I want to clear up something very, very important.
Recently, I released a satirical song titled "Genetic Test" that was the hypothetical ABBA song that would have been included in Mamma Mia! and would have resolved the plot of the show by virtue of a genetic test discovering in fact who Sophie's father is. In promoting this song, I made the mistake of claiming that this song was rejected by ABBA from me in 1973 back when I was their primary songwriter. However, this is not true. In 1973, I was neither alive nor a primary songwriter for any Swedish pop groups. Furthermore, I fabricated a letter from the members of ABBA in which the band rejected "Genetic Test". This fabricated letter was also never written by ABBA; furthermore, it was never read by ABBA. Initially, these went by largely unnoticed; however, after my song appeared on YouTube in the form of a fan music video from a non-existent fan, backed by the story of a band named JMJM that, despite having real human beings performing on the recording of "Genetic Test", was a band solely assembled initially for the recording of "Genetic Test", these tidbits became noticed. Although I included mention of my later date of birth in many of my webpages (and, now, in the information on the song's YouTube video), the information, by being located in separate sites, might not have been obvious to new listeners.
Yet, as I mentioned, I have unfortunately gone about promoting this song improperly, and I will be changing the fashion in which I'll be advertising this song in the future. And despite the controversy that this song has caused, I do hope that this song will appear more appropriately, promoted in a different light, on an upcoming comedy album which I am in the midst of recording.
To all those aware of the TRUE story of my song "Genetic Test", I apologize for any confusion or hard feelings that my improper promotion of this song may have caused.
Saturday, August 30, 2008
Tuesday, August 5, 2008
A Few Notes Regarding Mamma Mia! the film
NOTE (8/29/08): THE FOLLOWING IS NOT TRUE!
In yet a further attempt to deny my allegations that Benny Andersson and Björn Ulvaeus have taken the credit for years of work I put into writing the songs for ABBA, it seems that the film of Mamma Mia! changed certain facts around to hide further that I gave them the perfect song for the musical.
First off, Bill Austin became Bill Andersson: as if nobody would catch the heavy hand of Benny Andersson in that move.
Secondly: the date of August 15th was conspiratorially moved to August 11th.
Actually, that was the most that they had changed; though I didn't notice the first time that I saw the show that in fact Donna had a last name, as carved into the guitar with the initials D.S....
Don't give into the lies. The truth is clearly out, no matter what Benny and Björn say.
In yet a further attempt to deny my allegations that Benny Andersson and Björn Ulvaeus have taken the credit for years of work I put into writing the songs for ABBA, it seems that the film of Mamma Mia! changed certain facts around to hide further that I gave them the perfect song for the musical.
First off, Bill Austin became Bill Andersson: as if nobody would catch the heavy hand of Benny Andersson in that move.
Secondly: the date of August 15th was conspiratorially moved to August 11th.
Actually, that was the most that they had changed; though I didn't notice the first time that I saw the show that in fact Donna had a last name, as carved into the guitar with the initials D.S....
Don't give into the lies. The truth is clearly out, no matter what Benny and Björn say.
Monday, July 7, 2008
Untold stories: JMJM & ABBA
NOTE (8/29/08): THE FOLLOWING IS NOT TRUE!
As we are eleven days away from the very sobering release of the film version of Mamma Mia!, it is hard for me to restrain myself from revealing the truth and telling the little-known story behind why Mamma Mia! has such little plot.
It all started in early 1970, when Mike Klein and I had begun to write songs for our local friends Benny Andersson and Björn Ulvaeus who were working on an album called Lycka, for which they wanted some original songs. At the time both Benny and Björn were going through a lull period of their songwriting careers, and they called upon Mike and me to write them a few songs that would fit their style. Mike and I each wrote a few songs and presented them to Benny and Björn, who fell in love with our songs. At the time it had not crossed either of our minds of that Mike and I should claim the copyrights to these songs, so we told Benny and Björn just to take these songs and consider them their own.
As neither Mike nor I were employed at the time, we just kept on writing more and more songs: all in a style that appealed to Benny and Björn specifically. As the songs piled up and we kept on giving them and their copyrights away to Benny and Björn, Mike and I had a realization: if we wanted to make it big in Sweden, we needed to be in a pop band with two female singers and two male singers whose first names’ first letters could form an acronym, and we needed more songs in English.
Acting upon our impulses, Mike and I hired Michal Mechlovitz and Jessie Winkler to sing our songs while Mike and I played guitar and piano respectively while singing very quietly in the background. In a burst of excitement, I knew I had to tell Benny and Björn the news of the potential success Mike and I were about to attain with Sweden’s biggest pop band with songs in English: JMJM! I wrote Benny and Björn a very lengthy and detailed letter explaining our theoretical formula for success. However, I did not hear back from either Benny or Björn for some time.
By the end of 1970, I knew that things would never be the same again between Benny and Björn, and Mike and me. I realized this one day when listening to a song of Benny and Björn’s on the radio, and I heard two female singers in the background. “Drat!” I thought. “They stole my idea of having two female singers in addition to two male singers!” However, I was contented that they had not stolen the ideas of having an acronym for a band name or having very many songs in English. Both of those were still trademarks of JMJM.
However, by 1973, I began to hear of Anni-Frid, Benny, Björn, and Agnetha being referred to as “ABBA”, and I noticed that more and more of the songs that they were singing were not only very familiar, but they also were in English. I knew that I should have stopped sending Benny and Björn the songs Mike and I were writing in English, but it was already too late. By September that year, Mike and I had already written and sent Benny and Björn every song that they were to record (and would claim to have written) over the next 34 years.
On the seventh day of October of 1973, I received a letter from Björn rejecting the final song I had sent him and Benny. This song was called “Genetic Test”, and it was the story of a young girl who wants her father to give her away at her wedding, but she needs a genetic test in order to find out who exactly her father is. (Although it is still unclear to me as to why this song was rejected, Björn’s letter regarding “The Missing Abba Song” has actually been reproduced in the last blog post on this website.)
Decades went by, ABBA nearly broke up, and neither Mike nor I had heard a word from Björn or Benny since the rejection letter from 1973. The first piece of news to come out that would interest me for a long time was the creation of Mamma Mia!, a musical with ABBA songs narrating a story about a young girl who, though she wants her father to give her away at her wedding, does not know who her father is. This query certainly could have been resolved with a genetic test, but as ABBA had rejected their one opportunity to include my song about a genetic test (namely, “Genetic Test”), there was no chance that the musical would have been able to resolve thusly the question of who the girl’s father was. For approximately a decade, I have remained silent and not offered my solution or the true story: that Mamma Mia! could have had a better resolution to the conflict in the story.
Yesterday, Michal, Jessie, Mike, and I reunited after a long hiatus of inactivity. The four of us recorded “Genetic Test” with newer technology than we did so many years ago (but we certainly gave it a bit of an older sound yesterday just for the fans!).
If you thought that there could have been so much more to the story of Mamma Mia!, then you are not alone. This international hit has been misunderstood and misrepresented throughout the world. However, the world need not wait any longer. The world can now appreciate JMJM’s gem: the missing ABBA song, “Genetic Test.”
As we are eleven days away from the very sobering release of the film version of Mamma Mia!, it is hard for me to restrain myself from revealing the truth and telling the little-known story behind why Mamma Mia! has such little plot.
It all started in early 1970, when Mike Klein and I had begun to write songs for our local friends Benny Andersson and Björn Ulvaeus who were working on an album called Lycka, for which they wanted some original songs. At the time both Benny and Björn were going through a lull period of their songwriting careers, and they called upon Mike and me to write them a few songs that would fit their style. Mike and I each wrote a few songs and presented them to Benny and Björn, who fell in love with our songs. At the time it had not crossed either of our minds of that Mike and I should claim the copyrights to these songs, so we told Benny and Björn just to take these songs and consider them their own.
As neither Mike nor I were employed at the time, we just kept on writing more and more songs: all in a style that appealed to Benny and Björn specifically. As the songs piled up and we kept on giving them and their copyrights away to Benny and Björn, Mike and I had a realization: if we wanted to make it big in Sweden, we needed to be in a pop band with two female singers and two male singers whose first names’ first letters could form an acronym, and we needed more songs in English.
Acting upon our impulses, Mike and I hired Michal Mechlovitz and Jessie Winkler to sing our songs while Mike and I played guitar and piano respectively while singing very quietly in the background. In a burst of excitement, I knew I had to tell Benny and Björn the news of the potential success Mike and I were about to attain with Sweden’s biggest pop band with songs in English: JMJM! I wrote Benny and Björn a very lengthy and detailed letter explaining our theoretical formula for success. However, I did not hear back from either Benny or Björn for some time.
By the end of 1970, I knew that things would never be the same again between Benny and Björn, and Mike and me. I realized this one day when listening to a song of Benny and Björn’s on the radio, and I heard two female singers in the background. “Drat!” I thought. “They stole my idea of having two female singers in addition to two male singers!” However, I was contented that they had not stolen the ideas of having an acronym for a band name or having very many songs in English. Both of those were still trademarks of JMJM.
However, by 1973, I began to hear of Anni-Frid, Benny, Björn, and Agnetha being referred to as “ABBA”, and I noticed that more and more of the songs that they were singing were not only very familiar, but they also were in English. I knew that I should have stopped sending Benny and Björn the songs Mike and I were writing in English, but it was already too late. By September that year, Mike and I had already written and sent Benny and Björn every song that they were to record (and would claim to have written) over the next 34 years.
On the seventh day of October of 1973, I received a letter from Björn rejecting the final song I had sent him and Benny. This song was called “Genetic Test”, and it was the story of a young girl who wants her father to give her away at her wedding, but she needs a genetic test in order to find out who exactly her father is. (Although it is still unclear to me as to why this song was rejected, Björn’s letter regarding “The Missing Abba Song” has actually been reproduced in the last blog post on this website.)
Decades went by, ABBA nearly broke up, and neither Mike nor I had heard a word from Björn or Benny since the rejection letter from 1973. The first piece of news to come out that would interest me for a long time was the creation of Mamma Mia!, a musical with ABBA songs narrating a story about a young girl who, though she wants her father to give her away at her wedding, does not know who her father is. This query certainly could have been resolved with a genetic test, but as ABBA had rejected their one opportunity to include my song about a genetic test (namely, “Genetic Test”), there was no chance that the musical would have been able to resolve thusly the question of who the girl’s father was. For approximately a decade, I have remained silent and not offered my solution or the true story: that Mamma Mia! could have had a better resolution to the conflict in the story.
Yesterday, Michal, Jessie, Mike, and I reunited after a long hiatus of inactivity. The four of us recorded “Genetic Test” with newer technology than we did so many years ago (but we certainly gave it a bit of an older sound yesterday just for the fans!).
If you thought that there could have been so much more to the story of Mamma Mia!, then you are not alone. This international hit has been misunderstood and misrepresented throughout the world. However, the world need not wait any longer. The world can now appreciate JMJM’s gem: the missing ABBA song, “Genetic Test.”
Historical Proof of ABBA's Rejection of "Genetic Test"
NOTE (8/29/08): THE FOLLOWING IS NOT TRUE!
My dear fans and friends:
Below is the authentic handwritten letter (reproduced here in the exact font most similar to Björn's very own handwriting) written to me several years ago from when ABBA collectively rejected "Genetic Test" (after having accepted so many of the other songs I had written them)!
Please do realize that had the band accepted this one song, Mamma Mia! would have had so much of a better and more sensible plot!
7 October 1973
Dear Jonah,
Say you forgive my errors in English in this letter. Writing from one Swede to another, there really should be no reason that you and I speak of business in English rather than Swedish, but I also do not know why we bother singing in English to begin with. Anyway, no time for crying about the Anglo-Saxon hegemonic state of the music business. Let's get started with my letter to the rock and roll band—namely yours, JMJM*.
Thank you for the music—for giving it to me. Benny "and the Jets" Andersson (that's what we call Benny nowadays) and I really like the melody for this song: not too many notes and not too musical either. And like you did before for our other songs, you arranged the song's ending such that it fades out. (I know Benny "and the Jets" Andersson didn't mind it, but I am offended when you write us up-tempo songs in Major keys that end with cadences rather than fade-outs; I can't stop myself from crying out loud whenever we go into the studio and try to record that "Boomerang" song you wrote us as I am so uncomfortable with the ending.)
Unfortunately, there is something different or in a way unique about this song. It's nothing special; in fact, it's a bit of a bore. And the song is funny but has no sense within the lyrics—that is to say, the lyrics make no sense. I really tried to make it out. I wish I understood. But, perhaps this could be none other than the final song in an incoherent musical about a young girl who needs to find out who her father is exactly. But that would be silly, for anybody could be that guy! Neither Benny "and the Jets" Andersson nor I have any use for a song of this type. If all history goes well, there never should be a need for such a song.
But, don't go wasting your emotion. I am not mad at you at all. Neither you nor I'm too blame when all is said and done. This "Genetic Test" song is neither a product of your adept craftsmanship as a songwriter nor our sincerest plagiarism as performers. It's time to forget this song, and I forgive you immediately for the best. This song you have sent me shall be known throughout Sweden and the hegemonic Euro-American world of pop music as "The Missing ABBA Song" if ever asked about.
Hasta manana,
Björn Ulvaeus
On behalf of myself, Benny "Hans Christian" Andersson**, Agnetha Fältskog and Anni-Frid Lyngstad
*Do send my best to Michal, Jessie, and Mike. I do also hope you change your names to form an acronym that will be found more euphonic and easier on the tongues and ears to the rest of the English-speaking world.
**Since beginning this letter, we have changed his nickname back to the old one.
My dear fans and friends:
Below is the authentic handwritten letter (reproduced here in the exact font most similar to Björn's very own handwriting) written to me several years ago from when ABBA collectively rejected "Genetic Test" (after having accepted so many of the other songs I had written them)!
Please do realize that had the band accepted this one song, Mamma Mia! would have had so much of a better and more sensible plot!
7 October 1973
Dear Jonah,
Say you forgive my errors in English in this letter. Writing from one Swede to another, there really should be no reason that you and I speak of business in English rather than Swedish, but I also do not know why we bother singing in English to begin with. Anyway, no time for crying about the Anglo-Saxon hegemonic state of the music business. Let's get started with my letter to the rock and roll band—namely yours, JMJM*.
Thank you for the music—for giving it to me. Benny "and the Jets" Andersson (that's what we call Benny nowadays) and I really like the melody for this song: not too many notes and not too musical either. And like you did before for our other songs, you arranged the song's ending such that it fades out. (I know Benny "and the Jets" Andersson didn't mind it, but I am offended when you write us up-tempo songs in Major keys that end with cadences rather than fade-outs; I can't stop myself from crying out loud whenever we go into the studio and try to record that "Boomerang" song you wrote us as I am so uncomfortable with the ending.)
Unfortunately, there is something different or in a way unique about this song. It's nothing special; in fact, it's a bit of a bore. And the song is funny but has no sense within the lyrics—that is to say, the lyrics make no sense. I really tried to make it out. I wish I understood. But, perhaps this could be none other than the final song in an incoherent musical about a young girl who needs to find out who her father is exactly. But that would be silly, for anybody could be that guy! Neither Benny "and the Jets" Andersson nor I have any use for a song of this type. If all history goes well, there never should be a need for such a song.
But, don't go wasting your emotion. I am not mad at you at all. Neither you nor I'm too blame when all is said and done. This "Genetic Test" song is neither a product of your adept craftsmanship as a songwriter nor our sincerest plagiarism as performers. It's time to forget this song, and I forgive you immediately for the best. This song you have sent me shall be known throughout Sweden and the hegemonic Euro-American world of pop music as "The Missing ABBA Song" if ever asked about.
Hasta manana,
Björn Ulvaeus
On behalf of myself, Benny "Hans Christian" Andersson**, Agnetha Fältskog and Anni-Frid Lyngstad
*Do send my best to Michal, Jessie, and Mike. I do also hope you change your names to form an acronym that will be found more euphonic and easier on the tongues and ears to the rest of the English-speaking world.
**Since beginning this letter, we have changed his nickname back to the old one.
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