Corey Tippin, Donna Jordan and Antonio Lopez in Saint-Tropez, 1970.

Antonio Lopez, Jane Forth, Christine Walton, Corey Tippin, Pat Cleveland & Donna Jordan modeling Karl Lagerfeld for Chloé, c. 1971.

Vogue Italia January 1971

Model: Donna Jordan Photographer: Chris von Wangenheim Hair: Jean-Marc Maniatis Makeup: Corey Tippin

All Things Music Plus from fb:

ON THIS DATE (51 YEARS AGO)April 23, 1971 – The Rolling Stones: Sticky Fingers is released.# ALL THINGS MUSIC PLUS+ 5/5 (MUST-HAVE!# allmusic 5/5# Rolling Stone (see origginal review below)# Melody Maker (see origginal review below)Sticky Fingers is the ninth British and 11th American studio album by The Rolling Stones, released on April 23, 1971. It topped both the Billboard 200 Top LP's chart (4 weeks) and UK Albums chart (5 weeks). In 2003, Sticky Fingers was listed as #63 on Rolling Stone magazine's 500 Greatest Albums of All Time.It is the band's first album of the 1970s and its first release on the band's newly formed label, Rolling Stones Records, after having been contracted since 1963 with Decca Records in the UK and London Records in the US. It is also Mick Taylor's first full-length appearance on a Rolling Stones album, the first Rolling Stones album not to feature any contributions from founding guitarist Brian Jones and the first one on which Mick Jagger is credited with playing guitar. Although sessions for Sticky Fingers began in earnest in March 1970, The Rolling Stones had recorded at Muscle Shoals Studios in Alabama in December 1969 and "Sister Morphine", cut during Let It Bleed's sessions earlier in March of that year, was held over for this release. Much of the recording for Sticky Fingers was made with The Rolling Stones' mobile studio unit in Stargroves during the summer and autumn of 1970. Early versions of songs that would appear on Exile on Main St. were also rehearsed during these sessions.With the end of their Decca/London association at hand, The Rolling Stones would finally be free to release their albums (cover art and all) as they pleased. However, their leaving manager Allen Klein dealt the group a major blow when they discovered that they had inadvertently signed over their entire 1960s copyrights to Klein and his company ABKCO, which is how all of their material from 1963's "Come On" to Get Yer Ya-Ya's Out! The Rolling Stones in Concert has since come to be released by ABKCO Records. The band would remain incensed with Klein for decades over the act.When Decca informed The Rolling Stones that they were owed one more single, they cheekily submitted a track called "Cocksucker Blues", which was guaranteed to be refused. Instead, Decca released the two-year-old Beggars Banquet track "Street Fighting Man" while Klein would have dual copyright ownership, with The Rolling Stones, of "Brown Sugar" and "Wild Horses"."Jimmy Miller made a significant contribution to the band at the time. That was because he had a great set of ears and he was a musician." ~ Charlie Watts__________

COVER - The album's artwork emphasizes the suggestive innuendo of the Sticky Fingers title, showing a close-up of a jeans-clad male crotch; the cover of the original (vinyl) release featured a working zipper and mock belt buckle that opened to reveal cotton briefs. The vinyl release displayed the band's name and album title along the image of the belt; behind the zipper the white briefs were seemingly rubber stamped in gold with the name of American pop artist Andy Warhol, below which read "THIS PHOTOGRAPH MAY NOT BE--ETC." While the artwork was conceived by Warhol, photography was by Billy Name and design by Craig Braun.The cover photo of Joe Dallesandro's crotch clad in tight blue jeans, was assumed by many fans to be an image of Mick Jagger, however the people actually involved at the time of the photo shoot claim that Warhol had several different men photographed (Jagger was not among them) and never revealed which shots he used. Among the candidates, Jed Johnson, Warhol's lover at the time, denied it was his likeness, although his twin brother Jay is a possibility. Those closest to the shoot, and subsequent design, name Factory artist and designer Corey Tippin as the likeliest candidate. After retailers complained that the zipper was causing damage to the vinyl (from stacked shipments of the record), the zipper was "unzipped" slightly to the middle of the record, where damage would be minimized.The album features the first usage of the band's "tongue & lips" logo, which was originally designed by Ernie Cefalu. Although Ernie's version was used for much of the merchandising and was the design originally shown to the band by Craig Braun, the design used for the album was illustrated by John Pasche.In 2003, the TV network VH1 named Sticky Fingers the "No. 1 Greatest Album Cover" of all time.

__________CASHBOX, May 8, 1971STICKY FINGERS-The Rolling Stones-Rolling Stones (dist: Atco) COC-59100 Time was when each new Stones album seemed a search for the right musical direction. i3ut no more. The Stones have matured. "Sticky Fingers" displays the same beautiful blend of R&B and texturally heavy country - based sounds that made "Let It Bleed" brilliant. The band has found a cohesiveness that is awesome and Nick and Keith's songwriting is consistently exceptional: each cut is a gem in its own right but "Can't You Hear Me Knocking" and "Sister Morphine" open new musical paths. Naturally "Brown Sugar" is included. And Andy Warhol's 'zipper pack' cover is sure to astound. Never a more certain gold LP.

__________MELODY MAKER UK Magazine – April 17, 1971"The band is not retiring..." Mick Jaggers explains Rolling Stones Records, and the road ahead for the band. "A touring group, a happy group..."AS PREDICTED SOME weeks ago, the Rolling Stones announced officially this week that they have signed a recording deal with the newly formed Kinney Records Group. Their contract with Decca expired several months ago. The Stones' future records will be released worldwide on a newly created label called Rolling Stones Records. Various other companies are involved in distribution and Marshall Chess, son of the founder of the rhythm and blues Chess label, will co-ordinate their activities. First release on the new label will be a single - double A-side with three tracks, "Brown Sugar", "Bitch" and "Let It Rock". This will b e followed by a new album by the Stones entitled Sticky Fingers -which will have an original cover design by Americanpop artist Andy Warhol. The label's logo will be a red tongue... sticking out (what else?).The single was recorded live at Leeds University during the group's recent British tour. Tracks on the album are "Brown Sugar", "Sway", "Wild Horses", "Can't. You Hear Me Knocking", "You Gotta Move", "Bitch", "I Got The Blues", "Sister Morphine", "Dead Flowers" and "Moonlight Mile". Strings, arranged by Paul Buckmaster, are featured on two of the album tracks and the musicians who appeared with the Stones on their recent tour -Jim Price, BobbyKeys and Nicky Hopkins - are also featured, The MMwas invited to put various questions to Mick Jagger this week and here we print the answers.How many of her record companies were bidding? Over, thelast year, 21.

+++++How long is the contract for? No set period- it is a product deal. +++++What does it involve- albums, singles, per year? Six albums over the next four years plus perhaps some individual solo albums.+++++When will the next single be released? April 16 -the titles are "Bitch" and "Brown Sugar" and "Let It Rock"

.+++++When will the next album be released? April 23 -the title is Sticky Fingers and it has 10 titles. It's produced by Jimmy Miller.+++++When are you going to France and how long will you be there? Where else is there? But I don't expect to staythere for more than three months, before going to New York, Los Angeles, Japan, Bangkok, Ceylon, Persia and England.+++++Why areyou going? It's all too involved and too libellous.+++++Will you record in France? Yes and we will be using the Mighty Mobile, our recording truck.

+++++Will your next album involve the extra musicians who played with you on your tour? Yes. There are four out of the 10 numbers with brass, Jim Price and Bobby Keys- on one track Jim Price plays piano, "Moonlight Mile", and on one track, "Sway", Nicky Hopkins plays piano. Billy Preston plays organ on "Can't You Hear Me Knocking" and "I Got The Blues". There are strings, arranged by Paul Buckmaster, on two tracks.+++++Where will you bel living in France? Paris, and the South of France. Why are you going to France as opposed to anywhere else? I don't really know- everyone agreed.+++++Do you think you tour was a success? Yes, I guess so. Most people who came seemed to have a good time, it was full up... we had quite a nice time.

 +++++Why? It was a success because I think most of the audience were very appreciative and gave us a good time in return for us playing -which was nice. +++++How long will it be before you appear live again in the United Kingdom?Ab out a year or so, I suppose. Regarding the TV recordings at the Marquee - are theylikely to be shown in Britain? They will probably be shown in Britain. +++++What was all the trouble about at the Marquee on Friday? Harold Pendleton tried to stop me in the middle of playing because of his ego trip. Are you contemplating anymore movies? No -but I would if they were right.

+++++Jagger told theMMafter the interview: "By signing this contract we are guaranteeing to produce six new albums over the next fouryears-this includes Sticky Fingers. Additionally, there maybe some solo albums projecting the Stones individually over this period. The band is not retiring just because we are going away. We are not going to stay in the South of France -we are going to be touring, on the road, America -and I hope to visit Japan, Bangkok, Ceylon, Persia and hope to be back touring Britain sometime next year. We will remain a functioning group, a touring group, a happy group.ORIGINAL NEW MUSICAL EXPRESS UK (NME) April 24, 1971Tight. Great to listen to" Mick Jagger and Bill Wyman go through their new LP, Sticky Fingers. "I dig the jam session at the end," says Mick.THIS JIMMY MILLER-produced album is remarkably varied, perhaps because it was made during a period of over a year at three different places - Muscle Shoals, London's Olympic and the Stones' Mighty Mobile studios. The musicianship is exceptional and Mick's vocals as wild at times, as controlled at other times, as ever. He often altered the words written in the kit we received. But as he and Keith wrote all the tracks, why not? Here are track-by-track reports, including what Mick Jagger and Bill Wyman had to say, about an album gets back a bit to roots that made the Stones.

 1) Brown SugarMICK: This is the single. A fast one. I like fast ones. BILL Made over a long period. At Muscle Shoals, Alabama, in December,'69, first of all, then finished a long time after in London at Olympic studios. Good sound. NME: A good, solid rock mover. Keith Richards' acoustic guitar bites into the music, and Mick shouts out the vocal about Brown Sugar, who tastes so good, just like a young girl should. A lusty lyric about slave days in New Orleans. Bobby Keys sax and Ian Stewart's piano help to make this one of the best tracks.2) Sway MICK: Lotta sound. Wrote it quickly and recorded it two days later. BILL: So-so. We did it at Olympic. Nicky Hopkins on piano. NME: Mostly instrumental, with a long, fullthroated guitar break by Mick Taylor. Mick and Keith join in the loudly shouted vocal before the instruments take over to work up a storm. 3) Wild Horses MICK: My favourite ballad. Yes, definitely my favourite. BILL: Started at Muscle Shoals and finished at Olympic. I liked it. Great. NME: Quieter, with simple, soft backing from the guitars. Vocal is taken quite straight and the words are easy to hear, about the threat of losing a love. Title comes from the saying "Wild horses couldn't drag me away", and this is the repeated vocal line. Mick leads, then Keith joins to do some very good vocal harmony with Mick. 4) Can't You Hear Me Knocking? MICK: I dig the jam session at the end. BILL: My favourite. I dig it. The intro was ad lib, purely spontaneous. I like the jazz bit too. Nice, Bobby Keys does a good [sax] bit.NME: Back to the shout vocal and the hysterical feeling. Longest track, which goes into some interesting vocals. Mick Taylor and Keith Richards go to town on guitars, while Billy Preston on organ and Bobby Keys on sax add to the excitement, especially towards the end when Billy keeps going over and over the phrase. Terrific.5) You Gotta Move MICK: Muscle Shoals again. Strong. BILL: We did this in America in December,1969. Didn't quite work out, but we finished it OK at Olympic. NME: A simple but so effective old-style blues song, taken at a slow beat, Jagger lowers his voice a bit to sound like a black singer (or is it Jagger?). In contrast, someone sings like a girl (Keith?). The guitars sing a bit on this one, too. Very likeable. And a boom - boom on the bass drumfrom Charlie at the end.6) BitchMICK: Keith's soul ballad. Tight. Great to listen to. BILL We recorded this in the mobile van on Mick's lawn at his house near Reading. Yeah, I like recording in the van a lot. NME: Slow, low-key music, with Billy Preston making a dramatic entrance on organ and Mick singing in a high-pitched, sad voice about missing a girl he loves very much during a lonely, long night.7) Sister Morphine MICK: Very old. Difficult to promote [with such a title].BILL: remember doing a backtrack of this for Marianne Faithfull but nothing happened to it. I did a different one for the album at Olympic. NME: Wistful, quiet guitar opening, before a little -boy voice starts to ask Sister Morphine from a hospital bed when she's coming round again, to turn nightmares into dreams. A powerful lyric about the feelings of one in pain and craving relief. Marianne Faithfull gets a composing credit with Mick and Keith.

Dead FlowersMICK: A country song, that's all you can say. BILL: Nice country & western. Good onstage with its roll-along tune. We did it at the Olympic. NME: A real hoedown, country sound. Good lilt from Ian Stewart's piano, and the twanging guitars of Richard and Taylor. Mick and Keith seem to enjoy the duetting on this song.9) Moonlight Mile MICK: Sweet and soft. I like the [Paul] Buckmaster strings on this. BILL: We did this one in the mobile van at Hick's place. The first title was "The Japanese Thing". NME: Mood music. Oriental -tinted and delicate from guitar and strings. Mick seems to be double-tracking the sensitive vocal, while the music builds up in volume and intensity, then gradually becomes softer and more sad and far away. The Buckmaster strings and Jim Price's piano help the guitars of MickJagger (Keith isn't on this track)and Mick Taylor, and the fine bass of Bill Wyman and drums of Charlie Watts.

__________RECORD MIRROR UK (Apri, 17, 1971)STONES FINALLY GET IT OUTAFTER years of financial, legal and personal hassles the Rolling Stones very own record label is under way. Rolling Stones Records - the name chosen from the many suggestions which started with Mother Earth - kicks off with a Stones' single on April 16. It is a double 'A' sided release featuring three tracks - "Bitch", "Brown Sugar" and "Let It Rock". The first two are Jagger/ Richards songs while the latter was written by Chuck Berry, although it is credited under the pseudonym E. Anderson. It was recorded 'live' at Leeds during the group's just -completed tour. "Sticky Fingers", the Stones' first completely new album since "Let It Bleed" 18 months ago, is released on April 23. Tracks are: Side One -Brown Sugar, Sway, Wild Horses, Can't You Hear Me Knocking. Side Two - Bitch, I Got The Blues, Sister Morphine, Dead Flowers, Moonlight Mile. The album sleeve features a special painting by Andy Warhol showing a pair of Levi jeans. Unusual aspect is that there is a real zipper on them which you can play with.(sic) tongue stuck out of two jam-tart lips, possibly taken from typical Jagger characteristic. As expected the Stones have signed a distribution deal with Kinney, the conglomerate which owns Atlantic, Warner Bros/Reprise and Elektra. Said Jagger: "This was not a case of taking the most money. There were higher bids but we choose Kinney because we thought they would do the most efficient job and were the nicest people to work with." Regarding the Stones' departure from this country: "The band is not retiring just because we are going away. We are going to be touring, on the road, America, and I hope to visit Japan, Bangkok, Ceylon, Persia and hope to be back touring Britain some time next year." Decca, the Stones' previous company, would not comment whether they still have rights to an album's worth of Stones' tracks recorded some time ago with producer Jimmy Miller. And here is a review of the Stones' single by RM's. Lon Goddard:ROLLING STONES: Brown Sugar; Bitch; Let It Rock (Rolling Stones Records RS 19100). Superb rock arid roll again from the best exponent of the stuff going. Great value with the three tracks on this maxi -single, beginning with the 'A' side, "Brown Sugar," easily the best. Keith Richard's guitar digs chunks out of the rhythm in the 'Jack Flash', 'Street Fighter' tradition. Simple musically, but oh so effective. Jagger's throaty voice blasts out lyrics about young girls and you -know -what, while Taylor's lead guitar and Bobby Keyes' sax modify it. "Bitch" is heavier on the brass with an off -beat catch phrase. Mick's live version of this is most picturesque. Last is early R&R borrowed from Chuck Berry and 'Johnny B Good', but as usual, the treatment is practically authentic. With the aid of Nicky Hopkins on piano, it could be ten years ago. Fantastic product. L.G

.__________ORIGINAL ROLLING STONE REVIEW (Note: Review includes BETWEEN THE BUTTONS)SIDE ONE"Brown Sugar:" It begins with some magical raunch chords on the right channel. In the tradition of great guitar intros ("All Day and All of the Night," "Nineteenth Nervous Breakdown," and "Satisfaction" itself) it transfixes you: instant recognition, instant connection. Suddenly the electric guitar is joined by an acoustic guitar on the left channel, an acoustic that is merely strumming the chords that the electric is spitting out with such fury. It washes over the electric to no apparent purpose, stripping it momentarily of its authority and intensity. and so, in the first 15 seconds of the albums first cut we are presented with its major conflict: driving, intense, wide-open rock versus a controlled and manipulative musical conception determined to fill every whole and touch every base.As soon as the voices come on, the acoustic recedes into inaudibility: on "Brown Sugar" wide open rock wins by a hair, but it is a hollow victory. Opening cuts on Stones albums have always been special, fro the early ones - "Not Fade Away," "Round and Round," and "Everybody Needs Somebody to Love: - with their promise of rock and roll to come, to the tour de force openings of the later albums - "Symphony for the Devil" and "Gimme Shelter" - which served as overwhelming entrances into a more complex musical world view.At their best these opening cuts were statements of themes that transcended both the theme itself and the music that was to follow. As I listened to "Sticky Fingers," for the first time I thought "Brown Sugar" was good, but not that good. I certainly hoped it wasn't the best thing on the album. As it turns out, there are a few moments that surpass it but it still sets the tone for the album perfectly: middle-level Rolling Stones competence. The lowpoints aren't that low, but the high points, with one exception, aren't that high.As to the performance itself, the chords, harmony, and song are powerful stuff. The instrumentation however, is too diffuse, occasionally undermining the vocals instead of supporting them. But when Richards joins Jagger for the last chorus they finally make it home free."Sway:" Vaguely reminiscent of "Stray Cat Blues" but not nearly so powerful. The sound is characteristic Rolling Stones messiness enhanced by the unusual degree of separation in the mix. Charlie Watts bashes away with the smirking abandon that made him such a delight on songs like "Get Off My Cloud" and "All Sold Out." But unlike early Stones messiness, "Sway" lacks intensity. It never reaches a goal because it doesn't seem to have one. Rather, it remains a series of riffs whose lack of content is obscured by prolonged and indifferent guitar semi-solos and a fine string arrangement that suddenly enters towards the end."Wild Horses:" A good song with lots of good things in it that doesn't quite come off. The acoustic 12-string stands out over everything else in the arrangement - perhaps a little too far out, as the rest of the instruments sound like mere fragments, wandering in and out of the track at arbitrary intervals.Jagger's vocal is clearly audible for the first time on the album and I don't care for it. It is mannered, striving for intensity without being wholly convincing. Musically, the more complex the Stones get the m ore inadequate he sometimes sounds. The man is a stylist as opposed to a singer. He has always lacked power and range: on 15 albums he has never really grabbed hold of a note and let it ring. At his best, he sings around the notes - plays with them - dancing in and out with precision.Or, he can let himself go entirely, with no attempt at stylistic posturing and thereby achieving an almost incredibly naturalism. But, on "Wild Horses," there is a pint in which the only thing that will work is a good note, well sung, sustained and sufficient to stand on its own. It is not to be found. A musical attitude is not a replacement for a musical style and style is not a replacement for essential technique, which is what is missing here.The longing of the song's lyrics coupled with its ultimate hope constitute as much of a theme a there is on this record. Typically (since "Between the Buttons") the Stones' statement alternates between aggressive sexuality and warmer, more subtly erotic statements of emotional dependence and openness. The flirtation with social significance of the last two albums has been almost wholly abandoned in what appears to be something of a recommitment to more personal subject matter."Can't You Hear Me Knocking:" Years ago, when I first heard that the Stones had recorded something 11 minutes long, I couldn't wait to get my hands on it, thinking it was sure to be the definitive rave-up and hoping it would finally put the Yardbirds and Them in their place. When I finally heard "Going Home" I realized the Stones couldn't conceive of a long cut as anything but a vehicle for Jagger to project through. Given the time to stretch out, they went for the mellow down easy side with the emphasis on the voice rather than the instruments.Now they have done something with a long instrumental break in it and it ain't bad. On the other hand, I can't see what it really has to do with the Rolling Stones. The song is good but once into the solos there is a touch of R&B, a touch of Santana, but nothing to really identify with. So maybe they had the right idea the first time. For old times sake I do hope that the really boring guitar solo is by Mick Taylor and that those great surging chords in the background are by Keith Richards, the original Sixties rock and roll guitarist, and mast of Chuck Berry music, and the soul of the Rolling Stones."You Gotta Move:" Anyway, for the present, Mick Taylor's electric slide guitar is absolutely exquisite. Combined with Richard's fine work on the acoustic they create one of the album's few real moments. Charlie Watts' bass drum holds it together perfectly, while Richard's harmony smoothes off the more outrageous edges of Jagger's lead vocal. In the end, all the pieces fit. A small but important triumph.SIDE TWO"Bitch:" Jagger in one of his most popular poses: demonic. here he flaunts naughty words and naughty thoughts as if he still thought they were naughty. The arrangement is straight-ahead. The horns sound great here as they are used primarily for purposes of syncopation and rhythm. The bass and drums - the Rolling Stones bottom that has driven its way through over 200 cuts and which is the true instrumental trademark of the group - burns like a bitch."I've Got the Blues:" In the tradition of the earlier R&B Imitations such as "Pain In My Heart," "You Better Move On," "If You Need Me," and best of all their great "That's How Strong My Love Is." However, this is the first time they actually added Stax horns. It's good as far as it goes, but lacks the feeling of the earlier imitations. It all seems pro forma. The worst cut the Rolling Stones ever released was "I've Been Lovin' You Too Long" (which sounds very much like a studio recording even though it showed up on "Got Live I You Want It"). Jagger couldn't sing it. Here he almost sings up a storm, but in the end its the part he didn't sing that stays in mind. Somehow, it isn't complete."Sister Morphine:" This was supposed to be stark, intense and realistic. Some hear it that way. I find it lyrically convincing, but labored to the point of being unlistenable musically. Perhaps that is part of the conception: obviously, a song about morphine should not be pleasant to hear. The question is, is the song unpleasant because it makes us uncomfortable emotionally, or simply because it is an awkward and unsuccessful attempt to depict reality through music?"Dead Flowers:" I suppose somewhere along the line they thought of calling the album "Dead Flowers," which would have justified this cut's presence at some level. Despite its parodistic intentions, the mere thought of the Stones doing straight country music is simply appalling. And they do it so poorly, especially the lead guitar. The cut is ordinary without being either definitive or original."Moonlight Mile:" From "Brown Sugar" we had to wait all the way to here to get a masterpiece. The semi-oriental touch seems to heighten the song's intense expression of desire, which is the purest and most engaging emotion present on the record. The sense of personal commitment and emotional spontaneity immediately liberate Jagger's (double-tracked) singing: it's limitations become irrelevant and he rises to the occasion by turning in his best performance on the album - the only thing that compares with his singing of "Gimme Shelter."There is something soulful here, something deeply felt: "I've got silence on the radio, let the airwaves flow, let the airwaves flow." Paul Buckmaster, Elton John's arranger, does the best job with strings I can remember in a long, long time, while Charlie Watts only goes through the motions of loosening up his style, as he comes down hard on the nearly magical line, "Just about a moonlight mile."The cut contains that rave-up they never gave us on "Goin Home"; perhaps it is just a filling out of the intensely erotic climax that came towards the end of that song ("Sha-la-la," and all of that). When Jagger finally says "Here we go, now" as Mick Taylor's guitar (Richard is inexplicably absent) falls perfectly into place with a hypnotic chord pattern, it's as if he is taking our hand and is literally going to walk us down his dream road. As the strings push the intensity level constantly upwards and Charlie emphasizes the development with fabulous cymbal crashes, the energy becomes unmistakably erotic - erotic as opposed to merely sexual, erotic in a way that the entire rest of the album is not. The expression of need that dominates so much of the record is transformed from a hostile statement into a plea and a statement of warmth and receptiveness.This cut really does sway and when Jagger's voice re-enters, it is with none of the forced attempts at style and control present on the rest of the album, but with the kind of abandon that he seems uniquely capable of. And unique is the best word to describe the cut as a whole: after nine songs that hover around the middle, they finally hit the high note and make a statement that is not just original but that could have only come from them.At least it gives me hope for the future.AFTER THE BUTTONSThe early Stones were adolescent rockers. They were self-conscious in an obvious and unpretentious way. And they were committed to a musical style that needed no justification because it came so naturally to them. As they grew musically the mere repetition of old rock and blues tunes became increasingly less satisfying. They went from doing other people's material to doing their own. From doing their own, basic rock & roll material they began to strive for a more contemporary feeling and approach at all levels, especially production (first on Between the Buttons and then on Their Satanic Majesties Request). After the failure of Satanic Majesties they went back to rock & roll to recharge themselves, mixed it with contemporary themes and production styles, and come up with Beggar's Banquet and Let It Bleed.Those two albums are responsible for the Stones' reputation with most of their current audience and comprised the bulk of their material on their tour of America. The darker side of those albums was all but ignored. Where the early Stones had been, if anything, too anarchic and too abandoned, they now became too controlled and manipulative. At their best, on “Gimme Shelter,” they could use the production to break through conventions into pure feeling. But on cuts like “Salt of the Earth” and “You Can't Always Get What You Want” they showed insufficient versatility to handle the demands of production. They plodded instead of rocking, seemingly mired down by their conception of what they were supposed to do rather than being involved with what they wanted to do.On Sticky Fingers, it doesn't really sound like they are doing what they want to. Play “Brown Sugar” and then play any opening cut from the first five albums. The early ones are sloppy, messy, and vulgar. They are brash and almost ruthless in their energy. And they sound real. By comparison “Brown Sugar,” for all its formal correctness is an artifice. Ultimately they sound detached from it, as they do from all but a few things on Sticky Fingers. The two million hours they joke about spending on this record must have surely resulted from uncertainty about what it was they wanted to hear when they were through. On the other hand, those early records always sounded (whether they were is irrelevant) as if they were recorded in a day, without any overdubbing, comprised mainly of first takes. They reverberated with off the wall spunk and spontaneity.Obviously the Stones can't go back to that: it would be redundant and incredibly limiting for them. But perhaps they have now gone too far the other way. If Sticky Fingers suffers from any one thing it's its own self-defeating calculating nature. Its moments of openness and feeling are too few: its moments where I know I should be enjoying it but am not, too great. ~ Jon Landau (June 10, 1971)

TRACKS: All songs written by Mick Jagger and Keith Richards, except where noted.Side one1. "Brown Sugar" - 3:482. "Sway" - 3:503. "Wild Horses" - 5:424. "Can't You Hear Me Knocking" - 7:145. "You Gotta Move" (Fred McDowell/Gary Davis) - 2:32Side two1. "Bitch" - 3:382. "I Got the Blues" - 3:543. "Sister Morphine" (Jagger/Richards/Marianne Faithfull) - 5:314. "Dead Flowers" - 4:035. "Moonlight Mile" - 5:56

Antonio Lopez, Corey Tippin and Donna Jordan by Juan Ramos 1970

Candy Darling, Jed Johnson, Andy Warhol, Corey Tippin and Donna Jordan Photo: Bill King, 1971

From the archives: Antonio, Cathee Dahmen, Jane Forth, and Corey Tippin, New York City, 1970. Photo by Juan 🖤 #antoniolopez (at New York City, N.Y.) https://www.instagram.com/p/CVQtcshJpTr/?utm_medium=tumblr

Antonio Lopez, Corey Tippin and Donna Jordan in Saint-Tropez 1970

Petite histoire du Café de Flore

No cafe encapsulates or reflects the Parisian way of life as authentically as Café de Flore. Situated on the corner of Boulevard Saint-German and Rue Saint-Benoît in the sixth arrondissement, the Flore, as it’s so lovingly called by the patrons who frequent the establishment, is one of the oldest coffeehouses in Paris.  

Café de Flore was the essence of all that was desirable on the Rive Gauche of Paris. It stood on the corner of Saint Germain life, an irresistible mix of café society, literary, artistic, wanton, fashionable ambitions. It was a mirrored place of entrances and encounters.

And it’s been that way pretty much since the day the Flore opened its doors. Founded during the Third Republic in 1887, the café was named after a sculpture of Flora, the goddess of flowers and spring, which lived on the opposite side of the boulevard. It’s for this reason flowers and foliage of all sorts bloom from the second-floor wrought iron terrace, perfectly framing Café de Flore’s pretty scripted signage. The exterior boasts historic Gothic architecture inspired by the 13th century, complete with expansive windows (perfect for people-watching) and sweeping canopies.

Inside, a red leather banquette lines the Art Deco-style brass mirrored walls, which have, at times, displayed masterpieces from prominent artists, like Claude Rutault, Natasha Lesueur, and Franck Scurti (artists, too, have had the creative freedom to change up the décor, including placemats and light fixtures). But for the most part, the no-frills tables, the red cushioned seats, the scaled patterned tiles have all remained unchanged for decades.

It’s here that at the turn of the 20th century, French author Charles Maurras set up camp on the first floor of the Flore to write his book. In 1913, poet Guillaume Apollinaire and André Salmon transformed the café into a publishing house, which became the birthplace of literary art magazine Les Soirées de Paris, and eventually, the catalyst for the Dadaism movement. Surrealism and Existentialism were also born from discussions inside the Flore’s storied walls.

By the ‘30s, high-profile writers, artists, filmmakers, actors, and philosophers all flocked to the Flore, including Albert Camus, Léon-Paul Fargue, Yves Tangut, Raymond Queneau, and Pablo Picasso, who would sit for hours on end, pen their novels, draw inspiration, mingle with one another, contemplate, and observe. During World War II, the café was untouched by German occupation, providing an escape and a sense of freedom during a tumultuous time.

"We got completely settled here: from 9 a.m. till noon we worked here, then we went for a lunch and at 2 p.m., we came back and talked with friends till 8 in the evening,” wrote French philosopher Jean-Paul Sartre about life at the café. “After the dinner, we arranged meetings with friends here. It can seem strange, but we are at home at Café de Flore."

After the war, Arthur Koestler, Ernest Hemingway,  Martha Gellhorn, Truman Capote, Lawrence Durell, Simone de Beauvoir, and Juliette Gréco were regulars,

Eventually, the fashion set found itself right at home at the Flore, the most famous being Karl Lagerfeld. In the ‘60s, the German designer spent his days between the Café de Flore, the Brasserie Lipp, and a swimming pool called Piscine Deligny.

Every morning, Karl Lagerfeld walked the five-minute distance between his apartment and the Flore, sat alone at a table on the ground floor, flipped through an issue of Vogue, and from his corner table he watched all the comings and goings, the new faces and transforming attitudes. He saw it all and he noted every nuance, every change in gesture.

Yves Saint Laurent’s entourage of muses was almost always there, too - Betty Catroux, Loulou de La Falaise, and Clara Saint - though the designer himself almost always opted out of such appearances. And on the other side of the room sat the Americans: models Pat Cleveland and Corey Tippin, and artists Juan Ramos and Antonio Lopez.  

“In Flore, people are less ugly than anywhere else,” Gréco once commented. Perhaps it’s why countless legendary photographers were so taken with the place, including Helmut Newton, Richard Avedon, Peter Lindbergh, Mario Testino, and Annie Leibovitz. 

Perhaps it’s why the Flore served as the setting for a number of runway shows, like Chanel, Yves Saint Laurent, Chloe, Sonia Rykiel, and Paco Rabanne, and fashion campaigns, including Louis Vuitton, Longchamp (featuring Kate Moss shot by Mert and Marcus), and Chanel.

Today, the iconic café may have lost some of the lustre with the inevitable influx of wealthy tourists but it continues to buzz with activity and energy. Hurried waiters, the constant stream of tourists and locals, the unrelenting hum of conversation are ever present features.

While it’s not cheap to order a shot of espresso, a flute of champagne, a cup of hot chocolate, or even a croissant at the Flore, it’s relatively known that what you’re paying for is the experience - the chance to step foot in an institution from which great literary works were born, to sit on the same booth as all the legends before you sat, to be a tiny part of Paris history.

Karl Lagerfeld on German television, c. 1971, with Antonio Lopez, Jane Forth, Christine Walton, Corey Tippin, Pat Cleveland & Donna Jordan modeling Chloé.

HONORING WORLD AIDS DAY ~*~ THE CLASSICS | ANTONIO LOPEZ 1970: SEX, FASHION & DISCO Miss Rosen for Dazed

Deep in the mountains of Puerto Rico lies Utuado, built by Spanish imperialists nearly 300 years ago. It is here that Antonio Lopez (1943–1987) was born. The son of a father who crafted mannequins and a mother who made dresses, Lopez was a child prodigy who began to sketch at the age of two, revealing a gift that would revolutionise the fashion industry and prefigure the times in which we currently live.

At the age of seven, Lopez and his family moved to New York City, where he grew up living a double life, making mannequins with his father but playing with dolls out of sight. His burgeoning bisexuality would soon drive a wedge between Lopez and his family, inspiring him to create his own centered in his artist studio at Carnegie Hall.

As the civil rights, women’s rights, and gay rights movements made space for those who had been previously marginalized by the mainstream, Lopez and his creative partner Juan Ramos (1942–1995) introduced goddess-like visions of his muses to the world in the pages of Vogue, WWD, and The New York Times. His discoveries, known as “Antonio’s Girls” included Grace Jones, Pat Cleveland, Cathee Dahmen, Tina Chow, Jessica Lange, Jerry Hall and Warhol Superstars Donna Jordan, Jane Forth and Patti D’Arbanville – women who not merely beautiful but were extraordinary characters and artists in their own right.

Read the Full Story at Dazed

Photo: Antonio Lopez, Corey Tippin and Donna Jordan, Saint-Tropez, 1970. Photograph by Juan Ramos. © Copyright The Estate of Antonio Lopez and Juan Ramos, 2012.From Antonio Lopez 1970: Sex Fashion & Disco, a film by James Crump.

ANTONIO LOPEZ 1970: SEX, FASHION AND DISCO (2018)

Featuring Joan Juliet Buck, Paul Caranicas, Michael Chow, Tina Chow, Pat Cleveland, Grace Coddington, Bob Colacello, Bill Cunningham, Patti D’Arbanville, Jane Forth, Charles James, Donna Jordan, Karl Lagerfeld, Jessica Lange, Corey Tippin and archival footage of Antonio Lopez, Juan Ramos, Yves Saint Laurent, Grace Jones and Jerry Hall.

Directed by James Crump.

Distributed by Film Movement. 95 minutes. Not Rated.

1970s New York City was a very different time than the present day. From the tales that are told, it sounds more like a mythical, magical time of artistic and sexual freedom punctuated by a disco soundtrack. Antonio Lopez 1970: Sex, Fashion, & Disco arrives at a good time; if ever we needed to let in some love and beauty, it is now.

Antonio Lopez was a celebrated fashion illustrator, known for his detailed, sensuous, at times surreal, line drawings of beautiful women with long bodies and flowing hair. His work was filled in with bold colors – orange, green, gold… the colors found on the wallpaper in my 80s childhood home. His illustrations were found in all the important fashion magazines of the time, notably Elle, Vogue, and The New York Times.  

Antonio’s work broke through the idea of fashion focused on the prim and proper dressmaker. It catapulted fashion designers and their personality-driven models into the center of the New York social scene – his New York social scene.

After meeting his fashion partner Juan Ramos, at Parson’s Design School, the pair moved into an apartment/studio at Carnegie Hall. This apartment became the hub for their scene, with beautiful, young people coming in and out at all hours – spending all day getting ready to go out all night dancing at Max’s Kansas City. Then Lopez would start on an all-night fashion drawing session.

Like any good documentary, Antonio Lopez 1970: Sex, Fashion, & Disco is chock full personal interviews with the subject’s many admirers: men, women, colleagues, adversaries. These interviews feel like a love letter turned epitaph to a personality that lived his life with passion and was taken from the world far too soon at 44 years old, in 1987, from AIDS.

Lopez was held in high regard by the people interviewed. The most-used words are things like charisma, handsome, talented, passionate, and fascinating. They describe drawing sessions filled with intensity. Once you became a target of Lopez’s attention, you were helpless. When you were near him you just felt like movement and dancing.

The film’s title: Sex, Fashion, & Disco feels like a play on the better-known title: Sex, Drugs, and Rock & Roll. The difference between life pre- and post-HIV/AIDS is never felt more than in the sexual freedom that is described in Lopez’s story.

Men and women alike spoke about being in love with Lopez, including interviews with actresses Jessica Lange, Patti D’Arbanville and unlikely beauties Donna Jordan and Jane Forth.  Absent from the interviews, but nonetheless important to the story, is Jerry Hall, who at one point was “engaged” and mock-married to Antonio. The women knew that while bi-sexual, he leaned more towards men. Although his early romantic relationship with Juan Ramos lasted only five years, their working relationship lasted through Lopez’s lifetime.  

Antonio Lopez 1970: Sex, Fashion, & Disco is a captivating romp through a romanticized view of the 1970s, with a surprisingly good disco soundtrack throughout. I’ve never enjoyed disco so much. In a year with a number of fashion-focused documentaries, this is one of the most entertaining.

Bonnie Paul

Copyright ©2018 PopEntertainment.com. All rights reserved. Posted: October 5, 2018.

Antonio Lopez, Corey Tippin, and Donna Jordan

St. Tropez, 1970 

Café de Flore "We got completely settled here: from 9 a.m. till noon we worked here, then we went for a lunch and at 2 p.m., we came back and talked with friends till 8 in the evening. After the dinner, we arranged meetings with friends here. It can seem strange, but we are at home at ‘Café de Flore’.” - Jean-Paul Sartre, French philosopher. During World War II, the café was untouched by German occupation, providing an escape and a sense of freedom during a tumultuous time. After the war, Arthur Koestler, Ernest Hemingway, Truman Capote, Lawrence Durell, Simone de Beauvoir and Juliette Gréco were regulars and eventually the fashion set found itself right at home at the ‘Flore’ the most famous being Karl Lagerfeld. In the ‘60s, the German designer spent his days between the ‘Café de Flore’ the ‘Brasserie Lipp' and a swimming pool called ‘Piscine Deligny’. Every morning Lagerfeld walked the five-minute distance between his apartment and the ‘Flore’ sat alone at a table on the ground floor, flipped through an issue of ‘Vogue’ and “from his corner table he watched all the comings and goings, the new faces and transforming attitudes. He saw it all and he noted every nuance, every change in gesture.” wrote Alicia Drake in the opening of her book ‘The Beautiful Fall’. Yves Saint Laurent’s entourage of muses was almost always there too — Betty Catroux, Loulou de La Falaise and Clara Saint — though the designer himself almost always opted out of such appearances. And on the other side of the room sat the Americans: models Pat Cleveland and Corey Tippin and artists Juan Ramos and Antonio Lopez. #neonurchin #neonurchinblog #dedicatedtothethingswelove #suzyurchin #ollyurchin #art #music #photography #fashion #film #words #pictures #neon #urchin #cafédeflore #paris #iconic #writers #designers #philosophers #artists #actors #institution #parisiangaze #lessoiréesdeparis #chanel #cafélife #louchelife #viveleflore (at Cafedeflore) https://www.instagram.com/p/B6SwMEZgB-i/?igshid=ysfifzijv2ol

Catch Ya on the Flipside

I live and breathe country music because it tells a story. It has the words I can’t express. It makes me feel very deep emotions. There is always a country song that can relate to every aspect of my life. And the best thing about country music is its patriotic roots. For example: “Only in America” by Brooks & Dunn, “Arlington” by Trace Adkins, “Where the Stars and Stripes and the Eagle Fly” by Aaron Tippin, “American Soldier” by Toby Keith, “God Bless the USA” by Lee Greenwood. plus the many country songs written out of tragedy, just for example. Now enter “Flipside”, sung by Andy Velo.

“Flipside” was written by Doug Johnson (”Three Wooden Crosses”) and Bart Butler. The song struck a cord with Andy when he heard it from the first time. It reminded him of his friend David who left for basic training in the Navy right after graduation. Andy too, had considered joining the military. It took him back to the two of them and another friend hanging out at the station waiting on the bus to come and pick David up. 

The opening of Flipside reminds me of 90s country, which I’m obsessed with so the song immediately grabbed my attention. Emotion shines out in Andy’s voice and there’s such a calming tone within the chords. 

In this day and age, everyone knows someone who has left for the military, whether it be a parent, a sibling, extended family, or a friend. This song is for them, and for the loved one they are sending off, to let them know everyone will be waiting for them when they get back. 

This song brought up an old memory of mine. Before sending a friend off, we spent his last free night at a Corey Smith concert in Charleston. It also reminded me of when a friend and former coworker sent her son off to basic. Oh how proud she was, but also how she missed her son so much, especially during the holidays when there was an empty seat at the table and she would worry about he would be spending the holidays. 

Take a listen...

From Andy...

This song and this video is for anyone who has served or is serving in our great nation’s armed forces. In one way or another, every single one of us has all been here, exactly where this song portrays. In a place where we have a brother, sister, mother, father, extended family member, or friend choose to give up what we consider to be a normal life to protect our freedoms and sovereignty both home and abroad. We are all allowed to experience these things because of them; because of their selfless sacrifice. God bless you all and God bless the United States Of America.