IN: Nilsson was born in Bedford-Stuyvesant, Brooklyn in 1941. His paternal grandparents were Swedish circus performers and dancers, especially known for their "aerial ballet" (which is the title of one of Nilsson's albums). His maternal grandparents were the cornerstone of his young life. While his grandmother played piano, his grandfather Charlie supported the family in a tiny railroad apartment on Jefferson St in Brooklyn.

Nilsson's disregard for commercialism in favor of artistic satisfaction showed itself in his next release, A Little Touch of Schmilsson in the Night (1973). Performing a selection of pop standards by the likes of Berlin, Kalmar and Ruby, Nilsson sang in front of an orchestra arranged and conducted by veteran Gordon Jenkins in sessions produced by Derek Taylor. This musical endeavor did not do well commercially. The session was filmed, and broadcast as a television special by the BBC in the UK. 1973 found Nilsson back in California, and when John Lennon moved there during his separation from Yoko Ono, the two musicians rekindled their earlier friendship. Lennon was intent upon producing Nilsson's next album, much to Nilsson's delight. However, their time together in California became known much more for heavy drinking than it did for musical collaboration. In a widely publicized incident, the two were ejected from the Troubadour nightclub in West Hollywood for drunken heckling of the Smothers Brothers. To make matters worse, at a late night party and jam session during the recording of the album, attended by Lennon, McCartney, Danny Kortchmar, and other musicians, Nilsson ruptured a vocal cord, but he hid the injury for fear that Lennon would call a halt to the production. The resulting album was Pussy Cats. In an effort to clean up, Lennon, Nilsson and Ringo Starr first rented a house together, then Lennon and Nilsson left for New York. After the relative failure of his latest two albums, RCA Records considered dropping Nilsson's contract. In a show of friendship, Lennon accompanied Nilsson to negotiations, and both intimated to RCA that Lennon and Starr might want to sign with them, once their Apple Records contracts with EMI expired in 1975, but would not be interested if Nilsson were no longer with the label. RCA took the hint and re-signed Nilsson (adding a bonus clause, to apply to each new album completed), but neither Lennon nor Starr signed with RCA. Nilsson's voice had mostly recovered by his next release, Duit on Mon Dei (1975), but neither it nor its follow-ups, Sandman and ...That's the Way It Is (both 1976), met with chart success. Finally, Nilsson recorded what he later considered to be his favorite album Knnillssonn (1977). With his voice strong again, and his songs exploring musical territory reminiscent of Harry or The Point!, Nilsson anticipated Knnillssonn to be a comeback album. RCA seemed to agree, and promised Nilsson a substantial marketing campaign for the album. However, the death of Elvis Presley caused RCA to ignore everything except meeting demand for Presley's back catalog, and the promised marketing push never happened. This, combined with RCA releasing a Nilsson Greatest Hits collection without consulting him, prompted Nilsson to leave the label.

Can you tell me about 1973-1979-Maverick?

OUT: Nilsson's disregard for commercialism in favor of artistic satisfaction showed itself in his next release, A Little Touch of Schmilsson in the Night (1973). Performing a selection of pop standards

IN: Thompson was born into a middle-class family in Louisville, Kentucky, the first of three sons of Virginia Ray Davison (1908, Springfield, Kentucky - March 20, 1998, Louisville), who worked as head librarian at the Louisville Free Public Library and Jack Robert Thompson (September 4, 1893, Horse Cave, Kentucky - July 3, 1952, Louisville), a public insurance adjuster and World War I veteran. His parents were introduced to each other by a friend from Jack's fraternity at the University of Kentucky in September 1934, and married on November 2, 1935. Thompson's first name came from a purported ancestor on his mother's side, the Scottish surgeon John Hunter.

Following the success of Hell's Angels, Thompson was able to publish articles in a number of well-known magazines during the late 1960s, including The New York Times Magazine, Esquire, Pageant, and Harper's. In the Times Magazine article, published in 1967, shortly before the "Summer of Love", and titled "The Hashbury is the Capital of the Hippies", Thompson wrote in-depth about the Hippies of San Francisco, deriding a culture that began to lack the political convictions of the New Left and the artistic core of the Beats, instead becoming overrun with newcomers lacking any purpose other than obtaining drugs. It was an observation on the 1960s' counterculture that Thompson would further examine in Fear and Loathing in Las Vegas and other articles. By late 1967, Thompson and his family moved back to Colorado and rented a house in Woody Creek, a small mountain hamlet outside Aspen. In early 1969, Thompson finally received a $15,000 royalty check for the paperback sales of Hell's Angels and used two-thirds of the money for a down payment on a modest home and property where he would live for the rest of his life. He named the house Owl Farm and often described it as his "fortified compound." In early 1968, Thompson signed the "Writers and Editors War Tax Protest" pledge, vowing to refuse tax payments in protest against the Vietnam War. According to Thompson's letters and his later writings, at this time he planned to write a book called The Joint Chiefs about "the death of the American Dream." He used a $6,000 advance from Random House to travel on the 1968 Presidential campaign trail and attend the 1968 Democratic Convention in Chicago for research purposes. From his hotel room in Chicago, Thompson watched the clashes between police and protesters, which he wrote had a great effect on his political views. The book was never finished, and the theme of the death of the American dream would be carried over into his later work. The contract with Random House was eventually fulfilled with the 1972 book Fear and Loathing in Las Vegas. He also signed a deal with Ballantine Books in 1968 to write a satirical book called The Johnson File about Lyndon B. Johnson. A few weeks after the contract was signed, however, Johnson announced that he would not run for re-election, and the deal was cancelled.

where there any conflicts in his career?

OUT:
The book was never finished, and the theme of the death of the American dream would be carried over into his later work.