aerosmith, Creed, Neil Diamond and The Eagles.    Creed and the Dave Matthews Band were the only acts in the top 10 that aren't veteran acts -- and that represents one of the industry's problems, Bongiovanni said.    "The acts that are at the top have got to be reaching the end of their touring life," he said. "Where the next generation of headlining acts is going to come from is anybody's guess." JAN. 3 Painting a solo release for guitarist Ron Wood MONTREAL (CP) -- Ron Wood loves playing guitar with the Rolling Stones, but "away from the madness," painting sustains him. A chat with Wood on the phone from London was supposed to be restricted to his moonlighting career as a painter and help promote his exhibition at Montreal's Just for Laughs Museum (Jan. 7-19) featuring lithographs, silk screens, sketches and canvases. His best-known works are his portraits of rock stars. But the talk soon turned to rock. This is, after all, one of the key guitarists in the history of modern British music. Wood played bass in the Jeff Beck Group in the 1960s, was a founding member (with Rod Stewart) of the great ramshackle, booze-soaked rock outfit the Faces, and, for the past 27 years, has been a card-carrying member of the Rolling Stones. So, in spite of the publicist's strict instructions, it just seemed perverse to talk just about brush-stroke technique. Woody, it turns out, was only too pleased to talk rock. He waxed eloquent about his old pal Stewart, and excitedly broke the news that he and Stewart will be reuniting in the studio this year for a new joint studio album. But Wood, 55, was most enthusiastic when discussing his current night job, cranking it out on the Rolling Stones' 40th-anniversary Forty Licks tour, which touches down in Montreal for a sold-out show on Wednesday. Wood has sworn off drinking since a stint in rehab last year and he said that, contrary to the usual rock myths, he's a much better musician now that he's stone-cold sober. Wood has been playing guitar in the self-proclaimed world's greatest rock 'n' roll band since 1975 and he chuckles when it's mentioned that he's still considered "the new Stone." He is the third guitarist to play alongside chief riffmeister Keith Richards, following the late Brian Jones and Mick Taylor. The Forty Licks tour, named after the essential career-spanning two-CD compilation released in the fall, has injected new zest into Wood and his Stones colleagues Richards, Mick Jagger and Charlie Watts. The grizzled rockers have been playing clubs, arenas, and stadiums and, in contrast to fellow senior-citizen rockers like Paul McCartney, the Stones have been shaking up the set lists on a nightly basis. "With the three different-sized venues, we call it the Fruit of the Loom tour -- small, medium, large," said Wood. Wood, who studied at the Ealing College of Art in London before becoming a professional musician, continues to paint while on tour. He has tried his hand at a number of different media, producing oil paintings, woodcuts, lithographs, etchings and drypoints, and the range of his output has included landscapes and large-scale murals. But his best-known work continues to be his portraits. His well-crafted, accessible portraits have included his takes on Keith Moon, Chuck Berry and Jim Morrison, along with various Rolling Stones. Wood said it isn't easy painting the Stones. "It's tough sometimes. Like, Jagger is not easy to capture. It's a bit of a challenge. He's a forever-changing type of personality." © Copyright 2003 The StarPhoenix (Saskatoon) JAN. 4 Rolling Stones keyboardist gets satisfaction as a tree farmer By Doug Oster, Post-Gazette Columnist He calls it listening to the silence. It's the time that conservationist Chuck Leavell spends in the forest on his plantation in Bullard, Ga. He's worked for more than 20 years to transform 2,200 acres into a model of sustainable forestry, and has made it his mission to help educate others about being stewards of the land. Chuck Leavell feeds one of the horses at Charlane Plantation in Bullard, Ga., where he and his wife, Rose Lane, raise trees on a 2,200-acre farm that has been in his wife's family for generations. He'll be here next week with the Rolling Stones. (Ric Field, Associated Press) Leavell has a day job, too. As the keyboard player since 1982 for the Rolling Stones, he's just as comfortable with Mick Jagger in front of 60,000 screaming fans as he is on horseback, with just an audience of trees. Leavell and the band will be in Pittsburgh Friday for a concert at Mellon Arena.   On the cover of his book, "Forever Green," he is described as "a tree farmer in his heart and a musician in his soul." He was only 10 years old when he discovered rock 'n' roll, learning to play guitar along with the piano he had been playing for four years. But his passion for the forest was born much later, in 1981, when his wife inherited the land her family had lived on for more than a half century. When Rose Lane's grandmother died, she and Leavell were faced with a great challenge -- what to do with the land. Leavell was a working musician, spending months on the road. Conventional farming just wasn't going to work. He looked into growing crops or nursery stock. "I drove around the back roads of Georgia, looking at peach trees and pecan farms," he said in a phone interview. Then, Lane's brother Alton White III suggested tree farming. It would continue a family tradition -- Lane's grandfather loved forestry -- and it would allow Leavell to work on the road and in the studio while still managing the farm.           Chuck Leavell's book, "Forever Green: The History and Hope of the American Forest," and a companion compact disc, "Forever Blue," are available in stores or through his Web site, http://www.chuckleavell.com/.     He spent the next two years researching forestry, reading books, attending seminars and learning what he could from experts. While on tour with the Fabulous Thunderbirds, he completed a correspondence course from the Forest Landowners Association and Georgia Extension Service. "Those guys [in the band] would scratch their heads -- 'What's old Chuck up to now?' " Leavell said. While touring with Dickie Betts of the Allman Brothers, he insisted that the band stop by the Audubon Society in Washington, D.C., to search for a specific book. Whenever the tours ended, he returned to work on the plantation named Charlane, after his real first name and Rose's last. His plan was to create a balance, replanting as he harvested. It apparently worked. In 1999, he was named National Outstanding Tree Farmer. "[It's] just as good a feeling as when I've received a gold or platinum record or been on a recording that won a Grammy Award. Maybe even better," he wrote in his book. "Forever Green" is more than the story of Leavell's journey into forestry. It's also a study of what we have done to the woodlands through history and a look at their condition today. As a nation, we were depleting the forests at an alarming rate. From 1800 to 1900, for example, Ohio lost 75 percent of its woodlands. The good news, however, is that 70 percent of America's forests remain intact. Leavell said he wrote the book to try to get the facts out to the public. "People are so misinformed. Everyone has a concern for the environment and how you treat it. [But] there's been major mistakes in managing the forests of America. We've learned how not to do and how to do it," he said. The turnaround started more than 50 years ago. In the 1940s, people started to speak up about the damage created by clear-cutting large tracts of land. "I think it was a natural evolution caused by the realization we were over-harvesting," said Leavell, who worries more today about urban sprawl. "You don't combat it. There's 286 million people and we all have to have a place to live. Preservation of buildings and smart growth is a way to solve this problem." Back at Charlane, walking among the trees, Leavell gets a different kind of satisfaction than when he's touring with the band. "First of all, I love playing music. It's equally as important," he said. But his love for nature does bring him some good-natured teasing from Mick and the boys. Keith Richards has nicknamed him "Boy Georgia." "I really believe they applaud what I do, but they tease me sometimes. We all have a concern about the environment," he said. "Mick was renovating his place and he built this beautiful pond. We talk about water quality. Charlie [Watts] has a horse farm. He'll say, 'Hey Chuck, I just bought another tract that has a lot of wood on it.' We talk about those type of things." To heighten awareness about global warming, the band is giving a free concert in Los Angeles on Feb. 8. The way the Stones are rolling, it may be decades before they retire. Until then, Leavell will continue to do the two things he loves best -- playing rock 'n' roll and teaching the world about sustainable forestry. And yes, he'll continue to enjoy the silence of the woods. "There's nothing more settling as a human being than being a part of nature. That's how I feel -- as if I'm part of it." JAN. 15 Donora cleaner keeps pick from Rolling Stone's pocket By Stacy Wolford, Valley Independent Joe Villella couldn't score tickets to see legendary rockers The Rolling Stones at the band's sold-out concert Friday at Mellon Arena. As the Stones sing: "You can't always get what you want." Villella did, however, get some satisfaction knowing that after the show, he washed Mick Jagger's and company's on-stage attire. Villella, whose family owns and operates Kay's Cleaners in Donora, received an interesting phone call from the Pittsburgh Renaissance Hotel a few days before the Stones' performance, requesting the firm dry clean the band's wardrobe. "They said we came highly recommended from throughout the entire Pittsburgh region," said Villella, the son of Joseph and Rose Villella of North Charleroi. "Of course we said we could do it." Villella arrived at the downtown Pittsburgh hotel about 3:30 Saturday morning, and was greeted by the Stones' tour crew, hotel staff and two big bags of clothing worn by the band during the concert. "It was pretty exciting, even though I didn't actually get to meet the band," Villella said. "It was kind of ironic, too, because I had just got their '40 Licks' CD for Christmas and I'm a huge fan." Villella quickly packed the garments and sped to Donora. Because of the band's tight schedule, the clothing had to be cleaned and quickly returned. Villella said the Kay's crew was tight-lipped about the Stones' gear because the hotel and concert promoters didn't want information leaked. But secrets are difficult to keep in small towns. Soon a dozen or so people filtered into Kays to catch a glimpse of Jagger's threads. "There was a lot of Versace designs, tank tops and two robes, one with a big tongue on it," Villella said. "There was a bra and panty in the bag, too." There were no names on any of the clothing, but Villella was excited when Keith Richards' guitar pick fell from the pocket of a pair of jeans. "I'm going to frame it," Villella said. "I don't think he'll know it was missing." Jagger's hotel room key was also among the garments. "I've already got offers from people wanting to buy the guitar pick, but it's mine!" he said. Villella didn't handle the celebrity dry cleaning job alone, as he had the help of employees Andrea Moody, Maria Pizzera and Jim Tarpley. Villella, his parents, and sister Kara DeMarco jointly own Kay's. Villella said The Rolling Stones are now, by far, its most famous client. Still, he noted that it has handled numerous jobs for theater production companies and other celebrities. "But we'll never forget about this," he said JAN. 16 The Rolling Stones love New York The city holds a special place in the hearts of the veteran rockers BY JAY LUSTIG Star-Ledger Staff Mick Jagger wandered through Central Park, "singing after dark," in the Rolling Stones song "Miss You." He complained about "rats on the West Side" in "Shattered," made love to a New York divorcée in "Honky Tonk Women," and danced "The Harlem Shuffle." His band is one of England's greatest rock 'n' roll exports. But the Big Apple has played such a central part in its history and its music it should also be considered a quintessential New York band. It shouldn't come as a surprise that the band will shoot its first live television special, Saturday night, at Madison Square Garden (the band also performs there tonight). "New York's sexy, and the Stones are a sexy band, and it fits," says Marty Callner, who is producing and directing HBO's live broadcast. "You wouldn't want to shoot them in Paducah, Kentucky." Callner says the special's pre-taped opening will take advantage of the setting, following the band from the airport to the hotel to the venue. "The Stones are all about vibe, and feeling," he says, so the idea will be to establish a New York vibe. That's just what the Stones have been chasing for a long time. Their most essential live album, 1970's "Get Yer Ya-Ya's Out," was recorded at the Garden. Over the years, the band has often announced world tours with theatrical New York press conferences. In 1975, for instance, they played "Brown Sugar" on a flatbed truck cruising down Fifth Avenue. In 1989, announcing their "Steel Wheels Tour," they arrived at Grand Central Station in a train, and previewed their new album for reporters on a boombox. Last year, they boarded a blimp and hovered over the Bronx before landing in a park to meet the press. Guitarist Keith Richards currently has a home in the southwest Connecticut town of Weston. He, Jagger and guitarist Ron Wood have also resided in Manhattan at various times. "They've lived here for many years and soaked in the culture in every possible way," says Bill German, who published a New York-based Stones newsletter, Beggars Banquet, from 1978 to 1996, and currently hosts "Stones Zone," a syndicated radio program devoted to the band. "It's definitely an important part of their careers, and their lives. They used to jam all the time here, at all the clubs. Every night, they were going out and playing unannounced with any bands that they liked, and it was all unrehearsed. They could just go see a reggae band that they liked, or a blues band, or a new wave or punk band, and get up there. I don't think they could have done that in any other city." Like other public figures, the Stones can live more normal lives in celebrity-jaded New York than they can in smaller cities. New Yorkers "don't stop you or gape," Jagger told record executive Joe Smith for Smith's 1988 book "Off the Record: An Oral History of Popular Music." "That's how I like it." "Miss You" and "Shattered" are the Stones' most famous New York songs, but there are plenty of other references to the city in the band's music. In "Doo Doo Doo Doo Doo (Heartbreaker)," Jagger told a gritty New York story: "The police in New York City, they chased a boy right through the park/And in a case of mistaken identity they put a bullet through his heart." Covering the Temptations "Just My Imagination," he changed a key line to "Out of all the girls in New York, she loved me true." Other Stones songs that mention New York include "When the Whip Comes Down," "Till the Next Goodbye," "Hot Stuff," "She Was Hot," "Undercover of the Night" and "Dancing With Mr. D." The band's last undeniably great album, 1978's "Some Girls," is its most New York-oriented collection, though most of the recording was done in Paris. When the album came out, Jagger told Rolling Stone magazine that he had been in New York a lot the previous year, "and when I got to Paris and was writing the words, I was thinking about New York ... I was noticing that there were a lot of references to New York, so I kept it like that. 'Some Girls' isn't a 'concept' album, God forbid, but it's nice that some of the songs have connections with each other." One assumes that different things about New York have fascinated the Stones at various times. As ambitious young musicians, they must have been drawn to New York's size, in an "If I can make it there, I'll make it anywhere" way. Since some of the world's best parties were thrown at Studio 54 in the late '70s, it's no surprise that Jagger hung out there. Now that band members have become grizzled survivors, and New York has endured the trauma of 9/11, they see something else in the city. In October of 2001, Jagger and Richards appeared at the Garden's Concert For New York City, benefiting the families of 9/11 victims. They performed "Salt of the Earth" -- in tribute to the many firemen, policemen and rescue workers in attendance -- and "Miss You," but also spoke about the city. "The one thing to be learned from this whole experience is, you don't f--- with New York," said Jagger. "You know, I got a feeling this town's gonna make it," added Richards. FEB. 12 The Stones roll into Sydney ENDURING rockers The Rolling Stones have made a low-key arrival to Australia ahead of their much-anticipated national sold-out tour. The Stones are scheduled to kick off their tour next Tuesday night at Sydney's intimate Enmore Theatre. Three members of the band, frontman Mick Jagger, lead guitarist Ron Wood and guitarist Keith Richards arrived shortly after 9.30pm (AEDT). They were on board a specially chartered Qantas flight which contained the entire entourage for the band's Forty Licks tour. Apparently surprised by a healthy contingent of media and fans awaiting their arrival, Richards asked the crowd: "Why aren't you guys in bed?" Wood was next to emerge through the side entrance, maintaining his silence before the charismatic Jagger appeared, greeting fans with his trademark grin and a wave. "Hey guys," he repeated several times. Security was bolstered for the popular rockers' arrival this evening, with at least a dozen protective service officers positioned alongside the cordon, warning fans and media to stand back. Among the fans disappointed at the Stones' low-key arrival, was 35-year-old Greg Smith, from South Hurstville, who had followed the band for the past 20 years. He held in his arms a collectors' concert poster advertising a Stones American gig on June 26, 1976, with special guest the Doobie Brothers. Mr Smith said he would attend two of his idols' concerts, paying $350 for "good" seats at the Brisbane's Entertainment Centre and $140 for "average" seats at the Sydney SuperDome show. He has already seen the band in Toronto, Copenhagen, Los Angeles, Las Vegas and during previous visits to Australia. "I've been following them for the last 20 years, I've all their video clips and all their old albums," an excited Mr Smith said. He was disappointed at not being able to meet his idols, but excused them because they'd had a long trip from Los Angeles. "Bit of a bummer, I'll try next time." Tickets to the Australian leg of the Stones' Forty Licks world tour were snapped up by fans, selling out within minutes for some venues. The Rolling Stones are scheduled to perform in 2003 at Sydney Superdome on February 20 and 22, at Sydney's Enmore Theatre on February 18, Melbourne's Rod Laver Arena on February 25 and 27 and Brisbane Entertainment Centre on March 4. FEB. 16 Satisfaction guaranteed By Christine Sams, Entertainment Reporter , The Sun-Herald Parents have long been warned to lock up their daughters when the Rolling Stones are in town, but this time around Mick Jagger brought his own daughter and two sons for a summer break in Sydney. And while Jagger, 59, took to the waves off Sydney, guitarist Keith Richards was also making the most of the sunshine with his teenage girls on the beach at Byron Bay. Jagger, with his children James, 16, Georgia, 10, and Gabriel, 4, enjoyed a day out cruising off Sydney's northern beaches yesterday. The family left the Four Seasons Hotel in George Street with Jagger giving his trademark grin to waiting media and poking out his world-famous tongue for good measure. Jagger arrived at the Royal Motor Yacht Club in Newport in a black Mercedes with his children close behind in two Tarago vans. The singer, dressed in a casual, open-necked shirt and sunglasses, boarded the multimillion-dollar cruiser Oscar first while his children were guided on by a nanny and security guard. Jagger's ex-wife Jerry Hall was nowhere to be seen. A crowd of onlookers gathered at the wharf as word of Jagger's arrival spread. Many were amazed to see one of the world's biggest rock stars at their marina. "We have a trumpet player in the club but that's about it," one onlooker said with a laugh. "Maybe Mick canbecome an honorary member." Women were weak at the knees. "My friend really wanted to talk to Mick," Sandy Jackson, of Newport, said. "He might have asked her out on a date because she is a good-looking blonde. "Maybe he could have given me a spare million." Meanwhile, Keith Richards spent the past few days relaxing in Byron Bay with his wife Patti Hansen and their daughters Theodora and Alexandra, before the Stones play their first Sydney show on Tuesday. In a scene which was a far cry from his drug haze during the 1970s, Richards spent hours strolling along Wategos Beach and happily greeted star-struck fans. Although he turns 60 this year, the world's best-known guitarist is looking healthier than ever - although his yoga-style poses on the balcony of his hotel might raise eyebrows among hard-core fans. After the Rolling Stones arrived at Sydney Airport last week, the band members went their different ways to explore their favourite parts of Australia before their tour begins. Richards reportedly took advantage of the band's luxury Lear jet, which was on stand-by at the airport, for his quick break to Byron Bay. But while Richards was frolicking on the beach, Jagger preferred to stay in Sydney. The superstar enjoyed a dinner in Bondi with film director Baz Luhrmann and comedian Joan Rivers during the week, and was happy to stay by Sydney Harbour. "Only Mick stayed in Sydney after they arrived," an insider said. "The others wanted to spend time exploring a few favourite areas before the shows begin." Although the Stones first toured Australia in 1965, this visit has been one of the most highly-anticipated tours among fans because of the intimate nature of their shows. On Tuesday, they will perform their first Sydney gig at the Enmore Theatre in Newtown, with a capacity crowd of fewer than 2000 people. The show is expected to bring the inner-west to a standstill, with thousands of fans also expected to gather outside the theatre. The band performs at the Sydney SuperDome on Thursday night. FEB. 18 Stones ready to lay down hot Licks for peace By Anthony Stavrinos   Picture: EDWINA PICKLES The Rolling Stones in Sydney, from left, Mick Jagger, Ronnie Wood, Charlie Watts and Keith Richards. The Rolling Stones yesterday added their voice to the growing chorus of anti-war sentiment around the world. The veteran rockers were in Sydney on Sunday when an estimated 200,000 people filled the streets to demonstrate against a military strike on Iraq. The protest did not go unnoticed by the Stones. Guitarist Keith Richards, 59, said yesterday it was important to keep abreast of world developments amid a tight international touring schedule. "They're out in force, right, all over the world, which is very peaceful," Richards told journalists in Sydney. "We're zooming around this globe and all this stuff's going on. We keep a close eye on it. Let's hope it gets resolved sensibly."  Guitarist Ron Wood, 55, hoped the public anti-war showing would be noticed by the world's decision-makers. "I hope the governments are taking notice," Wood said. "My favourite banner is 'Fight plaque not Iraq'." On the eve of the Stones' first Australian show since 1995, Stones frontman Mick Jagger said it was great to be back in Australia. "It's always been a very warm place for us," the 59-year-old said. "It's been very friendly, (we've been) very well received. "People are very, very friendly here and take you to heart. "We always feel very welcome and at home here . . . it's a good place to slip into." Richards agreed: "It's great to go like totally the other side of the planet and feel very much at home. That's what's very attractive to us." Meanwhile, security is tight to ensure scalpers get no satisfaction when the Stones open their Licks tour tonight at the 2000 capacity Enmore Theatre. The show, more intimate than others on the tour, sold out in minutes. Fans will need to wear a special security wristband when presenting their tickets at the theatre door. Other concerts on the Rolling Stones tour will be at the Sydney Superdome on February 20 and 22, Melbourne's Rod Laver Arena on February 25 and 27 and March 1, and the Brisbane Entertainment Centre on March 4.   FEB. 18 Rolling Stones on tour with Wi-Fi JEFF EVANS, Special to Globe and Mail Update On Jan. 14, 1963, a raw young band called the Rolling Stones played its first public performance as a group under that name, at the Flamingo Club in London's Soho district. The Stones had formed around two rhythm and blues-loving students, Mick Jagger, who had enrolled at the London School of Economics, and Keith Richards, who had chosen to study at the Sidcup School of Art. The embryonic band was direly poor: bassist Bill Wyman was allegedly accepted into the group because he owned his own amp. Their 19-year-old publicist created the group's badboy, anti-Beatles image with the insolent catch phrase, "Would you want your daughter to date a Rolling Stone?" From that rather grotty, poverty stricken beginning four decades ago, covering classic U.S. rhythm and blues standards in smoky English clubs, the Stones have become one of the pillars of rock and roll history. They learned to write their own hit songs, and showed a talent for survival and re-invention when most other '60-s bands broke up or faded into irrelevance. They've become famous as the band that never quits, surviving tragedy, financial troubles, scandal - and worse, even occasional periods of not being regarded as cool. Forty years on, they are in the middle of their 'Forty Licks' tour, a global celebration of the Stones' enduring energy and popularity. These days though, when the Rolling Stones roll into town for a concert, along with the electric guitars, the drum kit and the huge stage set, they also bring along a complete wireless data network, a satellite uplink and downlink, and 140 laptop computers. From Mick Jagger on down to the lowliest roadie, pervasive connectivity has become an essential part of the business and art of the modern rock tour. Jagger, perhaps in deference to his early interest in economics and heightened by the band's early financial tribulations, has matured into a very savvy artist-entrepreneur. As a result, the Stones' organization makes use of the latest technology to run its business. The 21st century Stones have evolved into a huge concert-touring, Internet and marketing machine. The Forty Licks tour, just now starting its European leg, is shaping up to be perhaps the largest grossing rock tour in history. The Stones' Web site, www.rollingstones.com, is the nexus of an extensive worldwide fan community, and contains links to a Rolling Stones fashion line, international ticket sales, a membership base fan club, and other merchandising, promotional and sales activities. The Stones have benefited from a clever exploitation of the potential of the Internet for on-line marketing and sales, community building, mobile wireless data based business dealings, and rapid business decision making. For example, on the first North American leg of their tour in 2002, the Rolling Stones travelled with a complete wireless Internet system, designed to be quickly deployed as soon as the road crew reached a concert venue. Toronto's Todd Griffith is the satellite Internet specialist for the Stones tour, the man who built and runs the Stones' mobile IT setup. He said the WiFi system used for North America evolved over a period of a couple of years, and is based on a Hughes satellite uplink and downlink antenna system, and a high-powered 3Com 11 megabit-per-second Wireless Access Point 8000, a WiFi/802.11b device. All the 140 or so laptops that travel with the band and the crew have WiFi networking cards that allow the performers and the crew to have access to high speed Internet within an hour or so of the band arriving at the performance venue and starting setup. Originally, Griffith says, the tour tried to encourage the local performance facilities to put a DSL or Cable Modem drop into each concert venue. However, the advantages of touring with a complete, permanent networking solution, rather than recreating it at each concert facility, proved to make more sense. Mr. Griffith, an alumni of CHUM television with long experience combining satellite uplink and downlink with IT, was hired by the Toronto-based arm of Clear Channel Entertainment (which runs the Stones tour) to craft the WiFi setup. He says the business case for creating the wireless data system for the Stones had several parts. First of all, the satellite Internet component of the system allows the worldwide Stones fan community to follow the tour via the www.rollingstones.com Web site. Fans who get full membership on the site (either by having bought a concert ticket, or by paying a membership fee), have what amounts to a virtual, perpetual backstage pass to follow the tour around the world. The Stones Web site, which is run from New York, is updated by people on the tour on a daily basis. While on the road, tour management and the band are always connected to the head office and outwards to the next concert venues. This allows for rapid re-working of extra performance bookings, changes to seating plans, last-minute promotions, business negotiations with venue operators and ticket pricing decisions. Mr. Griffith also claims that there are real morale benefits to having high speed Internet connections wherever the tour goes. It makes the long times away from home more bearable for the performers and the crew, he says. One potential vulnerability of the satellite hookup, though, is its dependency on a line of sight to the satellite in order to make a connection. Once a signal is acquired, it takes about 90 minutes to set up the network. If there is no clear line of site to the satellite, the backup is to do a DSL drop to the concert hall, and connect it to the 3Com access point. According to Mr. Griffith, the quantity of data handled by the system when it's up and running is equivalent to a small to medium-sized office, with between 25 and 100 computers doing e-mail and word processing document exchanges, as well as transfers of some larger files such as CAD drawings of the stage set or the concert seating plan that take up more bandwidth. Mr. Griffith jokes that when travelling to U.S. cities, the final wireless backup system, especially when the set has been struck and the network is travelling to the next venue on a truck, is Starbucks. The coffee chain has a couple of hundred stores, mostly in major urban centres, and many close by the concert facilities are used in the Stones tour because they offer WiFi access points. "Sometimes we have to find a Starbucks that has an access point service to do last-minute upload and download," he says. "Sometimes I get asked why I go to Starbucks so much. I say, it's work." For the future, according to Mr. Griffith, there's talk of doing live webcasts of a song or interviews with the band. There is still much to be done to work out technical bottlenecks, though, and to deal with obstacles that are not necessarily technical but rather are rooted in copyright and performance contract issues. The tour has already run live streaming audio and video tests in Atlanta, with a live webcast of the setup of the stage. Mr. Griffith says that being mobile IT guru to the Stones has been challenging, with a steep learning curve, but once that was out of the way, it's been nothing but incredible fun and fascinating challenges. The band is slated to begin a tour of Japan in mid-February, and Mr. Griffith says he looks forward to the challenges of bringing the Rolling Stones and the tour's travelling WiFi network on-line on another continent. FEB. 19 our reunites Jagger, Faithfull Mick Jagger plus Marianne Faithfull plus Sydney equalled sensation 34 years ago, but no longer. The glamour couple were quietly reunited at the Rolling Stones' opening Australian concert this week, but the relationship was limited to that of performer and audience member. Faithfull, 56, was among the VIP guests at the 2,000-capacity Enmore Theatre, having completed her own tour earlier in the month. Promoters said Faithfull had been a guest of The Stones, attending with two members of Aussie rock act AC/DC. "She was a guest of theirs yes," a spokesman said. "Angus Young and Malcolm Young (from AC/DC) actually brought ... Marianne Faithfull along with them." Jagger and Faithfull were rock's celebrity couple in the 1960s. She fell pregnant to him but miscarried. In 1969 the pair were in Sydney where Jagger was playing the title role in the film Ned Kelly when Faithfull attempted suicide by taking an overdose of pills at their hotel. She was in a coma for five days. When she awoke, allegedly her first words to Jagger were: "Wild horses couldn't drag me away" - a line which inspired one of the Stones' most heart-rending songs, Wild Horses. Angry at the media's treatment of Faithfull after the overdose incident, Jagger vowed at the time never to come back to Australia. On Tuesday night, Jagger cryptically told the audience: "Welcome to all my ex-lovers and new lovers." But Faithfull apparently did not get any special treatment backstage, where each member of The Stones were allocated their own dressing room. "She was just sitting up in the lounge area like anyone else," the tour spokesman said. FEB. 23 The artist who found himself rolling in cash   Picture: CRAIG SILLITOE Artist Ian McCausland remembers "hanging out" with a rock legend. Ian McCausland was taken aback 30 years ago when a postman made his way through long grass to his "hippie pad" in North Road, Brighton, to deliver a telegram summoning him to Sydney at the request of the Rolling Stones' Keith Richards. The Melbourne artist had designed posters for the band's 1973 tour of Australia and New Zealand and had met the guitarist days earlier at the Montsalvat artists' colony at Eltham. In Sydney, he spent two days with the band. "Without telling tales out of school, I spent almost a complete day with Keith Richards. Just hanging out in his room," he said. "The door was constantly being quietly knocked. The minder would open the door and usher somebody in. They would say, 'Ah man, I've been hanging on to this ever since I knew you guys were coming here. It's a gift from me.' And hand over a plastic bag of something." Now 59, McCausland remembers when households were divided between Beatles and Stones fans. He has remained firmly in the latter camp. When he was approached to do the Stones poster in 1972, he was asked for little more than to incorporate the band's logo, with Mick Jagger's pouting lips and tongue. So impressed were they with a draft of a jet flying into the caricature of Jagger's mouth against the backdrop of the Australian continent that they asked him to do another for the New Zealand leg of the tour. Drummer Charlie Watts also suggested he design the cover of their next album, Goat's Head Soup. McCausland says he was paid $600 for each of the posters, with a $600 advance for the album cover. "I felt like a millionaire," he says. He used the money as a deposit on his first home in Upper Ferntree Gully. "It was the most money I'd ever made as an artist." He mailed his design to their London office but is not sure it ever reached the band. In "those naive days", he says, he didn't keep a copy. "I have never found out what happened to it. It just disappeared somewhere." FEB. 24 Ronnie Wood in JACK magazine In the March edition of Jack magazine (out now) features an extensive and intriguing 6 page interview with Ronnie Wood. JACK is UK's new, award-winning men's lifestyle magazine, edited by James Brown, the creator of Loaded. Aimed at ABC1 men, our fusion of celebrity, action, reportage and humour has won critical acclaim, a host of recent awards and, most importantly, a growing army of satisfied readers. Among other recent accolades, we were voted Launch of the Year by Campaign Magazine and won Best Design in the Magazine Design Awards. FEB. 24 It's only rock and roll, but we like what's left of them Memories ... Paul Sleeman with a picture of him interviewing the Rolling Stones in 1966, and a framed record given to him by the band. Photo: Ben Rushton As hysterical teenage girls flung themselves at a wire fence separating them from their idols, the Rolling Stones smoked and chatted with journalists. Mick Jagger dominated, drummer Charlie Watts appeared utterly bored and guitarist Brian Jones was quiet, but erudite. When the Rolling Stones held a news conference at Sydney Airport in February 1966 to publicise their second Australian tour, two intrepid university students were among the reporters. "I interviewed Mick and showed him the new $1 bill, because decimal currency had just come out," recalled Paul Sleeman, then a 19-year-old student at the University of NSW. "Prince Charles was at school in Victoria and we talked about that too." "They were delightful, just delightful," agreed Andrew Strauss, a fellow student who accompanied Mr Sleeman and took photographs for the UNSW newspaper Tharunka. "We chatted about instruments and music; they weren't so big back then." Almost 40 years later, the ageing rockers are again performing in Sydney. Jones is long dead, bass player Bill Wyman quit in 1993 and the remaining members are far less accessible to fans and the media. But tomorrow Jagger, Watts and Keith Richards will play their first indoor concert in Australia since 1966, an intimate show at Enmore Theatre for 2200 ticket holders. The Enmore concert is an attempt to recapture the atmosphere of the band's early years. It is a radical downsizing for a group whose other Sydney gigs will take place at the SuperDome in Homebush Bay. The events manager for Enmore Theatre, Dioni Meliss, said members of the Stones' entourage had already visited the venue and expressed, er, satisfaction at the unpretentious nature of its backstage area. "There's a shared bathroom and tea and coffee facilities. It's a traditional rock 'n' roll dressing room." Ms Meliss said the Stones were expected to take the stage at 9pm tomorrow and play for at least an hour and a half. Large crowds are expected to gather outside the theatre, hoping to catch the free strains of an act still routinely dubbed the world's greatest rock and roll band. Mr Strauss is not going to the Sydney concerts, but Mr Sleeman, 56, has spent almost $800 on two "Diamond" tickets to the second SuperDome concert on Saturday. "I was up the front at their Sydney concert seven years ago and they looked pretty rugged then; they'll probably look worse this time," he said. "But they've still got it. The atmosphere that's created when they come on stage is incredible, and they hold that right until the end." FEB. 26 MAX to air Rolling Stones concert   Even before the World Cup is over, MAX has started planning for the day after. But this time the target is the music aficionado. The events and music channel from the Sony Entertainment Television network is ready to beam the Bangalore concert of The Rolling Stones band, which is scheduled for April 11. It is important to note that just two concerts worldwide from the Rolling Stones 2003 World Licks tour are being aired on television. The first one was the Madison Square Gardens event, which was televised by HBO in the US. The second one will be the Bangalore concert. After MAX the event will air on Sony. It might go to HBO or AXN later on depending on how much revenue can be generated, reports said. McDowell No.1 will be the title sponsor for the event. The finer details of the concerts like arrangements, ticket prices, promotional campaigns will be announced next week. FEB. 26 Stone's bad boy act By Luke Dennehy and Nui Te Koha The Rolling Stones continued their bad boys act as rock's biggest caravan rolled into Melbourne yesterday. Mick Jagger lived up to his reputation as the spoiled prince of rock 'n' roll, abusing a Herald Sun photographer after lunch at the Stokehouse restaurant. And Keith Richards said being a Rolling Stone was a licence to misbehave. "I think society always wanted us to be the bad boys, and we absolutely obliged," Richards said. Jagger was at the St Kilda eatery with his family and an unidentified woman. When approached for a photo as he left the restaurant, Jagger made his feelings perfectly clear to photographer Joe Sabljak. "What are you doing? I don't care what you're doing, I don't want any photos taken," said Jagger, who was shielded by security guards. When told by the photographer he was just doing his job, Jagger said: "Well, bugger off." The security guard grabbed the camera and held Sabljak's hands tightly around the camera, pushing it into his chest. In a split second the drama was over and Jagger was whisked into a waiting van. "Don't try to follow us or else," the security guard warned Sabljak. It was a different story inside the restaurant, where 59-year-old Jagger appeared relaxed and cheerful. He ate upstairs and smiled throughout his visit, according to onlookers. "He looked very relaxed and was leaning out looking out to the sea," one diner said. Jagger is in Australia with his three children James, 17, Georgia, 11, and Gabriel, 5. Earlier, Richards told the Herald Sun the Stones enjoyed their reputation as rebels. "To be in the Rolling Stones, you get a licence to do what everybody else wanted to do, but couldn't due to the constraints of life," he said. "It's almost as if you were given a free ticket to do it. Of course, when you took it literally, that's when you went to jail." Richards said he had no plans to ease up on his musical career. "The idea of putting the brakes on or stopping what I do seems horrible. It's like getting off the bus, then wondering where it's going. You're left on the side of a very hot road with no shade and feeling empty." Richards said the Stones had a special fondness for Australia. "Australia is like a home away from home for us. You don't come here for a few years, you have one set of memories, then you notice how things have changed. But at the same time there is a nice continuity. "That gives you a nice warm feeling about the place." The Rolling Stones perform at Rod Laver Arena tonight, Thursday and Saturday. FEB. 28 Rolling Stones tickets in China come at a price BEIJING Feb 28 - The long awaited dream of a Rolling Stones concert in China will become a reality next week when tickets for shows in Beijing and Shanghai go on sale. But they come at a price with organisers saying they will cost up to 6,000 yuan (US$725). The legendary British band is set to play the Worker's Gymnasium in central Beijing, a venue that will only seat about 8,000 fans once the group's huge stage is set up, Wang Long, spokesman for the Beijing Zhongwen Jiashi Culture Group, told AFP. The cheapest tickets for the April 4 show will be 600 yuan, he said - a fair chunk of change for a normal Chinese urban dweller whose average income last year was 7,700 yuan. ``The 6,000 yuan seats are for special guests and won't go on sale immediately, but next week you will be able to get good seats for 3,000,'' a cohort in Wang's office said. China's Ministry of Culture, which has traditionally frowned upon rock and roll music, gave the go-ahead for the Stones' concert earlier this month after nearly a year of rumors of the band's pending visit. Shanghai's April 1 show is expected to be held at the city's Grand Stage where another 8,000 fans will have an opportunity to see the ageing rockers. The China concerts are part of the group's Forty Licks World Tour, which is largely being played in huge outdoor stadiums. Promoter Wang said that a substantial amount of the Stones reported 600,000 dollar performance fee had been discounted, while a large portion of the show profits would be donated to charity. Cui Jian, commonly known as the father of Chinese rock and roll and who has been banned from performing in Beijing for years, will open the Stones show, Wang said, provided that the Ministry of Culture gives the final go ahead. - AFP MAR. 2 Rolling Stones to Play First China Shows By ALEXA OLESEN, The Associated Press Sunday, March 2, 2003; 9:56 AM It's official: Beijing and Shanghai will get their own taste of the Rolling Stones' "Forty Licks" tour. Two Rolling Stones concert dates have been confirmed for Beijing and Shanghai, an organizer said Sunday. The shows, part of the band's 40th anniversary tour, will be the band's first in the world's most populous country. The British band will perform in Shanghai on April 1 and in Beijing on April 4, said Wang Long, an organizer for the Beijing Time New Century Entertainment Co. Cui Jian, China's most famous rocker, will open for the Stones in Beijing. Cui is hugely popular in China but has rarely been allowed to play big shows in the capital because he performed on Tiananmen Square during the 1989 pro-democracy protests. Cui, 42, said he taught himself to play the guitar in the 1980s by learning Rolling Stones and Beatles songs. "They are my heroes," Cui told the Associated Press on Sunday. "It's a big honor for me." When the Rolling Stones first rose to fame in the 1960s, China was on the verge of the radical 1966-76 Cultural Revolution, which reviled Western pop culture as spiritual pollution. Their music first became available in China only after the start of economic and social reforms in the late 1970s. In Beijing, the Stones will play the 7,000-seat Workers' Gymnasium. A few hundred front-row seats will be available for $750, Wang said. That's about the same as the average Chinese person's annual income. Rolling Stones to play China The Rolling Stones are to play their first ever gig in China, a spokesman for the band has confirmed. Rumours of a China gig have circulated for months after frontman Sir Mick Jagger said last year that an Asian tour would not be complete without at least one night in China. The arena concerts will take place in Shanghai on 1 April and China's capital city, Beijing, on 4 April, as part of the band's Licks world tour. The Australian leg of the tour ends this week in Brisbane, after which the Stones will play six concerts in Japan. From there the band will move on to Singapore, Hong Kong, China, India and then Thailand in April. The European leg of the Licks tour starts in Munich, Germany on 4 June, with the last confirmed European date in Glasgow in September. "The band is very happy to be playing China," said a Rolling Stones spokesman. "There had been plans to perform there for a while but it has taken some time to confirm." Spiritual pollution The band will play the 7,000-seater Workers Gymnasium in Beijing, according to promoters in China. A few hundred front-row seats will be available for 6,000 yuan (£475) with the rest priced at between 500 yuan (£41) and 3,000 yuan (£238). The top ticket price is about the same as the average Chinese person's annual income. When the Rolling Stones first rose to fame in the 1960s, China was on the verge of the radical 1966-76 Cultural Revolution, which reviled Western pop culture as spiritual pollution. The band's music only became available in China after the start of economic and social reforms in the late 1970s. MAR. 3 Stones have all the moves Andrew Cornell The first executive, fit and posturing-proud despite his age, makes his way onto the dais to genuinely rapturous applause from the auditorium. The second, more haggard and laconic but a similar vintage, enjoys even more adulation. But the third, the silent partner, gets the most as he makes his way to the back and sits down. It's a scenario any senior executive or director today, particularly any on the packages this lot are on, could only dream about. So maybe there are lessons for corporate Australia from the latest tour by one of the most successful and enduring brand management organisations in the business, the Rolling Stones. Especially since there have been plenty of executives gaining first-hand experience of the Stones on their latest tour - many at shareholders' expense, given the easy sales of $10,000 corporate packages. The Stones, after all, are about the same age as a typical CEO. So maybe lesson one for a senior executive looking to learn from Keef, Mick and the inscrutable Charlie (Ron Wood is just a salary slave) is to give consumers what they expect. And keep the weight off. "What the Stones do perfectly is what used to be called brand equity maximisation," says Michael Donovan, chief executive of Merryck & Co, CEO mentors, and a veteran of the entertainment business. "In the film and music business it's called cross-collateralisation, and it makes marketing sense and probably bloody good tax sense: you sheet home your expenses to one part of the business, offsetting revenue from another." Four decades in the business and with the principals into their seventh decade, the Rolling Stones are a business that has been given the ultimate accolade: a feature-length profile in Fortune magazine, a sacred text of American capitalism. As Fortune explains, the Rolling Stones are an organisation that generates revenues of more than $200million a year, has exploited globalisation and brand power, strives to minimise tax, has frequent recourse to lawyers and accountants and bankers, and spreads its assets. The Stones are incorporated in the Netherlands for tax purposes; they rehearse in Canada, where labour and time are cheaper. Citing an old analytical rubric from The Boston Consulting Group, Fortune describes the Stones as a classic "cash cow" enterprise. Melbourne BCG director Terry Atkinson says the firm no longer uses that methodology - which classified companies as dogs that destroy value, stars, and would-be/could-be's as well as cash cows - but the Stones very clearly fit the old definition. Speaking soon after last week's Jackson Browne concert, attended by Atkinson but not the AFR, he explained a cash cow was a successful enterprise in a mature phase, no longer developing new product or investing in new businesses, just consistently bringing in the money. "In the music business, Norah Jones might be a star, the Corrs are probably dogs and Oasis are in that uncertain category," Atkinson says. "The Stones are a little different in that their market share is on the incline, they now own their segment of the market, a lot of their competitors seem to be dying off." Atkinson says "cash cow" does not refer to the Stones' business model but to their situation. And their success is due to having pulled their way out of a crowded market - which is more down to product and brand. Graham Hubbard, professor of strategic management at Mt Eliza Business School, distinguishes between the Stones as product/brand and the Stones as a business. "What sets them apart is that they have sustained that fundamental intellectual capital - and they have made money from it," he says. "The product and services hinge on the intellectual capital, and the key is to apply what I call the two-for-one principle, taking two slices of value - although in this case more than two - from each intellectual effort. "Each song, each unit of intellectual effort, is leveraged through recording, licensing, touring, merchandising; from the organisation's point of view, if you can sell a product to multiple groups, that's obviously the way to go." That's where the Stones' business model comes into play. Fortune was given unprecedented access to the money side of the Stones organisation - although that didn't extend to looking at the accounts - which is indeed a conglomerate driven by synergies between the business units. "They all have income streams like any other company," Mick Jagger told Fortune. "They have different business models; they have different, delegated people that look after them. And they have to interlock. That's my biggest problem." The Stones have a touring business, a recording business, a royalties business and a merchandising business. Touring makes money when the band tours, recording revenue peaks when new product hits the market (which is regularly), and royalties and merchandising are regular but have higher administration costs. Backstage of the Stones business are business manager Joe Rascoff, the equivalent of a chief operating officer; tour director Michael Cohl; and the chief financial officer of 30 years, Prince Rupert Zu Loewenstein, whom Keith Richards told Fortune is the "mastermind of our set-up". Fortune explains the business model thus: "At the top, not unlike at a blue-chip law firm, is a partnership consisting of the four core members of the group: Jagger, Richards, Watts, and Wood. Do all four get equal shares of touring and new record sales? No one in the Stones party will touch that one. 'In the old days they all got equal splits,' says the Stones' former manager, Allen Klein, 'but I doubt it now.' "Connected to the Stones partnership and Prince Rupert is a group of companies that include Promotour, Promopub, Promotone, and Musidor, each dedicated to a particular aspect of the business. This family of companies is based in the Netherlands, which has tax advantages for foreign bands. "When the group isn't touring, these companies employ only a few dozen employees. "At the high-water mark of a tour, on the night the band is playing, say, Giants Stadium [a large American football venue], the Stones may employ more than 350." Merryck's Donovan sees the structure as the key to quarantining the maximum amount of money within the Stones organisation while transferring expenses to suppliers and outside service entities - and the Dutch taxpayer. "If you look at what the Stones are doing, it is just about what every business is trying to do," he says. "It is a lovely business model." For the Stones, the anti-establishment, don't-care, rock'n'roll attitude sustains the brand; it doesn't sustain the business - and that's a crucial distinction for the business person. Mt Eliza's Hubbard says common mistakes made, particularly by small business people or those looking to capitalise on intellectual capital, are losing sight of the small, boring accounting issues and forgetting that returns are often a long time coming. "The Stones were clearly no different to a lot of creative people early in their career, but they have learned the importance of tight controls, good accounting, good contractual arrangements," he says. "That's a mistake a lot of small businesses, in particular, make. They get involved in their product so much they forget the details of the business. "They [the Stones] have good corporate memory, with the same people having been involved behind the scenes for a long time." Also of note is that the Stones remain a private company. They have not seen the need to either securitise revenue streams, like David Bowie has with his royalties, or publicly incorporate, like Manchester United. That allows the band to maintain even more control over their affairs as long as their cash-generating ability remains intact. Seen as a business case study, maybe there was some justification in shareholders coughing up for the corporate packages at the SuperDome for the Stones. After all, $9,500 for 18 people in a superbox - food and beverages extra - or $7,500 for 10 in the Diamond seating is pretty cheap when stacked up against a term at Harvard Business School. There is one key component of the Stones model, however, that Hubbard says should be avoided at all costs: Mick's personal life. "For the Stones, this is perfect - it keeps the band newsworthy, keeps them in the public eye - but a stormy personal life in itself is not enough," he says. "There's a lot of celebrities with controversial personal lives, but that in itself is not enough to make it to the top." It's possible to dislike the Stones' music, but their method is textbook. They operate in a popular market with extremely low barriers to entry, long-term intellectual capital development costs and, usually, short periods of high return. By any measure, they are some of the most successful of their peer group: the 60-something, obscenely well-paid senior executive. MAR. 7 Rolling Stones Set to 'Lick' Tokyo's Budokan By Chikafumi Hodo TOKYO (Reuters) - Thirty years after their first attempt to perform in Japan was scuttled by Japanese immigration officials, the Rolling Stones are set to "lick" Tokyo's Budokan, which was to be the venue for that ill-fated appearance. At a Tokyo news conference on Friday, the aging rockers said they were looking forward to finally getting some satisfaction by playing at what is traditionally a martial arts hall. "This time we'll play at the Budokan, which is smaller and a favorite venue for people," flamboyant lead singer Jagger said. "We never played there before so we are looking forward to (it)," Jagger added. In 1973, the Rolling Stones were scheduled to play five shows at the Budokan, but the band had to cancel after Jagger was forbidden entry to the country because of a previous drug possession charge outside Japan. Japanese authorities allowed Jagger to enter the country for a solo concert in 1988, paving the way for the band's first Japan appearance in 1990 when the British rock band sold out 10 shows and drew more than 400,000 fans. The Budokan concert on Monday will kick off the Asian leg of the band's "Licks" world tour that will also take the group to China and India for the first time. The Stones, known for their chart-topping hits such as "Satisfaction" and "Jumping Jack Flash" over a four-decade career, are back in Japan for the first time since 1998 with six shows scheduled. The Budokan, with a crowd capacity of 10,000, was originally a venue for traditional Japanese martial arts, such as Judo. The Beatles were the fist rock band to perform there and their appearance in 1966 drew huge protests from Japanese nationalists. In their past tours in 1995 and 1998, the Stones had some trouble filling stadiums, but they are having fewer such problems this time around, selling out four of the upcoming six shows. Tickets for the Budokan performance range from 14,000 yen to 22,000 yen ($119.3-$187.5), while stadium shows are ranged between 11,200 to 13,200. At those prices the concerts will be the most expensive ever for concert goers, topping ticket prices for Paul McCartney's appearances last year. Guitarist Keith Richards said he also was looking forward to playing the band's next stops in Asia -- China and India. "It's always nice to go somewhere new. China...is very old," said Richards. "At the same time it will be our first time there. And also to India -- it's always exciting to play at places you haven't been and it's about time they let us in anyway," Richards said. The iconic British group, including guitarist Ronnie Wood  and drummer Charlie Watts, will hold two concerts in India in April and will perform in Beijing on April 4. ($1=117.32 yen)  Chinese walk past a poster of the Rolling Stones's concert at a department store on the first day to sell the concert tickets Thursday, March 6, 2003, in Shanghai, China. The British rock band may be coming to China to celebrate their 40-year anniversary, but most Chinese don't know Mick, concert organizers said Thursday. Until this year, not a single CD by the Stones and their lead singer, Mick Jagger, had ever been officially released in the world's most populous nation, said Dai Renzhi, a spokeswoman for EMI Records China. The company released "40 Licks," the Stone's compilation album, in China earlier this year. when I got to The Stones'  MAR. 7 As part of their Licks World Tour the Rolling Stones will visit China for the first time. The Rolling Stones are the only major rock band to have been granted permission to perform in China. See the link from China here including many great photos. Thanks to Christian D. MAR. 9 China Orders Rolling Stones to Ax Songs By ALEXA OLESEN BEIJING (AP) - The Chinese government has ordered the Rolling Stones to ax four of their best-known hits from their landmark mainland shows next month, a concert organizer said Wednesday. The band, which is scheduled to perform in Shanghai April 1 and in Beijing April 4, will not be allowed to play "Brown Sugar,""Honky Tonk Women,""Beast of Burden," or "Let's Spend the Night Together," said Chen Jixin head of Beijing Time New Century Entertainment, a concert organizer behind the two China dates. The four songs, all of which include sexual references, were originally cut from the mainland release of the band's "40 Licks" compilation album by China's culture ministry, Chen said. "Brown Sugar" refers to an interracial coupling. The album was released by EMI Records China earlier this year. It was the first Rolling Stones album to legally hit the China market; pirated Stones' CDs are widely available in Shanghai and Beijing. Chen said she didn't know why the government had banned the four songs. The Chinese Ministry of Culture said no one was immediately available for comment. Only songs on the officially released "40 Licks" album will be allowed during the China shows, Chen said. The mainland set changes will not be the first time the Stones have run afoul of censors. In 1967, the Rolling Stones appeared on "The Ed Sullivan Show" in the United States to sing "Let's Spend The Night Together." To satisfy censors, Mick Jagger sang "Let's spend some time together." When asked about the Beijing and Shanghai performance dates in Tokyo last week guitarist Keith Richards said: "It's about time they let us in." The band first applied to perform in China in the 1970s and was refused permission. Copyright 2003 Associated Press MAR. 10 Between the buttons Andrew Loog Oldham reflects on a dandy career in the crucible of Brit pop By Fred Shuster, Music Writer Andrew Loog Oldham lives up to the common perception of what makes a Britisher so British _ he's a bon vivant, a born raconteur with a devilish wit and the owner of both an excellent wardrobe and unforgettably odd double-barreled name. And like a character out of an Evelyn Waugh novel, the former manager, producer and brains behind the Rolling Stones is having a stunning time far from the homeland he now considers a foreign country. For the past 20 years, Oldham has lived in Bogota, Colombia, with his wife, son and frequent delivery of Rolling Stones royalty checks. For a guy who admits he drank like a fish and tried to snort a large percentage of Bolivia's best-known export for 30 years, Oldham has an astounding memory. The first two highly entertaining volumes of his autobiography, "Stoned: A Memoir of London in the 1960s" and the just-published "2Stoned," offer an amusing and lovingly detailed chronicle of the British pop world of the 1950s and 1960s. The U.K.'s Sunday Times placed "Stoned" atop their list of the best music books of the year, calling it "a rattling good yarn of the birth of the Swinging Sixties told by a cast of characters centered around the man who managed the Stones and taught them how to succeed through misbehavior." But before the Beatles and Stones came along, Britpop meant cinema, jazz, fashion and skiffle music. "American films like 'Sweet Smell of Success' and (the movies of) Laurence Harvey showed me the life I wanted for myself," Oldham recalled one recent morning in Santa Monica. "When I saw the Beatles, I was taken by their sound, songs and image. It was a look and attitude we hadn't seen before. I immediately knew the potential."   Oldham didn't just live the '60s, he helped create them after discovering the Stones playing at a suburban London pub in 1963. A natural hustler and press agent, the 19-year-old had already dressed boutique windows, worked for the fashion designer Mary Quant and was run out of France for his involvement in what he calls "a tawdry but innocent kidnapping." Although he spent just less than five years with the Stones as producer, manager and motivational force, the music they made together is the basis for the group's continued popularity and drawing power. That golden-era soundtrack includes "(I Can't Get No) Satisfaction," "Time Is On My Side," "Nineteenth Nervous Breakdown," "Paint It Black" and 11 more hit singles. He also co-founded Immediate Records, Britain's first independent label (Small Faces, the Nice, Humble Pie). "People say I created the Stones," he said. "I didn't. They were there already. They only needed exploiting. They were already bad boys when I met them. I just brought out the worst in them. As for the records, a producer's job is to provide an environment in which the work can get done and fill up audio space in a way that compliments the song and the performance. That's what I did." As for how he locked Mick Jagger and Keith Richards in a small room until they came up with their first co-written song, Oldham (credited, incidentally, as a co-writer of the Marianne Faithfull classic "As Tears Go By") says, "I knew they could do it. That's how the process began."   Pop eats itself In a rare personal appearance, Oldham will give the keynote address Friday at the New Music Reporter Conference, a day of panels and schmoozing at Hollywood's Roosevelt Hotel designed to ferret out how pop talent can be uncovered, nurtured and promoted in the day of the download. On hand will be panelists Ian Copeland, former agent of the Police and Sting; Gary Calamar, a TV-film music supervisor and longtime host of "The Open Road" on KCRW-FM (89.9); and Nick Ferrara, a New York entertainment attorney whose clients include Creed and Vanessa Carlton. "The music industry machinery is too huge for something that should be of and from the streets," Oldham, 59, said. "Major label contracts are written so the only money the band makes is from touring and T-shirt sales. The record companies have so much overhead to take care of before an artist can make a dime _ manufacturing and printing, lawyers, promotion, the company's offices. There's no such thing as a slow build now. It has to come out of the box as this gigantic explosion, with videos and massive print buildup and radio hype. By the time you get to hear the thing, you're already fed up with it." Oldham's books are assembled in a reader-friendly form that involves testimony from important characters such as Vidal Sassoon, Pete Townshend, Lionel Bart, Faithfull and others. The period after Oldham left the Stones will be covered in a third book. "When the '70s came and I didn't have a regular gig, I assumed the lifestyle of my acts," he said. "At some point in 1995, it was either get clean or die. The drugs were taking me. I hadn't been taking them for a long time." Now clear-eyed, Oldham's vices are few. As he sips a demitasse in a sun-drenched hotel suite overlooking the ocean and his wife and son prepare to explore the Third Street Promenade, he explains that fantastic middle name. Loog, it turns out, was his father's surname. "He was a Texas airman of Dutch heritage named Andrew Loog," Oldham says. "My mother was his girlfriend during World War II. He died dropping bombs on Hitler six months before I was born. My mother gave me his name, Andrew Loog, and her maiden name, Oldham, and I'm proud of all of them." MAR. 12 The beat goes (40 years) on By HARRY De JONG, Special to The Japan Times Rolling Stones drummer Charlie Watts, 61, has sunk into a deep leather chair in a huge hotel room in Toronto. In the corner hundreds of jazz CDs cover the walls. The table is strewn with old snapshots. Watts coughs and straightens his brown jacket. Charlie Watts on the "Forty Licks" tour in Toronto in November. 2002 The skinny, gray-haired drummer follows my glance across to the room to a piano near a window. Sunbeams manage to break through half-drawn curtains and illuminate the piano, as well as dust particles circling above it. Watts chuckles a bit and visibly relaxes. "Yeah man, I have been in this room for some five weeks now. So I am allowed to have a few things here to make me feel at home don't you think." Music is playing on a radio in another corner of the room. "This channel airs jazz all day," Watts says while getting up to turn the volume down a bit. "I never turn it off." This interview takes place some time before the kickoff of the "Forty Licks" tour. Charlie Watts and his buddies -- Mick Jagger, Keith Richards and Ron Wood -- have come to Toronto for rehearsals. There is a little theater within a stone's throw of the hotel, where the band have been fiddling with their repertoire for the last five weeks. The Stones' tour follows the release of the double CD "Forty Licks," which in addition to 36 Stones classics also contains four new tracks. Does Charlie Watts still get the jitters on the eve of a big tour and the release of a "new" album? "Ah, come on . . . " he says. "It doesn't affect me at all. A tour like this is a repetition of what I have been doing for the last 40 years. For me there is nothing new as far as The Rolling Stones are concerned. Well, there is a minor flow of adrenaline going through my veins, but that's about it. I have been part of too many tours to even experience the slightest bit of adventure. Every night the same show for different people, that is all. Pure routine." So you're behind your drums blase and bored? Well no, that's not the way it is. Forty years ago, I did my best and I still do. How can I say . . . I am a down-to-earth person and as a part of the show I know exactly where my place is. I am just not a guy who "gives himself completely" musically, so to speak. I am a musician who performs songs as part of a band. And one who still finds that satisfying? Yes, that's the most important part and that is why I am still with The Rolling Stones. I am happy with it -- although the group has never played the kind of music I am really interested in. For as long as I can remember I have been into jazz. Where does that enthusiasm for jazz come from? Your father? No, I have discovered it all by myself. Jazz was very fashionable in England in the late '50s and early '60s. I started buying records and became a regular visitor of London's jazz clubs. What is so appealing for you in jazz? The people who played it. My heart started pounding when I first heard Charlie Parker play. Of all jazz musicians, he was the one that impressed me most. When I was about 13 I dreamed of playing with him." It must be a strange feeling that there are now people who dream of playing with you, a Rolling Stone? Yes, but I am good at putting it into perspective. Ultimately I lead a life that is not that different from anyone's. I have always remained an ordinary person. People often imagine all kinds of things about me and the other Rolling Stones. They have this dream image of us. And you have a hard time convincing them that this image is far from the truth. I would like to get to that in a minute. Let's go back to your childhood: What kind of kid where you? An ordinary schoolboy. I played cricket with my friends and wanted to be a drummer. All the other kids I knew wanted to play an instrument as well. The boy next door could play the bass, a little bit. I dreamed of a great future as a musician, but deep in my heart I was realistic enough to know that that could be a very difficult path, that I probably wouldn't make it. That is why I saw music as a hobby. It only became a bit more serious when I met a man by the name of Alexis Korner, a blues musician. You know that I hadn't even heard about blues up until then? A name like Muddy Waters didn't mean a thing to me. Alexis taught me what blues is -- or what we white people think it is. Then I found out that Charlie Parker played some blues as well, but in a very intellectual way. Anyway, Alexis Korner wanted to start a new -- what he called an R&B band -- and asked me to be the drummer. That group became popular rapidly and we played the best clubs in London. There I met Mick Jagger, Brian Jones and Keith Richards. And the rest is history. Would you've preferred the Stones to be a jazz band? No, that is not how I saw it. I was a drummer and I played with musicians who asked me to play with them. That is how simply I saw it. When I became part of the Stones I played in some other bands as well, but they were soon out of work. One of them I started with Ronnie Wood's brothers -- we called ourselves The Woods band, or something like that. The other was a jazz band; I can't remember the name. I was 22 years old, had a job as a graphic designer and played in three different bands. So I was doing OK. And I learned something too, because Mick, Brian and Keith turned up with Jimmy Reed, Chuck Berry and Bo Diddley music books. Names I wasn't familiar with, but good music to play. When the Stones had their breakthrough, did you feel that you found your niche? That this was "your" life? No, I never felt that way. I was looking ahead all the time. Like, "Just a few more years, then this is all over." Most bands I played in up until then, didn't exist for more than six months or a year tops. For example, that band with Alexis Korner didn't last for more than nine months. It was my experience that every band eventually would wind up without work and that would be the end of it. But after a while I learned that things were a bit different with the Stones: The more we played, the more work we got and the more popular we became. But still I thought we wouldn't last for more than three years. And after those three years I thought, "If we continue for another three years then we should be lucky." And today I still feel the same [laughs]. So you just rolled through life, and everything fell into place? You could see it like that, yes. I have never been very ambitious. If the Stones would call it quits, I would say, "Thanks, we've had a good time." I don't have a problem with it. Those were good years, no more than that. I have never showed off the fact that I am with The Rolling Stones. To be honest, I have never been interested at all about being in newspapers or magazines. That has been the case ever since the beginning. Self-promotion is a dirty word for me. I haven't given interviews for years because I don't see the point of talking about myself. You just said that you had some good years with the Stones. But there obviously have been some very low points, like Brian Jones's death in July 1969. He was a good friend of yours? Yes, we got along very well. And not everyone could say that. If he wanted he could be very pleasant, but sometimes . . . It was a shock when he died, but you didn't need special powers to see how it would end. Physically he always was a weak boy and still he continuously abused himself. He often was not capable of finishing tours . . . During tours he became a physical wreck. And that for a young man in his 20s, who was supposed to be at the height of his powers. Look, when you are 40 and you use drugs and drink to excess, then you can expect to collapse halfway through an exhausting tour. Brian was just very sick, even when he was not drinking or using drugs. He was very fragile and was suffering from asthma terribly. But he refused to even try to do something about his health and just kept drinking and using drugs. He had a very self-destructive nature. There are more people like this. They try to lure others into death and if they don't succeed they eventually destroy themselves. Brian was that kind of person. Did Brian Jones's death change your life back then? No, not at all. I was just too young to learn from it. If something like that would happen now, it would have a lasting impact on me. I know that for sure. But I couldn't see Brian's death as a warning for my own way of life, because I wasn't nearly as wild. I drank and used drugs, but not nearly to the extent Brian did. You emphasize that you have always remained an ordinary guy, but it must have been difficult to keep your feet firmly on the ground. If you weren't careful you'd be floating, absolutely. But I think that because of my down-to-earth nature I had a lucky escape. Maybe it did change me somehow . . . I don't know. Because you're in this strange world, especially when you have reached a level of success. People think for you, talk for you, everything for you . . . And then there are all these groupies . . . Take it from me that most of those stories are just fantasies. If you want to believe all that nonsense about groupies, be my guest. I don't, and I should know because I live in that world. I never took what I could have, because I have never been a man who embraces the lifestyle that is supposed to be part of rock 'n' roll. Funny, eh? To hear that from a guy who has been playing with the greatest rock 'n' roll band in the world for all his life. OK, let's talk music: Do you have special feelings for songs that appear on the "Forty Licks" CD? "Gimme Shelter," "Satisfaction," "Paint It Black" . . . to name but a few. No. When I look at the songs, I hardly have any memories. With each song I can see the studio in which we recorded it, no more than that. But I haven't written a single song myself, so they will never be that close to me. I ran through them with Keith in his bedroom and then went to the studio to record them. So, no good nor bad memories. It would, of course, be much better if I could tell you stories about "Ruby Tuesday" coming to me in a dream when I was on the beach, while Keith was sitting behind me and started playing his guitar as if in a trance. But unfortunately, I cannot tell you nice Rolling Stones stories like that. You recorded "Satisfaction" in the United States. What do you remember of your first visits there. I thought America was cool. When we first went there, I only wanted to go to New York and Chicago. Because of the jazz clubs. I couldn't care less about the rest of the States. During our American tours I have managed to visit j