Marrying Bianca in St Tropez making music in a French villa while on the run from a cloying Britain white suits in chateaux and white horses under mirror balls, and an accent that morphed to whomever he needed to flirt with. The Dartford boy had broken into the palace and had his kippers firmly under the grill. To a working-class lad, his brand has always represented gatecrashing aspiration. But Mick didn’t decide to put out a panicked punk record, he went disco and delivered the masterful Miss You, swerving all the bullets and staying on top. “No Elvis, Beatles or the Rolling Stones in 1977,” sang The Clash … and for a while so did we all, convinced their time was up.
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Townshend was given a free pass but all other ‘Old Farts’ were under threat. He’d written the hymn book they all wanted to sing from.Īnd then along came punk. In fact the first time I ever saw Rod – he was performing Maggie May on Top of the Pops – I just thought, ‘Oh, he’s copying Jagger.’ Jagger was the template they all used. The term ‘rock star’ was being freshly coined at the time and here was the man who’d invented the job description for it.ĭraped in multiple scarves, slashed shirts and tight red trousers, he’d found the dress-code for the archetypal front-man, adopted by singers from Steven Tyler to Rod Stewart. My brother and I were both thrown into immediate ecstasy as the singer sent his shamanistic spirit far into the cavernous arena and into the hearts and crotches of the thousands there. This was the attraction.Īt the gig, Mick kicked his way out of a folded giant tulip which became the band’s stage. They represented a sleaze – the black to the Beatles’ white as the Stones’ manager Andrew Loog Oldham had declared. He was outraged (He was 35 and actually in his slippers). In fact I remember talking to my dad when I was six (England had just won the World Cup) and knowingly goading him that I preferred the Stones to the Beatles. The Stones had already beensuccessful for 12 years. I went along with my younger brother, Martin. I first saw Mick at Earls Court in May 1976.
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The surprise isn’t that his hips can still swivel or that those iconic lips still pout themselves for stadiums full of people, it’s that we still want it and that they’ve managed to survive and fight off decades of intense pop competition. Who could possibly have known then that we’d still be dancing to a gyrating Jagger more than 50 years later, a man who has just joined his fellow pop octogenarians from the Beatles.
Audiences for any rock concert were unlikely to contain people in their 30s and there was much speculation about whether it would be possible, or even decent, for any of these rock stars to carry on once they’d reached that stately age – the age of the jacket and tie, the mortgage and the slippers. It was first used on the Stones’ Sticky Fingers album, the cover of which was a crotch in jeans with an actual zipper for you to fiddle with.īut Mick was 28 at the time, and rock and roll was a young person’s sport. I think we can now safely add to those two images the Rolling Stones’ famous Lips and Tongue logo, which, as we all know, was based on Mick Jagger’s own legendary rubber gob.ĭesigned in 1970, to Mick’s brief, by John Pasche, a student of the Royal College of Art, it’s anti-authoritarian gesture also carried all the sexual connotations that rock and roll – and Mick – represented in that time of the sexual revolution.
He was also well-known for his many relationships and having children into his 70s. Charlie was a global phenomenon and cinema’s most universal icon.
I once read that during the first-half of the last century, the two most internationally recognisable images were of Christ on the cross and the silhouette of Charlie Chaplin as the Little Tramp.
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