A few weeks ago I interviewed Bootsy Collins, who had launched a crowd-funding campaign on Kickstarter to pay for his new humanitarian-themed album and tour. Despite being one of the most sampled musicians of all time, Bootsy told me he was one step away from being a starving artist.
Here is an audio excerpt from our chat.
He has since moved his campaign away from Kickstarter, saying that many international fans were reporting problems trying to make payments. He has relocated to IndieGoGo. Rewards available to those who donate to the project include digital album downloads for just $1 andsigned copies of his new album and DVD for just $25. With those rewards at those prices, you'd have to be a loony not to donate at least $1.
Sunday, 13 October 2013
Friday, 11 October 2013
Film Festival - Part One - 'Hanks for the Memories'
The London Film Festival is upon us once more. Those who have been following my blog for a while will know that I am a huge fan and avid supporter of the annual event, organised by the British Film Institute. In 2010 I was an official correspondent, covering the festival for two American websites - Sawf News and the Huffington Post. This year I am covering it for one of the UK's largest regional newspaper chains, the Yellow Advertiser.
My festival calendar kicked off on Wednesday with a press conference for 'Captain Phillips', the new true-story Tom Hanks movie about a US cargo ship hijacked by Somali pirates. Mr Hanks was very funny, if somewhat unwilling to answer some questions seriously. He experienced a sustained grilling from Britain's cheeky showbiz reporters, but handled the onslaught well. I filed a report about the event last night, published today.
I took this picture at the press conference yesterday. For some reason, it looks like Tom Hanks is crying. He wasn't. It's just one of those funny moments where a camera catches somebody's face halfway through doing something else.
Here are some of my other shots:
My festival calendar kicked off on Wednesday with a press conference for 'Captain Phillips', the new true-story Tom Hanks movie about a US cargo ship hijacked by Somali pirates. Mr Hanks was very funny, if somewhat unwilling to answer some questions seriously. He experienced a sustained grilling from Britain's cheeky showbiz reporters, but handled the onslaught well. I filed a report about the event last night, published today.
Click to enlarge.
Copyright: Charles Thomson
Copyright: Charles Thomson
I took this picture at the press conference yesterday. For some reason, it looks like Tom Hanks is crying. He wasn't. It's just one of those funny moments where a camera catches somebody's face halfway through doing something else.
Here are some of my other shots:
Click pics to enlarge.
All pics, Copyright: Charles Thomson.
All pics, Copyright: Charles Thomson.
More on my festival adventures as and when more reports are published.
Sunday, 29 September 2013
#iGiveAFunk
Last week I had the privilege of interviewing one of my favourite musicians. Bootsy Collins played bass on some of James Brown's funkiest and most dynamic tracks. He then took Mr Brown's philosophy of 'the one' over to George Clinton's Parliament / Funkedelic, where he worked on some of that collective's greatest tunes as well. By the late 70s he had gone solo, recording a raft of classic funk tracks. He has contributed to some of the greatest party anthems and hip-hop tracks of all time. His live shows are some of the most dynamic and exciting you could ever hope to attend.
Right now, Bootsy is running a Kickstarter campaign, where he is giving away signed merchandise and rare memorabelia to anybody who supports his new album and tour - both dubbed 'iGiveAFunk'. The project, inspired by the philanthropic work Bootsy has gained a passion for in recent years - would see him record a 'unity in the community' themed album and then travel the globe delivering its message. The plan was for the Kickstarter to raise $100,000 in 30 days.
Presently, there are three days left of the campaign and Bootsy has raised roughly 30% of his goal. Sadly, it looks unlikely that the project will be successful, short of a miracle. I'm not sure why. Bootsy toured Europe in 2011, playing to packed out venues all across the continent. He has thousands and thousands of fans. As part of his Kickstarter campaign, he is offering a digital pre-order of his new album for just $1. If all of his fans pledged for that alone - and you'd have to be a wally not to, at that price (about 65p in British currency - less than a KitKat bar) - he would meet his target with ease. He seems to have had trouble getting the message out.
I wanted to do the best I could to help him get that message out, so I organised a 40 minute phone interview. During our chat, I expressed my surprise that he needed a Kickstarter campaign in the first place. The comment led to a lengthy discussion about the music industry in general and the way it treats artists. Bootsy told me he was 'one step away from being a starving artist'.
I produced a 2,000 word article based on our conversation, published on my blog at the Yellow Advertiser - one of the largest regional newspapers in the UK. A short news story publicising the online contribution was published in over 100,000 newspapers. How many readers were funk fans, I don't know.
If Bootsy's Kickstarter campaign doesn't prove successful, I hope he will try again but spend a little longer on advance publicity it and give himself a longer fundraising period. I'm sure he has enough fans to help make it happen, just as long as they know about it.
That said, on a personal note, I am a little disappointed that some of Bootsy's more prominent fans haven't made more of an attempt to help him out. Some of today's biggest rappers have built songs around Bootsy's riffs; songs which have helped them become businessmen with globe-spanning, multi-billion dollar operations. Those Bootsy samples they used - he says they just about cover his bills. Snoop Dogg, who used Bootsy on his 2004 album Rhythm & Gangster, is worth a reported $100million. He could probably sponsor Bootsy's entire project without spending more than a few weeks' interest on his bank account.
Below is a 16 minute audio excerpt from our conversation.
Good luck Bootsy. I've already pledged all that I can. I hope you pull it out of the bag somehow. When you eventually do - I'll see you in London!
Click to enlarge.
Bootsy Collins on stage in London, 2011.
(Picture: Charles Thomson)
Bootsy Collins on stage in London, 2011.
(Picture: Charles Thomson)
Right now, Bootsy is running a Kickstarter campaign, where he is giving away signed merchandise and rare memorabelia to anybody who supports his new album and tour - both dubbed 'iGiveAFunk'. The project, inspired by the philanthropic work Bootsy has gained a passion for in recent years - would see him record a 'unity in the community' themed album and then travel the globe delivering its message. The plan was for the Kickstarter to raise $100,000 in 30 days.
Presently, there are three days left of the campaign and Bootsy has raised roughly 30% of his goal. Sadly, it looks unlikely that the project will be successful, short of a miracle. I'm not sure why. Bootsy toured Europe in 2011, playing to packed out venues all across the continent. He has thousands and thousands of fans. As part of his Kickstarter campaign, he is offering a digital pre-order of his new album for just $1. If all of his fans pledged for that alone - and you'd have to be a wally not to, at that price (about 65p in British currency - less than a KitKat bar) - he would meet his target with ease. He seems to have had trouble getting the message out.
I wanted to do the best I could to help him get that message out, so I organised a 40 minute phone interview. During our chat, I expressed my surprise that he needed a Kickstarter campaign in the first place. The comment led to a lengthy discussion about the music industry in general and the way it treats artists. Bootsy told me he was 'one step away from being a starving artist'.
I produced a 2,000 word article based on our conversation, published on my blog at the Yellow Advertiser - one of the largest regional newspapers in the UK. A short news story publicising the online contribution was published in over 100,000 newspapers. How many readers were funk fans, I don't know.
Click to enlarge.
Bootsy Collins on stage in London, 2011.
(Picture: Charles Thomson)
Bootsy Collins on stage in London, 2011.
(Picture: Charles Thomson)
If Bootsy's Kickstarter campaign doesn't prove successful, I hope he will try again but spend a little longer on advance publicity it and give himself a longer fundraising period. I'm sure he has enough fans to help make it happen, just as long as they know about it.
That said, on a personal note, I am a little disappointed that some of Bootsy's more prominent fans haven't made more of an attempt to help him out. Some of today's biggest rappers have built songs around Bootsy's riffs; songs which have helped them become businessmen with globe-spanning, multi-billion dollar operations. Those Bootsy samples they used - he says they just about cover his bills. Snoop Dogg, who used Bootsy on his 2004 album Rhythm & Gangster, is worth a reported $100million. He could probably sponsor Bootsy's entire project without spending more than a few weeks' interest on his bank account.
Below is a 16 minute audio excerpt from our conversation.
Good luck Bootsy. I've already pledged all that I can. I hope you pull it out of the bag somehow. When you eventually do - I'll see you in London!
Ben E King Comes to Town
For reasons I can't even begin to fathom, music legend Ben E King decided to visit my local theatre last week. As a co-writer of one of the top ten highest-earning songs on the history of recorded music, Mr King, now 74, surely can't need the money.
However, I wasn't complaining. In fact, I booked tickets the moment I found out (front row, no less) and made the 10 minute journey from my front door to the theatre with pleasure. What an honour to have a genuine superstar of soul performing on my doorstep.
I reviewed the show for the local newspaper, which you can read by enlarging this image.
I met Mr King very briefly after the show. He was a true gentleman and signed a CD for me. Sadly, I didn't manage to pin him down long enough for an interview. Here's hoping he comes back and I get a shot second time around.
However, I wasn't complaining. In fact, I booked tickets the moment I found out (front row, no less) and made the 10 minute journey from my front door to the theatre with pleasure. What an honour to have a genuine superstar of soul performing on my doorstep.
I reviewed the show for the local newspaper, which you can read by enlarging this image.
I met Mr King very briefly after the show. He was a true gentleman and signed a CD for me. Sadly, I didn't manage to pin him down long enough for an interview. Here's hoping he comes back and I get a shot second time around.
Monday, 26 August 2013
'The V You Don't See': Dangerous Crushes, Diva Demands and Exclusive Beyoncé Pictures
The allure of the large, outdoor music festival has always eluded me. The few sprawling, open-air gigs I've been to over the years have been rather soulless affairs. The sound is often poor and most of the audience end up watching on TV screens because they can't get anywhere near the stage.
Atmosphere has always been curiously lacking. The visceral experience of a live gig is lost in the expanse of the setting - any funk or soul which may be emanating from the stage seems to just sort of waft away into the sky before it ever reaches anybody beyond about the first 10 rows. Beyond that invisible barrier, the only people having a good time usually appear to be off their faces on drink, drugs or both. My ethos is, and always has been, that if the gig is so crappy you have to be on drugs to enjoy it, why bother going?
Bootsy Collins' road manager had me admitted to the O2 Wireless festival for free in 2008, when Bootsy performed there on his James Brown tribute tour. I only lasted a few hours. I was surrounded by ridiculous hipsters, sporting bow-ties and fluorescent plastic sunglasses frames with no lenses in, and quickly tired of being constantly offered pills by tweaking ravers.
The thought of stretching that experience across two days, adding into the mix a complete lack of showers and only a few hundred increasingly grim portable toilets for comfort, is pretty much my idea of hell.
It is for this reason that despite living only 25 minutes from V Festival - an enormous, two-day, outdoor event which is screened every year on Channel 4 - I have never even considered going. The line-up has never excited me, the tickets are incredibly expensive and the entire thing just sounded exhausting.
It was an amusing twist of fate, therefore, that this year I was awarded a V Festival press pass. It was one of seven that was allocated to my newspaper after it agreed to publish a 12-page commemorative pull-out about the event. I had to think long and hard about whether or not I wanted to go. I was leaning towards 'not', but my editor was proposing a fantastic journalistic exercise; a photographer covering every act on the main stage and six reporters roving around the event, interviewing crowd members, reviewing acts, collecting amusing news items and blogging about their firsthand experiences. I told him that if he needed me there, I would be there.
To recount the entire weekend would take a lot of time and a lot of words. What I will say is this: It was an eye-opener. Our press passes gave us almost complete access to the festival; the right to use staff entrances and exits, free entry to a garden full of celebrities, and a fleet of airport buggies to ferry us wherever we wanted to go. Despite this, it was about as unglamorous an experience as you could imagine (even if we did have our own luxury toilets).
Being backstage gave us almost zero access to celebrities, but full knowledge of all their ridiculous diva demands. For instance, Beyoncé - upset by some unflattering pictures taken of her at the Superbowl - banned all photographers from taking pictures in front of the stage (the only act across the entire two-day, five-stage festival to make such a demand) and forced them to take pictures from about 100 yards away. She - along with Jessie J - also forced photographers to sign away the syndication rights to all of their photographs, preventing them from earning any money from their own work.
A band called The Heavy demanded that their agent personally approve every single picture taken during their performance before they could be published. Photographers boycotted them as a result, meaning they got no coverage at all - so it's fair to say that particular celebrity whinge backfired somewhat. Elsewhere, nobody was allowed to move (literally) in the backstage area when Beyoncé decided to leave her dressing room - and journalists were told off in a press area for looking at UK pop singer Olly Murs.
I documented much of this insanity in a pair of blog posts. In the first, I described almost being injured in a dangerous crush ahead of Beyoncé's performance. I was compelled to write the piece after witnessing dozens of fans being pulled from the squeeze either in tears or barely conscious. In my personal opinion, unless organisers find some way to prevent this from happening in years to come, it is only a matter of time until somebody is seriously injured.
In the second blog post, I recounted the farcical incident in which I and other journalists were reprimanded for looking at singer Olly Murs in the Media Garden.
After the crush on the first night, I swore I would never return. My stance has since softened slightly, although if I do ever go back, it certainly won't be as a paying customer (caveats, such as a headline slot by Prince, may apply).
At the end of the second day, my news editor asked me what had been my festival highlight. I really struggled to think of anything. I had enjoyed some acts - The Stereophonics, Laura Mvula - but none had left me especially excited and overall, it had been an exhausting and slightly disturbing experience.
Then, it suddenly came to me; my highlight had been writing about it. For all the craziness - the frustration at the celebrities' outrageous demands, the dangerous crushing in the crowds, the audience teeming with drunken and possibly drugged lunatics - it had been fantastic to have that unique combination; enough access to know about the backstage madness and enough freedom to write about it. Traditional media outlets never write about that stuff. They're scared to be critical in case they jeopardise their access to free tickets the following year. I, conversely, didn't give two hoots whether I was ever invited back again, so I laid it all out for the reader; showed them - as we later coined it in the news room - 'The V You Don't See'. I got a lot of comments on Facebook and Twitter which suggested to me that people had enjoyed reading about the hidden side of music festivals and what it's really like backstage.
If I do go back next year, it will be with a view to producing more of the same.
I took a lot of photos at the festival, which didn't get used anywhere - so this blog is going to serve as a sort of V Festival Scrapbook. Enjoy.
The Calm Before The Storm
The Gates Open
James
The Comedy Tent - Josh Widdecombe and Shappi Khorsandi
.jpg)
.jpg)
.jpg)
.jpg)
Beyoncé
Seasick Steve and Olly Murs spotted in the Media Garden
Laura Mvula
Emile Sandé
Stereophonics
Kings of Leon
Atmosphere has always been curiously lacking. The visceral experience of a live gig is lost in the expanse of the setting - any funk or soul which may be emanating from the stage seems to just sort of waft away into the sky before it ever reaches anybody beyond about the first 10 rows. Beyond that invisible barrier, the only people having a good time usually appear to be off their faces on drink, drugs or both. My ethos is, and always has been, that if the gig is so crappy you have to be on drugs to enjoy it, why bother going?
Bootsy Collins' road manager had me admitted to the O2 Wireless festival for free in 2008, when Bootsy performed there on his James Brown tribute tour. I only lasted a few hours. I was surrounded by ridiculous hipsters, sporting bow-ties and fluorescent plastic sunglasses frames with no lenses in, and quickly tired of being constantly offered pills by tweaking ravers.
The thought of stretching that experience across two days, adding into the mix a complete lack of showers and only a few hundred increasingly grim portable toilets for comfort, is pretty much my idea of hell.
It is for this reason that despite living only 25 minutes from V Festival - an enormous, two-day, outdoor event which is screened every year on Channel 4 - I have never even considered going. The line-up has never excited me, the tickets are incredibly expensive and the entire thing just sounded exhausting.
It was an amusing twist of fate, therefore, that this year I was awarded a V Festival press pass. It was one of seven that was allocated to my newspaper after it agreed to publish a 12-page commemorative pull-out about the event. I had to think long and hard about whether or not I wanted to go. I was leaning towards 'not', but my editor was proposing a fantastic journalistic exercise; a photographer covering every act on the main stage and six reporters roving around the event, interviewing crowd members, reviewing acts, collecting amusing news items and blogging about their firsthand experiences. I told him that if he needed me there, I would be there.
To recount the entire weekend would take a lot of time and a lot of words. What I will say is this: It was an eye-opener. Our press passes gave us almost complete access to the festival; the right to use staff entrances and exits, free entry to a garden full of celebrities, and a fleet of airport buggies to ferry us wherever we wanted to go. Despite this, it was about as unglamorous an experience as you could imagine (even if we did have our own luxury toilets).
Being backstage gave us almost zero access to celebrities, but full knowledge of all their ridiculous diva demands. For instance, Beyoncé - upset by some unflattering pictures taken of her at the Superbowl - banned all photographers from taking pictures in front of the stage (the only act across the entire two-day, five-stage festival to make such a demand) and forced them to take pictures from about 100 yards away. She - along with Jessie J - also forced photographers to sign away the syndication rights to all of their photographs, preventing them from earning any money from their own work.
A band called The Heavy demanded that their agent personally approve every single picture taken during their performance before they could be published. Photographers boycotted them as a result, meaning they got no coverage at all - so it's fair to say that particular celebrity whinge backfired somewhat. Elsewhere, nobody was allowed to move (literally) in the backstage area when Beyoncé decided to leave her dressing room - and journalists were told off in a press area for looking at UK pop singer Olly Murs.
I documented much of this insanity in a pair of blog posts. In the first, I described almost being injured in a dangerous crush ahead of Beyoncé's performance. I was compelled to write the piece after witnessing dozens of fans being pulled from the squeeze either in tears or barely conscious. In my personal opinion, unless organisers find some way to prevent this from happening in years to come, it is only a matter of time until somebody is seriously injured.
In the second blog post, I recounted the farcical incident in which I and other journalists were reprimanded for looking at singer Olly Murs in the Media Garden.
After the crush on the first night, I swore I would never return. My stance has since softened slightly, although if I do ever go back, it certainly won't be as a paying customer (caveats, such as a headline slot by Prince, may apply).
At the end of the second day, my news editor asked me what had been my festival highlight. I really struggled to think of anything. I had enjoyed some acts - The Stereophonics, Laura Mvula - but none had left me especially excited and overall, it had been an exhausting and slightly disturbing experience.
Then, it suddenly came to me; my highlight had been writing about it. For all the craziness - the frustration at the celebrities' outrageous demands, the dangerous crushing in the crowds, the audience teeming with drunken and possibly drugged lunatics - it had been fantastic to have that unique combination; enough access to know about the backstage madness and enough freedom to write about it. Traditional media outlets never write about that stuff. They're scared to be critical in case they jeopardise their access to free tickets the following year. I, conversely, didn't give two hoots whether I was ever invited back again, so I laid it all out for the reader; showed them - as we later coined it in the news room - 'The V You Don't See'. I got a lot of comments on Facebook and Twitter which suggested to me that people had enjoyed reading about the hidden side of music festivals and what it's really like backstage.
If I do go back next year, it will be with a view to producing more of the same.
I took a lot of photos at the festival, which didn't get used anywhere - so this blog is going to serve as a sort of V Festival Scrapbook. Enjoy.
The Calm Before The Storm
The Gates Open
James
The Comedy Tent - Josh Widdecombe and Shappi Khorsandi
.jpg)
.jpg)
.jpg)
.jpg)
Beyoncé
Seasick Steve and Olly Murs spotted in the Media Garden
Laura Mvula
Emile Sandé
Stereophonics
Kings of Leon
Sunday, 7 July 2013
Mirror publishes another fraudulent Jackson 'FBI' story
A pattern is emerging here.
Today the Mirror has published a story claiming that FBI papers released in 2009 'admit' that an investigation into Michael Jackson was halted in the mid-80s to avoid political embarrassment, as Jackson was due to have a public meeting with President Reagan.
The story is a lie and I have to conclude that it is an intentional lie. This is the second time in eight days that the same organisation has run a completely inaccurate story based on 'FBI files' accusing Jackson of paedophilia. There are two possibilities. 1) The staff at the Mirror are completely incompetent. 2) They are smearing Michael Jackson with lies on purpose.
The story alleges that files 'admit' that Jackson was investigated for molesting two Mexican boys, but the investigation was called off because of the presidential meeting. The story is absolutely bogus.
Here is what the files really say:
After the Jordan Chandler allegations became public, a writer - not named in the files - contacted the FBI to say they had heard a rumour that Jackson was investigated for molesting two Mexican boys in the mid-80s, but the investigation had been called off for the reasons outlined in the Mirror's story.
These claims are made in the files solely by the anonymous writer, who had been unable to obtain any evidence at all that they were true. The only reason the claim appears in the files is that the writer had contacted the bureau to ask whether it was true. The bureau searched its records and found that the rumoured mid-80s investigation had never taken place - then wrote a document detailing the interaction with the writer, which is what the Mirror has quoted.
The FBI report was written, specifically, to document the fact that a writer had called to enquire about a rumoured investigation, but the FBI had concluded the rumour was untrue. However, the Mirror has chosen to totally misrepresent the contents of the document and state inaccurately that the story was in fact true.
This story - like last week's - is not only bogus, but old. It was widely misreported in 2009 when the files were released. I addressed it on this very blog, in an article which wound up being quoted in J Randy Taraborrelli's 'The Magic, The Madness, The Whole Story' as the only accurate assessment of the FBI files he was able to find.
This is the Mirror's emerging pattern; it takes a fabricated story which was discredited several years ago, pretends it is brand new, intentionally omits the fact that it is fabricated and uses it to smear Michael Jackson.
At this stage, I feel that serious questions need to be asked about what is really going on here.
Today the Mirror has published a story claiming that FBI papers released in 2009 'admit' that an investigation into Michael Jackson was halted in the mid-80s to avoid political embarrassment, as Jackson was due to have a public meeting with President Reagan.
The story is a lie and I have to conclude that it is an intentional lie. This is the second time in eight days that the same organisation has run a completely inaccurate story based on 'FBI files' accusing Jackson of paedophilia. There are two possibilities. 1) The staff at the Mirror are completely incompetent. 2) They are smearing Michael Jackson with lies on purpose.
The story alleges that files 'admit' that Jackson was investigated for molesting two Mexican boys, but the investigation was called off because of the presidential meeting. The story is absolutely bogus.
Here is what the files really say:
After the Jordan Chandler allegations became public, a writer - not named in the files - contacted the FBI to say they had heard a rumour that Jackson was investigated for molesting two Mexican boys in the mid-80s, but the investigation had been called off for the reasons outlined in the Mirror's story.
These claims are made in the files solely by the anonymous writer, who had been unable to obtain any evidence at all that they were true. The only reason the claim appears in the files is that the writer had contacted the bureau to ask whether it was true. The bureau searched its records and found that the rumoured mid-80s investigation had never taken place - then wrote a document detailing the interaction with the writer, which is what the Mirror has quoted.
The FBI report was written, specifically, to document the fact that a writer had called to enquire about a rumoured investigation, but the FBI had concluded the rumour was untrue. However, the Mirror has chosen to totally misrepresent the contents of the document and state inaccurately that the story was in fact true.
This story - like last week's - is not only bogus, but old. It was widely misreported in 2009 when the files were released. I addressed it on this very blog, in an article which wound up being quoted in J Randy Taraborrelli's 'The Magic, The Madness, The Whole Story' as the only accurate assessment of the FBI files he was able to find.
This is the Mirror's emerging pattern; it takes a fabricated story which was discredited several years ago, pretends it is brand new, intentionally omits the fact that it is fabricated and uses it to smear Michael Jackson.
At this stage, I feel that serious questions need to be asked about what is really going on here.
Friday, 5 July 2013
Radio appearance tomorrow
Tomorrow I will appear on King Jordan's radio show in New York (via telephone, alas) to discuss Michael Jackson. I imagine last week's ludicrous story in the People will be a hot topic. You can stream the show online for free at this link at 10pm UK time / 5pm NY time.
Incidentally, CNN has published a report on the People's story, calling its credibility into question. A positive step but one which, unsurprisingly, has not sparked the same global copy/paste frenzy that the original, bogus story generated.
Meanwhile, the Mirror - the People's sister newspaper - appeared on Thursday to be trying to wash its hands of the story. After becoming involved in a chain of tweets sent to me by Michael Jackson's nephew Taj and some Jackson fans, the newspaper's Twitter author published a seemingly confused tweet claiming the story was nothing to do with the Mirror and they had no idea why they were being attacked over another paper's story...
...Which might have been a valid point, were it not for the fact that the original story appeared on the Mirror's website, as did another story the following day, which repeated all of the inaccurate information.
Incidentally, CNN has published a report on the People's story, calling its credibility into question. A positive step but one which, unsurprisingly, has not sparked the same global copy/paste frenzy that the original, bogus story generated.
Meanwhile, the Mirror - the People's sister newspaper - appeared on Thursday to be trying to wash its hands of the story. After becoming involved in a chain of tweets sent to me by Michael Jackson's nephew Taj and some Jackson fans, the newspaper's Twitter author published a seemingly confused tweet claiming the story was nothing to do with the Mirror and they had no idea why they were being attacked over another paper's story...
...Which might have been a valid point, were it not for the fact that the original story appeared on the Mirror's website, as did another story the following day, which repeated all of the inaccurate information.
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