Wednesday, 21 August 2019

Previously Unseen Salinger photos emerge

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Lotte Jacobi Images of J. D. Salinger displayed at the University of New Hampshire

The University of New Hampshire is excited to announce that a set of photographs of J.D. Salinger, taken by famed female photographer Lotte Jacobi, have recently been digitized and are now available for license. Because of his fierce protection of his privacy, images of Salinger are extremely rare, and the majority of these images have not been seen before. 

In 1985, almost 50,000 photographic negatives were bequeathed to UNH by Lotte Jacobi, who spent the last 30 years of her life residing in Deering, N.H. Jacobi is an important figure in the history of photography and had a long and prestigious career. She is famous for her portraits of prominent 20th century figures, such as Albert Einstein, Robert Frost, and J. D. Salinger. Her work is housed in Special Collections at UNH’s Dimond Library.
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J. D. Salinger was an American author, most famous for his teenage cult-classic novel, The Catcher in the Rye, although he wrote other stories as well, including Franny and Zooey, and the Nine Stories collection. Like Jacobi, Salinger spent the final years of his life in New Hampshire. Salinger was born in 1919, which makes 2019 the centennial anniversary of his birth.
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All Images from the Jacobi collection, including the new images of J.D. Salinger, are available for licensing through the UNHInnovation office, for both private and professional use.

Interested parties may contact Beth Sheckler, Licensing Manager of Creative Works, for more information, at

Others can be seen here:

Sunday, 18 August 2019

Peter Fonda RIP

Fonda in 2009 with a replica of the “Captain America” bike used in Easy Rider

Peter Fonda, ‘Easy Rider’ Actor and Screenwriter, Is Dead at 79

By Anita Gates
The New York Times
16 August 2019

Peter Fonda, the tall, lanky actor who became a star and a counterculture sex symbol in the film “Easy Rider,” carrying on the Hollywood dynasty begun by his father, Henry Fonda, died Friday in Los Angeles. He was 79.

The death was confirmed by his family, who said the cause was respiratory failure because of lung cancer.

During his acting and filmmaking career, Mr. Fonda earned two Oscar nominations, almost three decades apart. He shared, along with Dennis Hopper and Terry Southern, a best original screenplay nomination for “Easy Rider,” the story of two hippie bikers on a cross-country trip fueled by drugs and the thrill of youthful freedom.
Easy Rider, 1969

Some may have been surprised by the film’s success, but Mr. Fonda believed that its enthusiastic reception made perfect sense, because of the very vocal generation coming of age at the time. “It was a market that had never been played to,” he told The Los Angeles Times in 2018. “Nobody had sung their song to them.”

From the time Mr. Fonda made his first Broadway and television appearances in the early 1960s, his looks and style — piercing blue eyes, firm jaw and imposing frame — were inevitably compared to his father’s, and it seemed that he might be the breakout star of his generation. But his career cooled — while that of his sister, Jane Fonda, flourished — and his next appearance on the list of Oscar nominees was in 1997 for “Ulee’s Gold.” He was nominated for best actor for his role as a widowed beekeeper with grandchildren.
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Ulee's Gold, 1997

“Peter is all deep sweetness, kind and sensitive to his core,” Jane Fonda wrote in “My Life So Far,” her 2005 memoir. “He would never intentionally harm anything or anyone. In fact, he once argued with me that vegetables had souls. It was the ’60s.”

Peter Henry Fonda was born on Feb. 23, 1940, in Manhattan, the younger of two children of the film star Henry Fonda and Florence Seymour (Brokaw) Fonda, a New York socialite. His mother committed suicide in 1950, when he was 10 and Jane was 13.

Less than a year later, Mr. Fonda shot himself in the stomach with a pistol. Interviewed by The New York Times decades later, he insisted that it was an accident, not a suicide attempt or even a warning. “You shoot yourself in the hand or foot if you want attention,” he said, “not the way I did.”

Henry Fonda with Jane and Peter, as they boarded a plane in New York in 1957. 

Years later, he talked about the experience with John Lennon, who was reportedly inspired to write the line “I know what it’s like to be dead” in the Beatles’ song “She Said She Said.”

After attending the University of Nebraska, in his father’s home state, Mr. Fonda began his theater career the old-fashioned way, in regional theater. In 1960 he starred in “The Golden Fleece” at the Omaha Community Playhouse. His Broadway debut, only a year later, was in “Blood, Sweat and Stanley Poole,” an army comedy for which he won a New York Drama Critics’ Circle Award. He made his television debut in a 1962 episode of “Naked City.”

Hollywood saw him as a sort of male ingénue at first, casting him as a boyish, clean-cut physician in “Tammy and the Doctor” (1963), opposite Sandra Dee. He starred with Warren Beatty and Jean Seberg in “Lilith” (1964), a drama set at a psychiatric hospital. But it was a very different genre in which he seemed to find his true persona.

In 1967, Roger Corman, then the king of the low-budget movies, directed “The Trip” from a script by an up-and-coming actor, Jack Nicholson. Alongside Bruce Dern, Dennis Hopper and Susan Strasberg, Mr. Fonda starred as a mild-mannered television commercial director who uses LSD for the first time and makes the most of it. “Easy Rider,” which he also produced, came two years later.

Decades later, The Times asked him about his personal experience with the drug. “For me, it solved a great deal,” he said. “However, I didn’t take it and go out running through the city looking at lights. I was very circumspect and lay down on a couch.” Luckily, he added, “I don’t have an addictive character, and nothing except pot stayed with me.”
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With Warren Oates in my favourite Peter Fonda film, The Hired Hand (1971), which he also directed

That period was the height of Mr. Fonda’s fame, but he maintained a busy screen career over the next 50 years. He starred in television movies, including “The Passion of Ayn Rand” (1999) and “Back When We Were Grown-Ups” (2004). His films included “Futureworld” (1976), Steven Soderbergh’s crime drama “The Limey” (1999) and the 2007 remake of “3:10 to Yuma.” His final film appearance was in “The Last Full Measure,” a war drama, scheduled to be released in October.

And he had no interest in retirement. “Shoot, I can do this until I’m in my 80s at least,” he said in a 2008 interview with The San Luis Obispo Tribune. “What if I can’t walk? Well, Lionel Barrymore did it all in a wheelchair.”

He had two children with his first wife, Susan Brewer, whom he married in 1961. They were divorced in 1974, and the following year he married Portia Rebecca Crockett. They were divorced in 2011, the same year he married Margaret DeVogelaere.

In addition to his wife and his sister, his survivors include a daughter, the actress Bridget Fonda; a son, Justin Fonda; two stepsons, Thomas McGuane and Wills DeVogelaere; a stepdaughter, Lexi DeVogelaere; and one grandson.

Mr. Fonda appeared never to abandon his 1960s attitudes and openness, even as he prepared for the 50th anniversary this fall of “Easy Rider,” which will include a Radio City Music Hall screening. The “about” section of his current website includes this thought:

“I believe that one is only truly free when learning, and one can only learn when one is free.”

Friday, 16 August 2019

Wednesday night's set lists at The Habit, York

Ron Elderly: -
Make You Feel My Love
Autumn Leaves
Always On My Mind
Just My Imagination*
Dedicated Follower Of Fashion*
You Better Move On*

Da Elderly: -
I Believe In You
You've Got A Friend*
Here Comes The Sun*
Only Love Can Break Your Heart*

The Elderly Brothers: -
All I Have To Do Is Dream
Walk Right Back
When Will I Be Loved

*second set

On a damp night in York the open mic opened with a very empty bar. We only had half a dozen or so players all night!! But as time rolled on, the place filled up nicely and for the last hour or so was packed. Due to the shortage of players, everyone got a second turn at the mic. Regular Deb (pictured) entertained us with some excellent self-penned tunes and a lovely cover of Sandy Denny's Who Knows Where The Time Goes. The Elderlys closed the open mic night. For another hour, joined by Deb, we sang and played on unplugged with several audience members joining in. What looked like a very quiet night turned into a most enjoyable one.

Wednesday, 14 August 2019

JD Salinger - ebook editions on the way...

JD Salinger estate finally agrees to ebook editions
Author’s son explains that wish for accessibility has persuaded trustees to look past his father’s dislike of digital media

Sian Cain
The Guardian
Mon 12 Aug 2019

After years of refusing to allow publishers to digitise his works, the estate of JD Salinger has announced that the author’s famously small body of work will be published as ebooks for the first time.

Salinger’s son Matt said that the author had always valued accessibility, but preferred the experience of reading a physical book. The Catcher in the Rye author, who died in 2010 at the age of 91, also hated the internet; Matt told the New York Times that he once explained Facebook to his father, who had been horrified that people shared personal information online.

But Matt, who helps run the JD Salinger Literary Trust, said that a letter from a woman in Michigan in 2014, who had a “permanent right-hand disability” and struggled when reading physical books, made him reconsider how best to respect his father’s wishes.

“She took me personally to task in a very sharp but humorous way, and from the moment I read her letter I was committed to figuring out a way to let her read my father’s books, as she so wanted,” Matt said.
“I’ve spent my whole life protecting him and not talking about him,” Matt Salinger said of his famously secretive father. But that is changing as he works to keep “The Catcher in the Rye” and other J.D. Salinger works alive in the digital age.
Matt Salinger by Pascal Perich

“My father always did what he could to keep his books affordable and accessible to as many readers as possible, especially students, and he consistently refused to give up the cheaper paperback editions for more profitable trade paperbacks, even when Hemingway and Fitzgerald and Faulkner had done so, and when Little, Brown was urging him to.

“Making his books accessible to a new generation, many of whom seem to prefer reading on their electronic devices, and – specifically – people with health conditions or impairments that mean they’re unable to read physical books, is a very exciting development, and totally in keeping with his wishes even if he greatly preferred the full tactile experience of a physical book. Would he prefer and encourage readers to stick with the printed books? Absolutely. But not exclusively if it means some not being able to read him at all.”

However, there was no announcement of any official audiobooks. Salinger detested the idea of his books interpreted in any medium beyond the page and often rejected proposals for stage and film adaptations of his work.

Salinger is not the only author to have opposed ebooks. In a 2012 interview, children’s author Maurice Sendak said: “Fuck them, is what I say. I hate those ebooks. They cannot be the future. They may well be. I will be dead, I won’t give a shit.” And in 2009, Fahrenheit 451 author Ray Bradbury told the New York Times: “They wanted to put a book of mine on Yahoo! You know what I told them? ‘To hell with you. To hell with you and to hell with the internet.’”

In February, Matt revealed in the Guardian that decades of unpublished writing by his father will be released over the next 10 years, predicting that it will take five to seven years to finish assembling.

Four works by Salinger will be published as ebooks by Penguin in the UK and Little, Brown in the US on Tuesday: The Catcher in the Rye, Franny and Zooey, For Esmé – With Love and Squalor and Raise High the Roof Beam, Carpenters, and Seymour – An Introduction.

Sunday, 11 August 2019

Bob Dylan's new Isle of Wight poem for the Million Dollar Bash

Bob Dylan on the Isle of Wight in 1969
Bob Dylan releases new poem — to be read out on the Isle of Wight 50 years after his legendary 1969 appearance

By Lori Little
8 August 2019
Isle of Wight County Press

BOB Dylan has released a new poem — exclusively for the Isle of Wight — 50 years after his legendary appearance at the Isle of Wight Festival.

He is sending the words to be read out at the Million Dollar Bash — the new event which honours the anniversary of the 1969 festival.

The remarkable gesture means a previously unpublished and unheard Dylan composition will be heard exclusively for the first time at the event on Saturday, August 31.

Dylan famously turned his back on the Woodstock Festival in New York State to perform instead on the Isle of Wight in front of more than 150,000 fans.

Half a century later, to the day, Million Dollar Bash has been organised to salute that legendary event when Dylan was joined by a stellar bill including The Band, The Who, The Moody Blues, Julie Felix, The Nice, Tom Paxton and Free.

Dylan made contact with Million Dollar Bash’s curator, Ashley Hutchings, a founder member of Fairport Convention, to pass on a special poem and acknowledge the work going into the event.

Ashley has put together a one-off band, Dylancentric, to pay tribute to Dylan’s songs, and assembled a high-class bill.

Ashley said: “I got some very touching and personal messages from Bob, much of which must remain personal, but I can say he has passed to me a special poem, fittingly something he wrote about 50 years ago, for me to pass on to fans when we play at Million Dollar Bash.

“This is going to be a great celebration. I will read out Bob’s poem, a composition that is previously unpublished and unheard. I am looking forward to it.”

Hutchings said Dylan’s messages also indicated he acknowledged the hard work going into the Bash’s salute to his 1969 appearance and that he fondly recalled his own time on the Island 50 years ago.

Million Dollar Bash, promoted by All Wight Now, takes place at the County Showground.

Discounted Island tickets are available from Dimbola Galleries and Museum, Freshwater Bay, and That 60’s Place, High Street, Cowes.

A new book, Bob Dylan at The Isle of Wight Festival, 1969, by Bill Bradshaw, has been published by Medina to commemorate the 50th anniversary.

Friday, 9 August 2019

D. A. Pennebaker RIP

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D.A. Pennebaker, Pioneer of Cinéma Vérité in America, Dies at 94

By John Williams
The New York Times
3 August 2019

D. A. Pennebaker, the groundbreaking documentary filmmaker best known for capturing pivotal moments in the history of rock music and politics, including Bob Dylan’s 1965 tour of England and Bill Clinton’s first presidential campaign, died on Thursday at his home in Sag Harbor, N.Y. He was 94.

His death was confirmed by his son Frazer.

Mr. Pennebaker was part of a close-knit group of pioneering filmmakers in the 1960s who helped bring cinéma vérité to the United States. Michael Moore, presenting Mr. Pennebaker with an Oscar for lifetime achievement in 2012, said Mr. Pennebaker, along with Robert Drew, Albert Maysles and Richard Leacock, had “invented nothing less than the modern documentary.”

The key development in that invention was the advent of synchronous-sound cameras, which allowed the filmmakers to move more freely with and among their subjects, and to do away with the postproduction voice-over model of narrative.

“You wanted to drive the stories by what people said to each other,” Mr. Pennebaker once said, “not by what you thought up on a yellow pad.”

In 1965, Mr. Dylan’s manager, Albert Grossman, approached Mr. Pennebaker about following Mr. Dylan on a British tour.

“I didn’t really know much about Dylan,” Mr. Pennebaker told The A.V. Club in a 2011 interview. “I had heard one of his songs on the radio.”

“Dont Look Back,” the ensuing movie, is regularly cited as one of the best documentaries ever made. Between brief performance clips, Mr. Pennebaker’s camera follows Mr. Dylan as he antagonizes the press (“I don’t need Time magazine,” he tells a Time reporter), outruns mobs of fans and loudly types over the voice of Joan Baez while she gently sings in a hotel room.

The movie, in black and white, begins with an oft-imitated scene in which Mr. Dylan flips through a series of cardboard placards that display the lyrics of his song “Subterranean Homesick Blues.” That opening was Mr. Dylan’s idea.

The critic Pauline Kael pointed out in The New Yorker in 1968 that the entire movie was more complicated (and compromised) than some viewers might appreciate.

“Sequences that in a Hollywood movie would have been greeted with snickers — like Bob Dylan in the throes of composition — got by because of the rough look,” she wrote. “Audiences seemed to accept the new cinéma vérité convention that the camera was an intruder in the idol’s life, though it must have been obvious that Dylan had arranged to star in this film.”

Mr. Pennebaker had absorbed these techniques in 1960 while working on the crew of “Primary,” directed by Mr. Drew, which followed Hubert H. Humphrey and John F. Kennedy campaigning in Wisconsin for the Democratic presidential nomination. Decades later, while preparing to make “The War Room,” about Bill Clinton’s 1992 presidential campaign, Mr. Pennebaker found that politicians had become decidedly less accessible and more wary.

“I could see right away that you couldn’t actually occupy space with a person who intended to become president in a very interesting way,” he told The A.V. Club. “They were constrained to act; as soon as the camera appeared, they had to pretend to be something else.”

Mr. Pennebaker focused instead on George Stephanopoulos, James Carville and other then-little-known (and less camera-shy) operatives. The result, Janet Maslin wrote in The New York Times, was “a revealing film and an invaluable document.”

His political films are now part of the canon, but the scenes from Mr. Pennebaker’s catalog that still circulate most widely are of pop culture figures in action: Jimi Hendrix lighting his guitar on fire in “Monterey Pop”; Elaine Stritch in “Original Cast Album: Company,” exhausted and straining to record “The Ladies Who Lunch” while Stephen Sondheim and others look on in despair; Mr. Dylan showing up the softer-edged singer Donovan in a hotel room crowded with their hangers-on; and the actor Rip Torn (who died last month) attacking Norman Mailer with a hammer at the end of “Maidstone” (1970), one of three eccentric movies directed by Mr. Mailer, for which Mr. Pennebaker served as a cameraman.

Mr. Mailer’s films from that era are mostly notable as oddball vanity projects (in The Times, Vincent Canby called “Maidstone” “a very mixed bag” that “doesn’t make a great deal of sense”), but Mr. Pennebaker’s relationship with the author would pay dividends down the line. In 1971, he accepted Mr. Mailer’s suggestion that he film a panel discussion that Mr. Mailer was holding at Town Hall in Manhattan. The topic would be the state of feminism.

Mr. Mailer was his pugnacious self as he battled with, among others, the author Germaine Greer and the journalist Jill Johnston before a raucous audience. At one point two women from the audience took the stage and kissed and groped Ms. Johnston, an activist for lesbian rights, before all three tumbled to the floor.

The footage of the night remained on a shelf for nearly a decade, but when it was released as “Town Bloody Hall” in 1979, it was called a remarkable time capsule of a colorful moment in New York’s intellectual and cultural history. The filmmaker Chris Hegedus, Mr. Pennebaker’s third wife (they married in 1982) and creative partner, edited the footage, which she once called “incredibly rough.”

“There was so much sexual tension going on between Norman and Germaine in it,” Ms. Hegedus said, adding, “I almost edited it as a love story, in a certain way.”

Mr. Pennebaker liked to maintain the image of a journalist for hire. Discussing the genesis of his 1989 documentary about the rock band Depeche Mode (“Depeche Mode 101”), he said, “Somebody called us up and said, ‘Would you like to film Depeche Mode?’ and I sort of said, ‘What’s that?’ ”

Donn Alan Pennebaker, known as Penny to friends and colleagues, was born on July 15, 1925, in Evanston, Ill., to John Paul Pennebaker, a commercial photographer, and Lucille (Levick) Pennebaker.

He served in the Navy and studied engineering at M.I.T. and Yale. After working as an engineer for about a year, he was shown “N.Y., N.Y.,” a short, impressionistic color film by his friend Francis Thompson chronicling “a day in New York,” as the subtitle says. “In about 15 minutes I saw right away that filmmaking was what I was going to do for the rest of my life,” Mr. Pennebaker said in a 2006 interview about that moment.

Thompson’s work motivated Mr. Pennebaker to complete the color documentary short “Daybreak Express,” not quite six minutes of footage of elevated train tracks along Third Avenue in Manhattan. Opening against a blazing orange sunrise, the film is set to music by Duke Ellington.

Mr. Pennebaker would go on to work with Mr. Drew making films for Time-Life before branching out to make his own features.

His many other films include close-up looks at David Bowie (“Ziggy Stardust and the Spiders From Mars,” from 1973), John Lennon (“John Lennon & the Plastic Ono Band — Live in Toronto ’69”) and Jane Fonda (“Jane,” from 1962, when she was 25 and enduring a starring role in a flop on Broadway).

In addition to his son Frazer (a producer of many Pennebaker documentaries), Mr. Pennebaker is survived by his wife, Ms. Hegedus; seven other children, Stacy, Linley, Jojo, Chelsea, Zoe, Kit and Jane, all with the surname Pennebaker; 13 grandchildren; and two great-grandchildren.

Mr. Pennebaker believed that the best documentary films were those in which the filmmaker’s presence is least felt.

“If you’re setting up lights and tripods and you’ve got three assistants running around, people will want to get you out as fast as they can,” Mr. Pennebaker told Time magazine in 2007. “But if you go the opposite way, if you make the camera the least important thing in the room, then it’s different. I’ve left it on the floor. Sometimes I’ll shoot with it on my lap. Other times I’ll put it on a table and turn it on. You don’t make it a big issue.”

Thursday, 8 August 2019

Two weeks' set lists at The Habit, York

Wednesday 31 July:

Da Elderly (1): -
Magical Days (new song)
Heart Of Gold

Da Elderly (2): -
Need Your Love So Bad
I Don't Want To Talk About It
Medley: -
Baby What You Want Me To Do
Hound Dog
Kansas City
Shake Your Money Maker
Bright Lights Big City

Ron was away this week and he missed a crackin' night. The place was old-style rammed from the off with a virtually full play list. Others arrived later and we went through to the close, with host Simon asking me to finish off the show. Regular Dave (pictured) really surprised me with a rare Neil song - the title track from 1999's CSNY album Looking Forward. I debuted a new song written at the weekend. Host Simon joined me on the final medley adding some hot solos to the 12-bar riffs.......and we finished spot on midnight! There were several Neil/CSN lovers in the audience and we sang on unplugged for the next hour. The Habit at its best.

Wednesday 7 August:

Ron Elderly: -
Need Your Love So Bad
Cry To Me

Da Elderly: -
Once An Angel
One Of These Days

The Elderly Brothers: -
Then I Kissed Her
No Reply
Proud Mary
Medley: Sweet Caroline/Hi Ho Silver Lining
I Saw Her Standing There

The Elderly Brothers returned to The Habit on a warm night in York. Plenty of folk were out for a good time and the Wednesday open mic seemed to fit the bill as the bar was full for most of the night. There were enough players too, with just 3 getting a second sitting at the mic. Regular Dave gave us Stephen Stills' Johnny's Garden from 1972's Manassas album and Graham Nash's Teach Your Children. The Elderly's finished off the show with some upbeat numbers, which were well received by the excitable but attentive audience.

Friday, 26 July 2019

Wednesday night's set lists at The Habit, York

Ron Elderly: -
Need Your Love So Bad
Suspicious Minds

Da Elderly: -
You're Sixty
You've Got A Friend
Harvest Moon

The Elderly Brothers: -
Mailman, Bring Me No More Blues
Walk Right Back
Bird Dog
Dead Flowers
I Saw Her Standing There

The bar was full for most of the evening on a steamy summer's night in York. There weren't too many players, but the decision to offer 3 songs each from the off proved wise, as we kept going all night without repetition. Regular Deb surprised us with S&G's Bleeker Street. Taxi driver Chris, supported by two lads on guitar and bass (pictured) brought the house down with an energetic Tainted Love. Politics dominated the post-show discussions.....that and Neil v Bob at Hyde Park!!

Tom Kelly - Bobby Robson Saved My Life at The Tyne Theatre and Opera House

Sam Neale in Bobby Robson Saved My Life

From Langley Park to Westgate Road 

Coinciding with the tenth anniversary of his passing, a new stage play about former Magpies boss Sir Bobby Robson is heading to Newcastle in early August.

Bobby Robson Saved My Life was penned by Jarrow playwright Tom Kelly and involves a trio of characters whose lives bring them into contact with Bobby.

Tom Kelly and director Jamie Brown

Described by one reviewer as "funny, humane and occasionally very moving", there are performances at the Tyne Theatre & Opera House on Westgate Road on Friday 2nd and Saturday 3rd of August.

A proportion of every ticket sold will be donated to further the work of Sir Bobby Robson Foundation.

Tickets for the Tyne Theatre are on sale here.

Thursday, 25 July 2019


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The Bonzo Dog Doo-Dah Band want to get tgeir name back!
Please help The Bonzos, Modern Romance and the Musicians' Union change UK trademark law!

In 2017 the Bonzo Dog Doo-Dah Band discovered that in 2015 an entity had registered their name as a 'figurative trademark' ; the name that they have been associated with since the 1960s when they had a Paul McCartney produced hit ‘I’m the Urban Spaceman’ and appeared in the crossover Monty Python TV show ‘Do Not Adjust Your Set’. The Bonzo Dog Doo-Dah Band trademark registration legally entitles the owner to both the name and the associated goodwill and was registered without the consent or the knowledge of the band.

As a result of the grant of the trademark The Bonzos may never be able to record an album or perform a concert under their name ever again. In the two years which have elapsed since this dispute began one member of the band, Sam Spoons, has sadly passed away. The band are challenging the decision to grant the trademark but need your help. Please contribute now and share this page on social media with fans of the band, lovers of music, musicians and friends.

This is not an isolated incident. The 1980's band Modern Romance are known for their hits 'Best Years of Our Lives' (re-recorded by the Baha Men for Shrek) 'Ay Ay Ay Moosey' and 'Everybody Salsa'. Recently they had to fight a two year battle to get back their name. They lost thousands of pounds worth of live work after someone registered Modern Romance as a trademark without their permission. Aside from the stress and loss of earnings the battle also cost them £20,000 in legal costs.

How can this happen?

Under current UK legislation anyone can register a band's name, i.e their Intellectual Property, by simply logging on to the IPO (Intellectual Property Office) website, paying a fee of £200 and ticking a box that confirms they are the owner of the name. The IPO does not ask applicants to provide any evidence of ownership, and unless the name has already been registered, a trademark is granted to the applicant. The next time the rightful owner decides to use the name, they can be held to ransom by the new owner.


Immortalised in their 1967 hit "The Intro and The Outro" the surviving members of The Bonzos - Rodney Slater, Sam Spoons, Roger Ruskin Spear, Neil Innes, "Legs" Larry Smith and Vernon Dudley Bowhay-Nowell –have since 2017 been trying to prove their claim to the name they invented.

To make matters worse The Bonzos are also facing a lawsuit by the trademark owner that asserts the band does not own the name and that their attempt to win it back through the IPO Tribunal service amounts to a fraudulent conspiracy. The band are vigorously contesting this COSTLY claim AND URGENTLY NEED YOUR HELP.

Even when the Bonzos win, the legal loophole in the UKs Trademark laws that threatens artists and their intellectual property in every sphere of the industry will remain.

In the light of this fact The Bonzos, Modern Romance and the Musician's Union are working together to highlight, in Westminster, the issue of the faulty trademark legislation. A number of MPs have taken up the cause to change the law so that trademark applicants have to provide clear evidence of ownership when they register the name of a band. Already a question has been asked of the Rt. Hon Chris Skidmore MP who is the minister responsible.

We need a new law that protects bands. The Bonzo's Law.

How much do the band need to raise and why?

Unfortunately this whole episode is very expensive. Being unable to work for two years now the band are struggling to afford the costs. Initially the band are seeking to raise £3000 to cover the costs of dealing with this issue and raising the awareness of the problem in Parliament. They must go on to raise a further £12,000 in order to take this matter to completion.

The band are appealing to their fans, musicians and lovers of music to help by contributing what they can to assist them in their struggle.

This is an issue critical to every performing artist in the country.

Whatever you can give will be put towards ensuring that these National Treasures are able to retain the name that they believe is rightfully theirs, as well as amending the arcane legislation which is currently ripe for exploitation and causing widespread harm and expense to the artistic community in the UK.

If you are a performing artist or are in a band you are at risk.

Help us make The Bonzo's Law a reality!

The campaign needs to reach the target of £3000 within the first month to go ahead. After that a further target will be set.

Please donate to 'Save The Bonzos' and protect your favourite artists.

Those who donate will be updated of progress throughout.

If the band is successful in retaining their name they plan a very special celebration to which you will be invited.


If you donate please also leave your comments of support as this will greatly help the campaign


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Seven days to save The Bonzos!

Good day everyone,

We hope this finds you safe and well on this glorious English day. As the title states, we are now in the final week of our Crowdfunder to cover our legal bills.

As things stand we still need to raise £2,066 and so we ask those of you who can afford to, to please consider pledging again in order to SAVE THE BONZOS!

As you may have seen the other day there was an excellent article in the latest MOJO Magazine covering our plight and we have also now had a hearing date set by the Intellectual Property Office of September 5th.

Once that is out of the way they will deliver their ruling within 4-8 weeks and, with a little luck and a lot of hard work, we should once again be able to raise the flag on the good ship Bonzo and - crucially - continue to work with the Musicians' Union and Westminster to change the law so that this pernicious loophole, which threatens all artists, is closed once and for all!

News soon, and once again THANK YOU for SAVING THE BONZOS!!

The Bonzo Dog Doo-Dah Band

#TheBonzoslaw #Savethebonzos