MICK JAGGER once revealed The Beatles song that made him sick with jealously during the band’s early years rivalry.

The Beatles and The Rolling Stones are two of the biggest bands to come out of the UK. And it was Mick Jagger who inducted the Fab Four into the Rock and Roll Hall of Fame back in 1988. During his speech, the singer revealed which Beatles song made him sick with jealousy.

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During his induction speech, Mick Jagger said: “At that point, the Stones were playing at these little clubs in London.

“[We were] doing Chuck Berry songs and blues and things.

“And we [were] a pretty scruffy lot and we thought that we were totally unique animals.

“I mean there was no one like us.”

The Rolling Stones frontman continued: “And then we heard there was a group from Liverpool.

“This group, they had long hair, scruffy clothes but they had a record contract.

“And they had a record in the charts, with a bluesy harmonica on it, called Love Me Do.

“When I heard the combination of all these things, I was almost sick.”

A pair of stilettos worn by Amy Winehouse and handwritten lyrics by Bono are among the most eye-catching items in an auction being run by Island Records. The auction is to aid charities amid the coronavirus outbreak.

Funds raised by the One Love Covid-19 Relief Auction – named after a song by one of the labels most famous signings, Bob Marley – will go to NHS Charities Together in the UK and Feeding America in the US.

Island Records was co-founded by Chris Blackwell in 1959, and went on to sign artists such as U2, Roxy Music and Ariana Grande. One of the lots on auction is a stay at Blackwells five-star hotel, Strawberry Hill, in Jamaicas Blue Mountains.

Bono will sign lyrics to Where the Streets Have No Name for the winner of a signed Joshua Tree box set, while Annie Lennox will handwrite and frame lyrics to Eurythmics Sweet Dreams. Portisheads Beth Gibbons will handwrite lyrics of the winners choice. The late Nick Drakes sister, Gabrielle, will write a card to the winner of his complete back catalogue releases.

Mumford & Sons are offering a one-on-one banjo lesson with signed banjo, while Portisheads Adrian Utley is offering online guitar and synth classes. Other Portishead swag includes a gold disc, and Geoff Barrows Technics decks from the time of the bands landmark debut album, Dummy.

Abbey Road Studios are offering a private tour, and street artist Mr Brainwash is giving a print of Bob Marley.

The auction takes place online from 6pm BST on Thursday 21 May, and will be hosted by Broadway and Pose star Billy Porter.

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Simon Armitage, the poet laureate, has joined forces with the actor Florence Pugh for a charity release of his poem about coronavirus crisis. Lockdown, first published in March, has been set to music and will be sold to help raise money for the domestic abuse charity Refuge.

It features Armitage and Pugh reading the lines to music that starts ominously, and becomes more hypnotic and euphoric. Armitage has been making tracks of his poems with collaborators Richard Walters and Patrick J Pearson, collectively known as LYR, for a couple of years. The involvement of Florence Pugh – nominated at the Oscars and Baftas for her role in Little Women this year – was wonderful, he said. “She brings such intelligence and crackle.”

The track was recorded remotely during the current lockdown. “We are very familiar with collaborating at distance,” Armitage said. “We have spent time together in studios but we are more used to putting things together over the internet so this was something we were able to assemble fairly quickly.”

Armitage, a former probation officer, said he was proud that the money would be going to Refuge. “One subtext of the poem is the difficulty of communication during stressful situations. We have been especially conscious of the rise in domestic abuse cases and violence against women and children during the coronavirus restrictions.”

The Lockdown poem, first published in the Guardian, moves from the outbreak of bubonic plague in Eyam in the 17th century, when a bale of cloth from London brought fleas carrying the plague to the Derbyshire village, to the epic poem Meghadūta by the Sanskrit poet Kālidāsa.

It has a grit as well as a sense of optimism and belief. “I didnt want to just write a dirge or an elegy, but I didnt want to write a trivial bit of fluff either,” said Armitage. “It is something Im very proud of. I did feel a kind of pressure to produce something, which is not usually how I work, and it took a long while to pull it all together.”

The response to it has been emblematic of a wider interest in poetry during the lockdown. “I think people have turned to poetry, not just writing it but reading it … it can be something to focus on and hold everything together for a while.”

The Lockdown track, which also features saxophone by Pete Wareham of Melt Yourself Down, will be released digitally on Thursday by the label Mercury KX. LYRs debut album is released on 26 June.

Sandra Horley, chief executive of Refuge, thanked Armitage and his collaborators. “Almost one in three women will experience domestic abuse at some point in their lifetime; it is the biggest social issue facing women and girls in this country.

“Public support for services like ours is more important now than ever. It is critical that Refuges helpline and our refuges continue to provide urgent support and safety for women and children trapped with their abusers during lockdown. Womens lives depend on it.”

MUSIC legends Paul McCartney and Andrew Lloyd Webber sing from the same hymn sheet when it comes to a rich list – with a staggering £800million each.

But the old boys – a Beatle Sir Paul is 77 and composer Sir Andrew 72 – have youth snapping at their heels. Raunchy Barbadian singer Rihanna has joined the Sunday Times Rich List as a new entry in third place. Now based in London, the 32-year-old has amassed a fortune of £468million – and is tipped to become the list’s first billionaire musician.

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According to the figures, Sir Andrew is expected to take a £20million hit to his fortune as a result of the coronavirus crisis.

That comes after the closure of his theatres in the West End and on Broadway, compilers reckon.

He topped the list alone in 2019, with a fortune of £820million.

Sir Paul’s wealth has increased year on year, up from £750million last year, aided by 29 concerts which scooped more than £92million.

He also released a chart-topping album, Egypt Station. Singer Rihanna has amassed her fortune thanks to the success of her cosmetics and fashion brand Fenty, for which she has partnered with luxury goods powerhouse LWMH, and other commercial interests.

The brand, launched in 2017, is valued at £2.8billion, making Rihanna’s reported 15 per cent stake worth £351.6million. She has parachuted into the list ahead of 73-year-old Sir Elton John, whose farewell tour saw his wealth boosted by £40million in a year to £360million, putting him fourth on the list.

List compiler Robert Watts said: “Once dominated by inherited wealth, the bulk of our 1,000 entries are now self-made people with modest, and even troubled, starts in life who work exceptionally hard.

“Still only 32, if Rihanna remains based in the UK she could well pip Sir Paul and Lord Lloyd-Webber to be the Rich List’s first billionaire musician.”

MUSIC legends Paul McCartney and Andrew Lloyd Webber sing from the same hymn sheet when it comes to a rich list – with a staggering £800million each.

But the old boys – a Beatle Sir Paul is 77 and composer Sir Andrew 72 – have youth snapping at their heels. Raunchy Barbadian singer Rihanna has joined the Sunday Times Rich List as a new entry in third place. Now based in London, the 32-year-old has amassed a fortune of £468million – and is tipped to become the list’s first billionaire musician.

[contfnewc]

According to the figures, Sir Andrew is expected to take a £20million hit to his fortune as a result of the coronavirus crisis.

That comes after the closure of his theatres in the West End and on Broadway, compilers reckon.

He topped the list alone in 2019, with a fortune of £820million.

Sir Paul’s wealth has increased year on year, up from £750million last year, aided by 29 concerts which scooped more than £92million.

He also released a chart-topping album, Egypt Station. Singer Rihanna has amassed her fortune thanks to the success of her cosmetics and fashion brand Fenty, for which she has partnered with luxury goods powerhouse LWMH, and other commercial interests.

The brand, launched in 2017, is valued at £2.8billion, making Rihanna’s reported 15 per cent stake worth £351.6million. She has parachuted into the list ahead of 73-year-old Sir Elton John, whose farewell tour saw his wealth boosted by £40million in a year to £360million, putting him fourth on the list.

List compiler Robert Watts said: “Once dominated by inherited wealth, the bulk of our 1,000 entries are now self-made people with modest, and even troubled, starts in life who work exceptionally hard.

“Still only 32, if Rihanna remains based in the UK she could well pip Sir Paul and Lord Lloyd-Webber to be the Rich List’s first billionaire musician.”

JOHN LENNON revealed his least favourite Beatles song was one he “knocked off” from Elvis Presley.

The Beatles were obsessed with Elvis Presley growing up. And when they met The King in LA back in 1965 they were speechless. But did you John Lennons least favourite Beatles song is one he says was a knock off of one of The Kings records?

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During his iconic Rolling Stone interview, John Lennon revealed he didnt like Run For Your Life from The Beatles 1965 album Rubber Soul.

The singer-songwriter said: “It was a song I just knocked off.

“It was inspired from – this is a very vague connection – from Baby Lets Play House.

“There was a line on it – I used to like specific lines from songs – Id rather see you dead, little girl, than to be with another man.”

John Lennon added: “So I wrote it around that but I didnt think it was that important.

“Girl I liked because I was, in a way, trying to say something or other about Christianity which I was opposed to at the time.”

While Lennon wasnt keen on Run For You Life, he did one reveal his favourite Beatles songs and album.

The late star was a big fan of 1968s The White Album.

PAUL MCCARTNEY shared some of the recording secrets imparted by The Beatles legend John Lennon with Jon Bon Jovi during a private meeting.

Paul McCartney and Jon Bon Jovi got together for a “playdate” where the latter shared his forthcoming album with The Beatles icon. It was during this private listening session that the Bon Jovi frontman received some advice from John Lennon, shared via Paul McCartney. In a recent interview with Howard Stern for SiriusXM, he spilled all.

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Bon Jovi revealed it was his wife who set up the session with Paul McCartney though her friendship with the former Beatles wife Nancy Shevell.

Dorothea Hurley, who married the rockstar in 1989, called the meeting a “playdate”, and extended the invitation to Paul McCartney by telling his wife Bon Jovi wanted to invite him to the house.

The singer went on to tell Stern how he had sat on the sofa with the music legend and played him a handful of songs from his upcoming record.

“Because Im so proud of it, I had no issue playing it for him,” he said.

But there was one song he was particularly excited about which hadnt been recorded yet, so he picked up a guitar.

“That is something that 18-year-old me might have done but 50-year-old me would have been too scared,” he admitted, impressed at his own boldness to be performing a new track live in front of a Beatle.

When he had finished, Paul McCartney had some thoughts on the song and took the guitar from him to explain.

“Now, hes a lefty so hes flipping my guitar over and talking through the song with me after I play it,” Bon Jovi recalled.

FREDDIE MERCURY birthday party and celebrations, due to be held in September, have been cancelled because of the coronavirus crisis, the official Queen website announced.

Freddie Mercurys annual birthday celebrations will not be held this September, with an announcement being shared by the Queen icons official Twitter account as well as the bands. “*Announcement: Official Freddie Mercury Birthday Party and Freddie Celebration Days 2020 Cancellation,” the post read. “@The_MPT sadly announce that the events in Montreux will not take place this September, due to the ongoing situation with coronavirus.”

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A statement on Queens website said: “The pandemic affects all major cultural events and has severe consequences and repercussions for the organisation of future gatherings.

“The health of our party and festival-goers remain our priority.

“Our thoughts go directly to all attendees of both events who have already planned their trip to Montreux and the inconvenience that this decision will cause,” it continued. “We can only promise that we will do our very best to present you with an exceptional weekend of activities in 2021.”

The late Bohemian Rhapsody singer would have been 74 on September 5.

That day, the official birthday was scheduled to take place at Casino Barriere in Montreux, Switzerland.

The night was to feature live entertainment from Queen tribute act Bulsara and His Queens as well as a DJ set, food and drink.

The birthday party has been rescheduled for September 4, 2021.

The Freddie Celebration Days around the statue of the Queen star, which were to run from September 3 to 6, have also been cancelled.

Big festivals in the UK such as Glastonbury and Download are cancelled. Londons month-long Meltdown festival has shifted to 2021 and the entire lineup – featuring hard-to-obtain stars such as Solange and also its curator Grace Jones – has shifted with it. Arena tours are being moved, repurposing some: David Grays 20th anniversary play-through of White Ladder will become a 21st birthday tour next year instead.

But other large events, keen not to lose a years worth of planning, are applying a best-case reading of the crisis. They hope to reschedule for after the pandemic has passed its peak in summer, but before a potential second wave of infection in winter.

In the UK, the large-scale Newcastle indie festival This Is Tomorrow has been moved from May to August. In the US, Augusts desert gathering Burning Man has been scrapped, but in September and October there are revised dates for Detroits Movement, Tennessees Bonnaroo, EDC in Las Vegas and both legs of Coachella in California – all important income for touring musicians and the local economy alike. In Ibiza, a marketing blitz is under way to move spring events to autumn, beseeching islanders and would-be tourists alike “to celebrate the end of this bad dream”.

One problem is that postponements, rather than cancellations, are leaving ticketholders out of pocket. Ticketmaster quietly changed its terms last week so that it would only deem cancelled events eligible for refunds. And even if rearranged festivals take place, there will be logistical difficulties for artists, vendors and fans. New dates in late August and early September for Primavera Sound in Barcelona, NOS Primavera in Porto and Kala in Albania are now wedged into the same time already occupied by – in the UK alone – End of the Road, Reading and Leeds, Lost Village and Notting Hill carnival, not to mention countless smaller promoters who hope to juice whatever they can from a summer in suspension.

For Judy Miller Silverman, owner of US publicity firm Motormouth Media, whose roster of electronic artists includes Caribou, Thundercat and Floating Points, this makeshift approach seems untenable. “My glass is half empty,” Silverman says of salvaging the festival season, adding that any in-person promotion by artists is almost impossible: “We have no idea what individual territories will do with travel restrictions.”

Mat Schulz, the artistic director of Krakóws Unsound, says the experimental arts festival is still set to run in October, but will take a hybrid form. “We cant simply plough ahead as per usual,” Schulz says. “Were trying to consider what form Unsound could take in practical terms, as well as consider how we can respond to the current crisis conceptually.”

The role of live music at this years festival will be diminished, he says, supplanted by an edition that probes existential quandaries generated by the pandemic, via talks and other ideas in development: “What does local mean now? Globalisation? Closeness? Isolation? These are the questions that we are asking ourselves.” He is in contact with other independent promoters through EU-funded platforms such as Shape, looking for ways to mitigate the effects of the crisis.

Barcelonas wide-ranging Primavera Sound, which begins each year at the end of May, is the starting gun for the European festival season. It has been postponed until the end of August, with an announcement that generated anger for its lack of refund options. Comparisons were made by fans to the troubled All Tomorrows Parties, the 2000s festival that became a byword for opacity and incompetence after numerous events were cancelled and refunds became difficult to secure.

Last week, the Spanish prime minister, Pedro Sánchez, prolonged the countrys state of emergency – which bans people from leaving their homes unless they are going to work, or to buy food or medicine – until 26 April. Sánchez suggested that he seek a further extension until 10 May (the head of the regional government in Catalonia said he would not comply with any premature easing of the lockdown anyway). Primavera commented by pointing to its official statement: “Until the state of alarm is over we wont reactivate the ticket sales, nor are we allowed to give more information about the ticket policy.”

Separately, Dice, a ticketing partner, confirmed in emails that “emergency regulations have been introduced in Spain to help promoters through this crisis”, with the government suspending the need for festivals to process refunds until the state of alarm is over. This could be another month, or more. Primavera is perhaps unable to invoke a force majeure clause – that coronavirus was unavoidable and thus insurers should pay out – owing to the complexities of Spanish insurance law. In previous relevant cases, a clause has been invoked that would allow insurers to modify contracts rather than see them cancelled. As taking the decision to cancel 2020s edition is likely to inflict a heavy financial loss on Primavera, the festival is left to kick the can down the road and hope for the best. International ticketholders, who make up a substantial proportion of its audience, are low on empathy.