Brooklyn. And other States.

Well, Hell's bells, Margaret.

“Contracts,” “NDAs,” er, I mean, “gag orders,” the mechanics of Slash’s divorce, AC/DC fairy tales, “vaults” of “finished” material pushing twenty-two years controlled not by the master rights holder (Universal) but by Red and his live-ins—all “power” and control narratives advanced by one Partner’s associates that'll be doused for scorching by irrefutable fact in this thread.  Trust me.

And yet, rumor has it, that Propagandaville persists in perpetuating the power play in the prior paragraph.  To an extent, anyhow.  Word is out, so I'm told.

A refresher for followers and newcomers alike, or if you will, a foundation:  LiveNation—and its insurers—is Boss.  Universal (Vivendi) is Boss.  Slash and DMoney are Boss.  They controlled Original Gn’R assets from NYD ’96 until Red, handing out legal equivalents of IOUs upon which he was sued, folded just prior to NITL.

But what does all this mean?  Perhaps a finely-fitted regurgitation of unrelated, published quotes from a quarter century ago explains it all--2016 through present day?  Or, perhaps, said quoting is narrative-pushing and vacuous, at best?  Anyone--a Boss, perhaps--spare me a match?

A flicker. For the interim: myth one, as it were.

Universal Recordings—subsidiary of Vivendi—holds the master rights to all—if any—of Red's recordings post-NYD ’96 because it (its predecessor) paid for the recordings. The master rights holder cut its exorbitant losses from Red's solo venture and forced what it thought profitable into the marketplace a decade ago.

A decade is no deterrent to propaganda pushers.
Nor is 15 original recordings in 27 years. And counting. For perspective, Jim Morrison was 27 when he went boots up. With a catalogue that makes Red's appear much as a laundry list.

Red and his south of America live-ins have not—and never had—power, legal or otherwise, to release any such recordings because he and they did not pay for said recordings. To this day, the most-frequented site in Forumland permits, despite definitive knowledge to the contrary, the perpetual posting of threads positing the propaganda that Red and his live-ins dictate the if, when and whether any such table scrap recordings, fictional or otherwise, to which Universal holds master rights, are packaged and released into the marketplace. Riddle me that.

Who benefits from permissively perpetuating and peddling such rank propaganda—particularly given that Red's solo venture is de facto defunct pushing now three years—save for scant mechanical royalties? Said propaganda-pushing continues unabated as Slash details partnership dealings on a near-weekly basis since July in an incessant stream of interviews. Which raises 'contracts,' er, I mean 'gag orders.' Or is it conflating myth and power pretense with actual indemnification agreements drafted by Slash's counsel and executed by media at the behest of Slash's management?

Which raises a question: does a flame flicker if no one sees it?

Can you prove any of this or is it just speculation?

Proof? Ye shall have, though I suspect you already have. Paragraphs two through four are resuscitation of publicly-available fact. Five is foundation-laying. Six is begging a question.

Vivendi is a corp whose shares are publicly-traded and whose subsidiaries include Universal Music Group. And, interestingly, the Universal reboot of Geffen is in one of NYC's five boroughs. More on that, perhaps, later.

UMG has a storied history of fraud and conspiracy—from paying fines for price-fixing to bribing American terrestrial radio to present-day YT channel-wiping, the latter of which Forumland’s most-frequented site once—and recently—attributed to supposedly wayward and menacing associates of Red and his live-ins and hangers-on. How’d that resolution go? And oddly, perhaps, we have an untouched Hershey performance nearing 10 million views when seemingly the entirety of YT performances and ‘channels' have been wiped. Yet another Harrisburg-Brooklyn connection. But look quick. Change is all about us.

UMG purchased the debt (and assets) of its corp predecessor, said absorbed entity footed $13 million for Red (mostly not) recording his solo album, which it forced into the marketplace a decade ago by cutting its losses with Best Buy. Azoff owned Red at the ass-end of Red's solo debacle, hence Red settling and touring AFD-UYI with his for-hire musicians post-2010, but Azoff locksteps to Grainge. That's a condensed pecking order of Bosses, omitting that Slash and DMoney were Boss of Red for two decades as Remaining, Original Gn'R Partners. That's yet another mini-essay.

Master rights is an unassailable fact, as the others. One even the propagandist-in-chief acknowledged at China Exchange. The interwebs, and court pleadings, are rife with sourcing as to who footed recording costs for Red's solo venture post-NYD ’96. Fifteen songs in 27 years? Again, publicly-available fact. As, too, Jim Morrison going boots up at 27 and his catalogue dwarfing Red's in 27 years.

I direct your attention, as my attention has been directed, to page one of Forumland's most-frequented site. Today’s headlining thread on said site directs viewers to “face reality…” about Red and master rights so that each and every viewer of said thread continues to be conditioned that Red has complete influence over rights to releasing recorded material owned by UMG when he literally has none.

It likewise begs the question: since 2016, Original Gn'R Partnership assets have been unleashed to the tune of a quarter of a b-i-l-l-i-o-n in ticket gate alone—how and why has this occurred if Red and his live-ins ever controlled anything beyond (taking via duress but not brought within the tolling of SoL) of the trademark?

Late word. Rumor has it that the Harrisburg (Hershey) performances from 2017 are the last remaining on the entirety of YT. I'll leave the veracity of that to Forumland's pseudo-investigatory unit. Though, on first blush, it appears as true as an American right angle. It ain't a Take 5 or a Hershey Kiss, but it'll do. In any event, my two sets of favorite eyes'll flatter me when, indeed, you find your wayward way to this off-shore thread.

“Memory believes before knowing remembers.”

Soulmonster wrote:Can you prove any of this or is it just speculation?

This sounds like you understood at least half of it. I didn't, quite frankly. Maybe, if I did the "research" via other forums, I might know what he's on about; I would've done this a few years back, but nowadays I can't be bothered...

The only "part" I think I understood, is that he believes that Universal do hold the rights to the recordings Axl & Co. (whoever was in GN'R at that point in time) have made in the past (i.e. after 1995).
In my opinion, this might be correct! It's been said years ago that Axl owed UMG for the year(s) spent in recording studio(s). I'd often wondered what the company thought about C.D. and its sales (it must've sold some more copies, e.g. when the band played stadiums in South America between 2009 and 2014) and whether they wanted "more", e.g. another album  ("two for the price of one") - or whether maybe Axl had to "pay back" via the money he earned with touring?

Uli wrote:The only "part" I think I understood, is that he believes that Universal do hold the rights to the recordings Axl & Co. (whoever was in GN'R at that point in time) have made in the past (i.e. after 1995).
In my opinion, this might be correct! It's been said years ago that Axl owed UMG for the year(s) spent in recording studio(s). I'd often wondered what the company thought about C.D. and its sales (it must've sold some more copies, e.g. when the band played stadiums in South America between 2009 and 2014) and whether they wanted "more", e.g. another album  ("two for the price of one") - or whether maybe Axl had to "pay back" via the money he earned with touring?

It is not implausible to me at all that Universal owes the music created in that period. But it is still just speculation.

Yeah, of course, it is speculation, same as happens in other forums and so on...

Which is why this sentence from our Hanson brothers groupie here leaves me puzzled:

FromHell wrote:To this day, the most-frequented site in Forumland permits, despite definitive knowledge to the contrary, the perpetual posting of threads positing the propaganda that Red and his live-ins dictate the if, when and whether any such table scrap recordings, fictional or otherwise, to which Universal holds master rights, are packaged and released into the marketplace.  

Why is it your friggin' business what other forums do permit or not?

Geffen/Interscope/Universal stopped financing the album in February 2004, according to this 2005 article:
https://www.nytimes.com/2005/03/06/arts/music/the-most-expensive-album-never-made.html

At the same time, the label released the Greatest Hits album, presumably as a way to recover the losses, planning also to release a follow-up later. Axl, Slash and Duff fought jointly against the GH release using the active 1992 partnership, but they lost in court.

After the label cut off the financing of CD, Axl signed a deal with Sanctuary Group (whose CEO was his then manager, Merck Mercuriades), with which he leased his publishing (songwriting) rights from the back catalogue and unreleased material for 20 years, in exchange for an amount estimated between $10 and $19 million:
http://www.gnrevolution.com/viewtopic.php?pid=64091#p64091
So Axl's publishing company, Black Frog, was affiliated to Sanctuary. The rest of the details of the deal are unknown, for example the percentage of Axl's publishing royalties that would go to Sanctuary; but it seems, from later legal actions, that Axl continued owning the copyright of the compositions or part of it.
The deal was considered to be beneficial for both parties, since it would allow Axl to self-finance the album and Sanctuary, which wasn't doing well, to invigorate its budget with the expected revenues from Axl's publishing royalties.
Sanctuary, however, didn't make it, and 2 years after the deal, in 2007, it was sold to Universal; so Axl's publishing deal passed to Universal, which, of course, also happened to be his record label.
Universal later (in 2012) sold Sanctuary to BMG, but it seems that it kept Axl's deal (Black Frog appears now as a subsidiary of Universal).
In short, unless the terms of the publishing deal changed in the way, at least a big part of Axl's mechanical and sync royalties (i.e. his royalties as a composer/songwriter) go to Universal until 2025, and that includes future releases during this period.
But this, I believe, doesn't have anything to do with owning the master rights of the recordings (not the compositions). I think it's common practice in record deals for the label to keep the master rights of the recording for at least a period of time, so maybe it was in Axl's record deal anyway. And, as far as GnR goes, Universal still owns even the master rights of the recording of Appetite. Duff said in a recent interview (Let There Be Talk podcast) that the band/partnership will be able to obtain full control of the Appetite recordings in 2022, i.e. after 35 years:
2018.09.17 - Let There Be Talk podcast - Interview with Duff [AUDIO]

Irrespective of all the above: it's speculation, but I believe that with the Best Buy deal for CD, Universal recovered its losses from the financing of the album until 2004, so Axl doesn't owe them anything in that regard.

Blackstar wrote:

Irrespective of all the above: it's speculation, but I believe that with the Best Buy deal for CD, Universal recovered its losses from the financing of the album until 2004, so Axl doesn't owe them anything in that regard.

This is what I have been thinking, too. But I would appreciate contrary evidence.

Thanks @Blackstar for a reasonable post here!

What's wrong with this thread here, starts already with the title: "Brooklyn. And other States", what's that supposed to mean???

It's all a bit confusing, yes

Uli wrote:

Soulmonster wrote:Can you prove any of this or is it just speculation?

This sounds like you understood at least half of it. I didn't, quite frankly. Maybe, if I did the "research" via other forums, I might know what he's on about; I would've done this a few years back, but nowadays I can't be bothered...

The only "part" I think I understood, is that he believes that Universal do hold the rights to the recordings Axl & Co. (whoever was in GN'R at that point in time) have made in the past (i.e. after 1995).
In my opinion, this might be correct! It's been said years ago that Axl owed UMG for the year(s) spent in recording studio(s). I'd often wondered what the company thought about C.D. and its sales (it must've sold some more copies, e.g. when the band played stadiums in South America between 2009 and 2014) and whether they wanted "more", e.g. another album  ("two for the price of one") - or whether maybe Axl had to "pay back" via the money he earned with touring?

The sole speculative matter in the present thread is which party(ies) possess basic comprehension of American property and contract law re rights to master recordings. I do. The responding posters do not; they therefore speculate and even reach for published--and red herring--quotes to appear both authoritative and knowledgeable.

The party who pays for recordings owns the master rights. Vivendi's (Universal) predecessor paid for Piano Man's recordings post NYD-'96, therefore, Vivendi owns said master rights to every/any note recorded by Red's solo band just as Geffen (now rebooted as a sub) owns the master rights to Original Gn'R partnership recordings--AFD through the 3/5 covers debacle. This unchallenged legal right, naturally, is the mechanism by which the semi-live Gn'R album was forced into the marketplace over the baseless legal claims brought by Original, Remaining Partners Slash and DMoney and Exiting Partner Red.

Quote that. Be mindful that my infrequent posts elsewhere (and those of my protege--some claim mentor) have been Martin Luther King'd (the notorious plagiarist with a national holiday) by everyone from RS to AN to even a respondent to this thread.

A jumping off point may well be my thread entitled, "Who's the Boss now, bitches" on another forum. Said thread was locked when the license holder wiltered to third party heat. Said thread is, nonetheless, informative provided that the reader can muster the patience to scroll the considerable repugnant posts that were a feckless attempt to interdict mine.

Uli wrote:Thanks @Blackstar for a reasonable post here!

What's wrong with this thread here, starts already with the title: "Brooklyn. And other States", what's that supposed to mean???

It's but a matter of continuation from points and locations prior, provided, of course, those who could/should market in Forum indeed do so. As indicated, a jumping off point is the thread referenced in my prior post. Note the foundation-laying in said thread. Or bullshit-proofing, if you prefer. Said tact is employed in the present thread. The Harrisburg (Hershey Park) performance of the lead single from AFD from last summer is nearing 10 m-i-l-l-i-o-n views. How is it that that show, including other songs beyond the lead single from AFD, are literally the last few remaining songs on the entirety of YT outside the official channel? Riddle me that.

FromHell wrote:

Uli wrote:Thanks @Blackstar for a reasonable post here!

What's wrong with this thread here, starts already with the title: "Brooklyn. And other States", what's that supposed to mean???

It's but a matter of continuation from points and locations prior, provided, of course, those who could/should market in Forum indeed do so.  As indicated, a jumping off point is the thread referenced in my prior post.  Note the foundation-laying in said thread.  Or bullshit-proofing, if you prefer.  Said tact is employed in the present thread. The Harrisburg (Hershey Park) performance of the lead single from AFD from  last summer is nearing 10 m-i-l-l-i-o-n views.  How is it that that show, including other songs beyond the lead single from AFD, are literally the last few remaining songs on the entirety of YT outside the official channel?  Riddle me that.

"Brooklyn.  And other States."

Blackstar wrote:Geffen/Interscope/Universal stopped financing the album in February 2004, according to this 2005 article:
https://www.nytimes.com/2005/03/06/arts/music/the-most-expensive-album-never-made.html

At the same time, the label released the Greatest Hits album, presumably as a way to recover the losses, planning also to release a follow-up later. Axl, Slash and Duff fought jointly against the GH release using the active 1992 partnership, but they lost in court.

After the label cut off the financing of CD, Axl signed a deal with Sanctuary Group (whose CEO was his then manager, Merck Mercuriades), with which he leased his publishing (songwriting) rights from the back catalogue and unreleased material for 20 years, in exchange for an amount estimated between $10 and $19 million:
http://www.gnrevolution.com/viewtopic.php?pid=64091#p64091
So Axl's publishing company, Black Frog, was affiliated to Sanctuary. The rest of the details of the deal are unknown, for example the percentage of Axl's publishing royalties that would go to Sanctuary; but it seems, from later legal actions, that Axl continued owning the copyright of the compositions or part of it.
The deal was considered to be beneficial for both parties, since it would allow Axl to self-finance the album and Sanctuary, which wasn't doing well, to invigorate its budget with the expected revenues from Axl's publishing royalties.
Sanctuary, however, didn't make it, and 2 years after the deal, in 2007, it was sold to Universal; so Axl's publishing deal passed to Universal, which, of course, also happened to be his record label.
Universal later (in 2012) sold Sanctuary to BMG, but it seems that it kept Axl's deal (Black Frog appears now as a subsidiary of Universal).
In short, unless the terms of the publishing deal changed in the way, at least a big part of Axl's mechanical and sync royalties (i.e. his royalties as a composer/songwriter) go to Universal until 2025, and that includes future releases during this period.
But this, I believe, doesn't have anything to do with owning the master rights of the recordings (not the compositions). I think it's common practice in record deals for the label to keep the master rights of the recording for at least a period of time, so maybe it was in Axl's record deal anyway. And, as far as GnR goes, Universal still owns even the master rights of the recording of Appetite. Duff said in a recent interview (Let There Be Talk podcast) that the band/partnership will be able to obtain full control of the Appetite recordings in 2022, i.e. after 35 years:
2018.09.17 - Let There Be Talk podcast - Interview with Duff [AUDIO]

Irrespective of all the above: it's speculation, but I believe that with the Best Buy deal for CD, Universal recovered its losses from the financing of the album until 2004, so Axl doesn't owe them anything in that regard.

Lighting tinder on an American forum earlier this summer, and, consequently, predicting both the Izzy wannabe in Brooklyn and Slash going full-on Boss to, among other matters, sneer at the 'contract,' 'gag order,' er, I mean 'NDA' propagandists, I read--in full--your attack on my boi, Mr. Urchin, on a censoring forum in summer 2017. I likewise was directed to, and skimmed, your subsequent repeated referencing of Mr. Urchin's posts in an effort to appear both knowledgeable and authoritative. Your vilification of Mr. Urchin in summer of 2017, considering your reliance upon the indisputable factual underpinning of his posts, is nothing short of stupefying. That, however, is irrelevant to the purpose of this thread. I'd, incidentally, refer you to him to resolve the egregious conduct.

Couching quotes from third parties as representative of your personal knowledge, as the citing you do in my quotation above, is disingenuous. To narrow your third-party quoting, the sole relevant matter is that DMoney acknowledged a legal fact: Geffen, now d/b/a Universal/ Vivendi owns master rights to the back catalogue, which is to say the master rights to the quarter of a b-i-l-l-I-o-n in gross ticket gate fueling the legal reunion of Remaining, Original Partners and the Exiting Partner on NYD '96.

FromHell wrote:
Lighting tinder on an American forum earlier this summer, and, consequently, predicting both the Izzy wannabe in Brooklyn and Slash going full-on Boss to, among other matters, sneer at the 'contract,' 'gag order,' er, I mean 'NDA' propagandists, I read--in full--your attack on my boi, Mr. Urchin, on a censoring forum in summer 2017.  I likewise was directed to, and skimmed, your subsequent repeated referencing of Mr. Urchin's posts in an effort to appear both knowledgeable and authoritative.  Your vilification of Mr. Urchin in summer of 2017, considering your reliance upon the indisputable factual underpinning of his posts, is nothing short of stupefying.  That, however, is irrelevant to the purpose of this thread.  I'd, incidentally, refer you to him to resolve the egregious conduct.  

Now I remember. I remember that the former (?) "fellow poster" on mygnr didn't reply to the points of my "attack".
You two seem to  have a lot in common. Like drivel hidden behind loads of tropes and legal jargon; and a delusion of grandeur (real or just for the purpose of trolling - indifferent) that everybody references you or plagiarises you. Unless you wrote the NY Times article - but no, it's too coherent and readable.
I couldn't have referenced or plagiarised the posts of either of you even if I wanted to, because I can't plagiarise ramblings. What I post relies only on research and common sense.

Anyway, back on topic (so to speak). So Universal, as the record company, owns the master rights of Axl's recordings, which is basically what happens with every artist that has a contract with a record company. OK.

Oh and there are quite a few GnR performances still on youtube. Try here:
https://www.youtube.com/results?search_query=guns+n+roses+full+show

Hm, that video says it's about truckers and rants... didn't watch it, seems to have no relevance at all to GNR or Brooklyn or this topic...

Blackstar wrote:Like drivel hidden behind loads of tropes and legal jargon

Ah okay, maybe that's why I didn't really get to the meaning behind sentences like:

It's but a matter of continuation from points and locations prior, provided, of course, those who could/should market in Forum indeed do so.

Maybe it's just me (no native speaker and quite dumb, frankly), but I can imagine other forums closing topics for drivel like that and "unrelated" video links.
File that under "not my problem", though.

Blackstar wrote:Anyway, back on topic (so to speak). So Universal, as the record company, owns the master rights of Axl's recordings, which is basically what happens with every artist that has a contract with a record company. OK.

Yeah, that's what I understood too (so far).
As for the rest... I have no idea why youtube videos get taken down, maybe it's Universal/Vivendi, maybe someone else who looks into that, how should I know?

Speculation? Isn't that what many forums and their discussions live from? Of course if one takes it too far (trolling), thread might get closed/deleted. Again: not my problem. I don't really care much about other forums and their "politics".

So, is this over yet?

#conspiracy #tinfoilhats

Johan wrote:So, is this over yet?

#conspiracy #tinfoilhats

It was!!

Blackstar wrote:

FromHell wrote:
Lighting tinder on an American forum earlier this summer, and, consequently, predicting both the Izzy wannabe in Brooklyn and Slash going full-on Boss to, among other matters, sneer at the 'contract,' 'gag order,' er, I mean 'NDA' propagandists, I read--in full--your attack on my boi, Mr. Urchin, on a censoring forum in summer 2017.  I likewise was directed to, and skimmed, your subsequent repeated referencing of Mr. Urchin's posts in an effort to appear both knowledgeable and authoritative.  Your vilification of Mr. Urchin in summer of 2017, considering your reliance upon the indisputable factual underpinning of his posts, is nothing short of stupefying.  That, however, is irrelevant to the purpose of this thread.  I'd, incidentally, refer you to him to resolve the egregious conduct.  

Now I remember. I remember that the former (?) "fellow poster" on mygnr didn't reply to the points of my "attack".
You two seem to  have a lot in common. Like drivel hidden behind loads of tropes and legal jargon; and a delusion of grandeur (real or just for the purpose of trolling - indifferent) that everybody references you or plagiarises you. Unless you wrote the NY Times article - but no, it's too coherent and readable.
I couldn't have referenced or plagiarised the posts of either of you even if I wanted to, because I can't plagiarise ramblings. What I post relies only on research and common sense.

Anyway, back on topic (so to speak). So Universal, as the record company, owns the master rights of Axl's recordings, which is basically what happens with every artist that has a contract with a record company. OK.

Oh and there are quite a few GnR performances still on youtube. Try here:
https://www.youtube.com/results?search_query=guns+n+roses+full+show

Hold my beer. This’ll be fun. Feels almost like home. Without the views, that is, but otherwise ad hominem rambling coupled with the vitriol of remote, pseudo-psychology.

My attention is much like my time, short but directed. Forgive me then, you will, for failing to reply in-kind sooner. It’s all about views, and you fail to garner any of mention.

Your objective, if I’m to elevate it to such, is the manufactured pretense of authority of legal concepts cobbled together piecemeal and tangentially through time and by and from those of a similar uninformed lens. A non-American, incidentally, citing a NY Times (a cog in the Ministry of Truth, with present scant readership, no less) fluff piece as primary authority is as informative as it is discrediting. That is to say, of course, your frame of reference about the subject matter of this and mirroring mygina threads is lay, at best, and an understanding of which is wholly reliant upon deconstructive, informative and memorable posters such as Mr. Urchin.

Between your unprovoked, personalized aggression here and mygina (and conflation of who’s who between the two) which I have personally verified (after gracious prompting) that you’ve lifted without attribution from both myself and Mr. Urchin, you’ve tucked tail on a singular fact in the above-quoted reply: Universal owns the master rights to the singer’s solo recordings because it paid for them, as you’ve admitted. Said legal right includes all, if any, recordings not previously packaged in the Best Buy deal to cut its losses on that shitshow. That singular fact defeats the failed assumptions and ongoing propaganda condoned on open threads on page one of mygina as of the moment of this post.

Bleh... Again: What I do - and what we do here on A4D - is called research and has nothing to do with "authority of legal [or any other] concepts."
The views is not something of concern here, as is not of concern if you have run out of platforms/forums to post whatever it is you post.

Blackstar wrote:Bleh... Again: What I do - and what we do here on A4D - is called research and has nothing to do with "authority of legal [or any other] concepts."
The views is not something of concern here, as is not of concern if you have run out of platforms/forums to post whatever it is you post.

Cobbling together unrelated for-profit writing (some of which is aged north of two decades) by lay persons tucked between advertisements from publications—many of which are now defunct—to fit your narrative is fiction and nothing short of fantasy. Such citation lacks any cogent nexus and, moreover, belies publicly-available, current legal fact. Bestow upon it elitist, grandiose terms like “research,” when it is but hoarding for revisionist purposes. A hobby, if you prefer, much like scrap-booking.

I refer you to the original post in the present thread for factual subject matter that is irrefutable, meaningful and contemporary. It likewise forms much of the basis of content that has been oft-quoted and (mis)attributed throughout Forumland, as much accurately as not, since mid-2016, including by you. It has been monitored (digitally stalked, if you prefer) and censored, often within moments of posting. Much of the posting has not been factually dissimilar from the opening post of this thread. As you fancy yourself a ‘researcher,’ one would expect that you'd have researched this matter and have a conclusion at-hand, particularly given that you've generously lifted from both me and Mr. Urchin while lighting in, unprovoked, to Mr. Urchin in the summer of 2017. Forwarded screengrabs available, if and when embedding is supported on this site.

To all, if anyone, else: speaking of contemporary and untouched, there are indeed embers beneath the ash of the originating post of this thread. While I’ve been absent, I hear tell that The World's Most Dangerous Pianist recently and publicly stated acknowledgement of the distinct management entities of Original Gn'R, namely his borderjumping live-ins and Slash and DMoney's separate management. Rumor likewise has it that the singer's live-ins threw a south-of-America hissy fit that the actual tour manager received an award for managing the recently concluded tour? Now, who employs this award-winning tour manager? I got a wick. Lighter, anyone?

And, incidentally, Mr. Niven’s recent resurfacing is less than coincidental. Or so rumor has it. As a refresher for the unindoctrinated, without Mr. Niven, there is no Gn'R. Namely, no multi-millionaires coat-tailing on a three decade-old record of twelve tunes to the tune of a quarter of a billion in gross ticketing alone.

Self-described “researchers” and lay persons alike: is the last “known” manager of one Mr. Izzy Stradlin his 'last' manager? Or has said manager been consulted since late 2015?

Mr. Niven, without question, is ingenious. I humbly submit to the apparent few readers here (though spiking when I post), that Mr. Niven hasn't leveraged as he could, or perhaps should, on one Mr. Izzy Stradlin's behalf. The poker was hot the moment DMoney and The World's Most Silenced Singer relented and attempted to save face in the south of America ‘interview' re Mr. Stradlin. Slash coalesced in the interviews last summer/fall. No one of sound mind can or would contest Mr. Niven's recent historical attestations, but perhaps some fresh blood at the negotiating table is in order?

Johan wrote:So, is this over yet?

#conspiracy #tinfoilhats

Oddly enough, the absence of a foil is not inconsiderable.  A foil or a collection of eyes—either way—is nothing short of peas to carrots for me to post and I cannot substitute one for the other when both are absent.

Rumor has it that Rance Thrice Cucked Bro and the malingering Jussie Smollet Forumland contingent—masquerading as purveying (and apparently well-fed) censors—scurry about on rat claws from the stench of open sewage to have a look-see here as they’ve elsewhere.  Some thirteen thousand views on one thread alone in a notable corner of Forumland.  More on that later.

And, no, scrap-bookers, no matter how erstwhile (or steeped in methodical, serial killer-like keepsake fantasy), do not inspire disclosure.  Speaking of which, the inimitable Mr. Niven, in his recent public discourse, red herrings aside, mirrors Mr. Urchin’s near three year-old posts on substantive matters.  Where the rubber meets the road, anyhow.  Legit “researchers” should fluidly cross-check three-year old phrasing, points of emphasis and factual statements to recent published interviews.

Some of us run in the same circles.

The tail wags the dog.  After the failed Mr. Stradlin negotiations in late ’15 through early ’16, anyhow.  This includes the publicly-known bro grooming facilitated by one-third General Partner of Original Gn’R (DMoney) in the studio.  Ask Mr. Niven directly.  Forumland—parts, anyhow—has shown the resourcefulness of access, if not the certitude.  But real, too, is Brooklyn. Ask Izzy’s wannabe.  What was Rihanna’s schnauz and fifty-something year-old guitarist—with not a singular riff or note known to the world of rock—poking that monstrous beak while making a career pretending to be Izzy (Adler's reference while on stage with the other three is infallible) like a red-headed step-child in Williamsburg (Brooklyn)?  I smell John Janick and Lucian Grange and the UMG reboot of Geffen in the general proximity, much like pungent butane.  But that is another matter altogether, methinks, prefaced elsewhere.

Speaking of which, we don’t want The Gimp hollerin’ “Giddy up!” here as he did at Corporal Upham’s corner of Forumland, albeit in a now infamous (and oft-plagiarized original content therein) “Who’s the Boss now, bitches” thread.  Not incidentally, views nearing an additional three t-h-o-u-s-a-n-d since Drunken Upham cowered and put the kiboshes to said thread.  Said additional numbers verified with my own two peepers just now.

The wicked flee when none pursueth.

Huh? I don't understand anything here. OK, I understand some English words, but together they don't make much sense - or is it just me?

Uli wrote:Huh? I don't understand anything here. OK, I understand some English words, but together they don't make much sense - or is it just me?

Me either.  I'm American, so I speak and write American.  My forefathers ran the snaggle-toothed english out of America and sent them packing with their tails tucked to their dainty island twice--in 1776 and 1812.  Since that time, America has become the inarguable economic, scientific, technological and military pillar of the world.  England--if that is still an actual place--is irrelevant in the world.

Any of my words that you'd like me to write in a different way, just ask.  I direct my writing at three specific set of eyes, so I am well aware that not all understand my posts.  This includes native American speakers, not just those who speak other languages.

The theme of my posts is simple on its face:  Forumland propagandists bend over Gn'R fans (of all ages) to push narratives of power and control.  These narratives are easily refuted with legal facts by those who understand such things.

After yet another off-site correspondence re my posts in various seedy, stank-infested corners of ForumLand, I’ll acquiesce to the following:

I am well-aware that many there are who’ve read my posts elsewhere (and a few scant readers in present stead)  who are well-intentioned and have genuine questions for their own edification.  My agenda is incongruous with educating strangers, and to compound this, simplifying legal fact for lay understanding is both time-consuming and a zero-sum game.

But given that I’ve received a viable, respectful request off-site after a recent post (a suggestion to two-track post, so to speak), and provided that the A-4-D proprietor is so gracious, I will create additional threads for topics about which I am frequently asked when I post and about which are contemporarily related to this business organization—the b(r)and.  Said threads will be educational in nature and posted as time presents itself.

By way of example, I have received off-site messages about who/why/and where in the Hell did the a-c-t-u-a-l NITL tour manager, Angie Warner—the badass chick who received the recent award—“come from” when ForumLand has been propagandized to believe that the singer’s south of America barely literate but bully nanny and his likewise bullying live-ins and hangers-on “manage” the b(r)and.

And, incidentally, where in the Hell is Lehigh University?

As time permits, I’ll create a thread for this specific, contemporary question.  As, too, non-disclosure agreements (“gag orders,” in ForumLand bullshitter-speak), master rights’ holders to audio recordings, partnerships, the continuing Original Gn’R partnership, the distinct management and legal entities representing the Original Gn’R partnership (Slash, DMoney and The World’s Most Silenced Singer), copyrights versus live musical performances later published re YT channel-wiping, and perhaps a matter or two still up my sleeve—which is to say that beyond Mr. Urchin, there is a subject who was once familiar to ForumLand who knows…a lot…and, prior to being railroaded, went by the moniker snooze72.

Light me a match, and I may even throw in screeengrabs of the festering and compromising words to Mr. Urchin and myself from Care Bear, Rance Truth Censoring Bro and his canadian socialist handler, our very own Corporal Upham from gnfnr.com and like degenerate ForumLand propagandists submitting to legal fact in private only to roundly censor (and ban without it appearing to other users as such) in public.  Just for the Hell of it provided, of course, embedding becomes supported on this site.  Those listed, after all, once had (and some continue to have) influence over the stench and putrefaction of propaganda-peddling.

And who said insurers, biz orgs, contracts and legal averments ain’t captivating?

FromHell wrote:
Me either.  I'm American, so I speak and write American.

Alright, thanks, there is the problem.

I've always loved how (some) Americans think they're the "salt of the earth".  

FromHell wrote:I direct my writing at three specific set of eyes, so I am well aware that not all understand my posts.

Alright, thanks again. I doubt they will see these posts (this forum isn't super-busy), but who knows...