Happy early birthday, George Harrison.
I used to write the sports technology roundup at TechGraphs, an internet website that died, and now I am writing the sports law roundup at ALDLAND, an internet website.
Here are the top sports-related legal stories from the past week:
- Hockey head injuries: In a discovery dispute in a case between the NHL and over one hundred former players alleging that the league knew or should have known that concussions can lead to CTE, the NHL filed a motion seeking a court order compelling Boston University’s CTE Center to turn over research documents the former players say constitute evidence supporting their claims. Thus far, BU, which “maintains what it calls the largest brain repository in the world dedicated to the study of CTE,” had refused to provide the league with the requested information on confidentiality grounds.
- Atlanta Braves Community Fund: A lawsuit alleges that, since at least 2010, the Atlanta Braves have failed to make adequate payments to a nonprofit entity known as the Community Fund as required under the team’s contract with the city (technically the City of Atlanta and Fulton County Recreation Authority) for Turner Field. That contract required the Braves to pay specified shares of revenue from both baseball and non-baseball events at Turner Field to the Community Fund, which now claims that the team underpaid in violation of that contract. The Braves played their final game ever at Turner Field last October.
- Beatles’ declaration worth many pennies: Since we’re thin on sports law stories this week and sometimes cover music on this site, here included is comment on Paul McCartney’s recent lawsuit seeking a declaration that his prior exercise of certain rights under copyright law will not cause a breach of publishing agreements with Sony. McCartney is hoping to gain control of the rights to songs he wrote prior to 1978 but fears retribution from Sony, which could not provide “clear assurances he won’t face contract troubles for taking back his songs.”
Sports court is in recess.
The Tulsa Sound is defined in large part by the work of its two principal pillars, J.J. Cale and Leon Russell. Cale passed three years ago, and, on Sunday, Russell too returned to the eternal dust bowl:
Russell, known as “The Master of Space and Time,” was a master of the blues, country, rock, gospel — whatever styles of music were put in front of him and whatever he could pull from his creative mind. With dozens of albums, hundreds of songs recorded by musicians at the top of their game and thousands of contributions to recordings from The Beach Boys to J.J. Cale, Russell’s influence on music in the last 50 years has been profound.
In 1969, Russell performed in the Delaney & Bonnie and Friends band, with several members of the band coming on with Joe Cocker for the Mad Dogs and Englishmen recordings and iconic tour. That tour put a spotlight on fellow Tulsa musicians, with Jim Keltner and Blackwell on drums and Carl Radle on bass performing on the tour and on the album.
Russell launched his solo career with the release of his self-titled album in 1970, an album that included one of his best-known songs, “A Song for You.”
Russell moved back to Tulsa in the early 1970s to establish Shelter Records and build recording studios in Tulsa and near Grand Lake. A memorial to Russell grew throughout the day Sunday on the steps of his old Tulsa studio, The Church Studio on Third Street, which the city renamed Leon Russell Road in 2010.
His solo career produced multiple hit albums and songs, including “A Song for You,” “Tight Rope,” “Stranger in a Strange Land” and “Lady Blue.” His work spanned genres from the rock sounds of his self-titled 1970 album to the honky-tonk of “Hank Wilson’s Back,” incorporating blues, gospel and soul across his albums.
“He played and recorded with the heavyweights of country music — George Jones and Willie Nelson — and of course rock ‘n’ roll royalty — George Harrison and Eric Clapton,” said Jeff Moore, director of the forthcoming Oklahoma Museum of Popular Culture, to which Russell donated a large part of his work for future display.
Relix adds this note from Russell’s appearance at the 2015 Lockn’ Festival:
But when it came down to brass tacks, he was straight business—playing and singing with all his might, giving tips to the musicians, beaming with joy as Derek [Trucks] ripped a solo or Susan [Tedeschi] wailed on the mic, and even leading the troupe through some surreal improvised jams. He was fully engaged with everyone in that rehearsal room, even though it must’ve been an overwhelming experience for him (he was working with dozens of people he hadn’t seen in over 45 years). He was like the elder statesman of the experience and treated everyone with love, respect and humility, which ultimately guided that massive collective to deliver one of the finest and most memorable shows any of us had ever seen or any of the musicians had been a part of.
Russell also played a featured role in Ravi Shankar and George Harrison’s Concert for Bangladesh, and this spotlight medley is a highlight of the night:
I’m not sure what’s going to happen now to the Tulsa Sound and scene without these two, and I’m hardly in a position to say, but I know that they made something special, authentic, and perfectly delivered. We don’t deserve more, and we probably don’t even deserve that.
Yesterday was George Harrison’s birthday. The famed concert promoter and friend of Ravi Shankar would’ve turned seventy-three years old.
The world lost a musical giant this week. I have long been a fan of this performance of his, but since his passing, I was tipped off to the below performance, and if it was good enough for Jimi, it’s good enough for me:
You’re lucky, though: you don’t have to choose. You can enjoy both selections, and why not? Listen in to a few extended moments from this one, who’s just stepped off this mortal coil, if just for a moment.