jueves, 21 de febrero de 2013

MATHEW FESTIVAL DEJARA DE CELEBRARSE POR PRESUPUESTO


Mathew Streeet Festival, festival en honor a The Beatles que se celebra año a año cada agosto, dejará de celebrarse. Este evento gratuito a cumplido 20 años, y cada año atraía a cerca de 20,000 fans de varios países. El Ayuntamiento de Liverpool se ha visto obligado a rebajar su presupuesto para este evento, el cual será reemplazado por otro evento más módico en presupuesto y será realizado en 2 lugares de ahora en adelante: Sefton Park y Pier Head.



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DIRECTOR DE DOCUMENTAL "GOOD OL´FREDA" LOGRA 4 TEMAS PARA SU BANDA SONORA


‘Good ol’ Freda’, documental sobre Freda Kelly, secretaria de The Beatles que laboró 11 años para la banda, se estrenará el 9 de marzo en el SXSW.



Cuatro temas de The Beatles estarán presentes en este interesante documento. "Good ol’ Freda" cuenta la historia de Freda Kelly, que dirigía el club de fans de los Beatles y pasó 11 años trabajando para la banda.
El director Ryan White gestionó los derechos para cuatro canciones de los Beatles, incluyendo Love me do y I saw her standing here, pero no piensa revelar cuánto le han costado. Las licencias para las canciones de los Beatles son muy costosas y difíciles de conseguir. Un ejemplo: Mad Men pagó 190.000 euros la última temporada para poder utilizar Tomorrow never knows.

La película narrará por primera vez la historia de Kelly, (actualmente con alrededor de 70 años). “Freda cerró las oficinas de los Beatles, y se fue millones de cosas del grupo, que fue regalando a los fans a lo largo de los años”, ha contado White. Aunque Kelly ha guardado silencio sobre sus experiencias, White dice que ahora se está abriendo “por su nieto de dos años. Ella lo ve como especie de película familiar”.
Good ol’ Freda se estrenará el 9 de marzo en el SXSW (evento que reúne congresos y conferencias de películas, medios interactivos y música en Austin, Texas).




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miércoles, 20 de febrero de 2013

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PAUL WHITE RETIRED CAPITOL RECORDS EXECUTIVE INTRODUCED "LOVE ME DO" TO CANADIAN RADIO ON Feb 18,1963


Retired Capitol Records executive Paul White with his Beatles memorabilia. He introduced the Beatles song Love Me Do to Canadian radio on Feb.y 18, 1963, one year before the band's introduction in the U.S.


50 years ago Monday, the song that launched The Beatles was released in Canada.
Feb. 18, 1963, may have been the date that “Love Me Do,” the debut single from the most influential pop group on the planet, was first introduced to Canadians, but the earliest response to the song was “love me not,” according to the man responsible for releasing it.
“For my efforts, it sold 170 copies,” recalls a chuckling Paul White, the Capitol Records Canada executive who was in charge of the company’s artist-and-repertoire division at the time.
White selected which new records the company would release in the territory and he admits that not only did the first effort from the four lads from Liverpool — John Lennon, Paul McCartney, George Harrison and Ringo Starr — land with a thud, so did the two singles that followed.
“I tried for another record, ‘Please Please Me,’ and that sold about 280,” remembers White, 79, from his Danforth-area home.
“The third record, ‘From Me to You,’ sold 300, and then ‘She Loves You’ was released and went berserk.”
Released in September 1963, “She Loves You” became such an explosive hit that White was forced to reissue the earlier songs to keep up with public demand.
“‘Love Me Do’ ended up selling close to 100,000 copies,” says White. “So it all turned out OK in the end.”
Even more significantly, thanks to White’s efforts, Canada was the first country across the Atlantic to embrace The Beatles and the impending British Invasion that revolutionized pop music.
“It’s a great source of pride when dealing with Americans over the years that The Beatles broke in Canada almost a full year before they broke in the States,” says veteran music industry trade journalist Larry LeBlanc, senior writer with L.A.-based CelebrityAccess.
And it was all due to White, a mild-mannered former news reporter who emigrated from England in 1957, started at the Capitol Records warehouse three weeks after he landed, and worked his way up to A&R and radio promotion.
 
Not bad for a guy who almost got fired before he began.
“I saw a job for a shipper at Capitol Records and, quite frankly, I didn’t know what a shipper was because they were called warehouse men in England,” recalls White.
“But I went for it anyway and there were 50 guys for two jobs. I only got the job because the guy who hired me thought it was a joke that someone applying to be a shipper brought references.
“He gave me the job for $40 a week. The next day I forgot where the building was and I almost got fired for showing up late.”
Eventually White found himself in the promotions department of the label and inherited the A&R position when the president of the company asked him to compile an album of music by late English saxophonist Freddy Gardner in 1960.
In an era where White says that “grown-ups bought albums and teenagers bought 45s,” he spearheaded the early successes of Cliff Richard, the Shadows and many other British pop stars, and was given carte blanche to decide what material Capitol Records would issue domestically.
“They were good days in the record business then because people like myself could take a chance on things,” he notes. “Now it’s so corporate that you’re having a meeting every half-hour.”
White said he’d receive 50 samples weekly from Capitol’s parent company in the U.K. The batch containing “Love Me Do” arrived around Christmas 1962.
“When everybody went home from work, I used to sit in the office and listen to the samples I had, and ‘Love Me Do’ was among them. I decided to give The Beatles a try because I liked the simplicity of the record. It was quite different than anything coming out at the time.”
Once “She Loves You” broke in Canada, White began releasing a cavalcade of singles to meet the band’s skyrocketing popularity: “Roll Over Beethoven,” “All My Loving” and “Twist And Shout” flew off the racks as teens gobbled up everything Beatle.
White’s influence also spilled south of the border.
“I was releasing singles like crazy and a couple of them weren’t available in the States,” he recalls, citing “All My Loving,” “Roll Over Beethoven” and “Twist and Shout” as titles that Capitol Canada manufactured and sent over to the States.
“We probably exported over 100,000 copies of each. They went up quite high on the charts in Billboard and that’s when I got told to cool it,” he laughs.
According to Beatles expert Piers Hemmingsen, author of the upcoming The Beatles in Canada: The Origins of Beatlemania, the export totals were closer to 350,000 copies each.
Throw in White’s trio of Canada-exclusive compilation albums — Beatlemania! With The Beatles,Twist And Shout and Long Tall Sally — and he sold almost three million singles and albums before the U.S. label caught on.
Two of the White compilations — 1963’s Beatlemania! at 192,000 copies, and 1964’s Twist And Shoutat 250,000 copies — outsold the initial Canadian runs of the Fab Four’s original studio albums through 1967’s landmark Sgt. Pepper’s Lonely Hearts Club Band.
“I was the law,” remembers White, who designed and compiled the albums.
“Nobody ever said to me, ‘What are you doing with these guys?’ because management at the time couldn’t care less. That’s why I pretty well had a free hand.”
White eventually lost his Beatles autonomy in January 1964 when Capitol U.S. took “I Want To Hold Your Hand” to No. 1.
“After that happened, Capitol in the States decided that everything in North America had to go through them,” White explains. “That was the first time I was told: no more 45s, no more different LPs.”
However, White’s success with The Beatles enabled him to take the lead in other areas. He jumped on the British Invasion bandwagon, securing Canadian releases for The Dave Clark Five, Gerry & The Pacemakers, The Hollies, The Animals, The Yardbirds and others.
He was also given free reign to develop homegrown talent.
“It allowed me more money to sign Canadian acts, because Capitol Canada was suddenly in the money,” says White, rhyming off an impressive roster of signings that included a pre-Steppenwolf Jack London and the Sparrows; The Staccatos (which eventually became Five Man Electrical Band); Edward Bear (“‘Last Song’ was a huge hit,” he recalls) and a young singer from Springhill, N.S., whom he inked when he promised her an $18,000 budget for her 1969 album This Way Is My Way.
“I saw Anne Murray on the Singalong Jubilee TV show and I was so thrilled to hear her voice because I just thought, ‘Oh my God, I’ve never heard anything quite like this,’” White recalls.
Although the album contained the international million-selling hit “Snowbird,” White admits it wasn’t their first choice for a single. Nor was it their second, third or fourth preference.
“We had four hopefuls and I was in love with folk music at the time, so I decided to release a song called ‘Thirsty Boots’ and it didn’t do anything,” White admits.
“We all ignored ‘Snowbird’ and put it as a B-side on the second single. It was a promotion guy from the publishing company in the States who got it going.”
But it was the groundbreaking Beatles that financed these future successes and White treasures his role in helping make it happen.
“I feel elated,” says White, who stayed with Capitol for 21 years until he jumped to Murray’s Balmur Entertainment in 1978.
“It established Capitol Records in Canada as the dominant force and it certainly didn’t do anything bad for my ego,” he laughs.
LeBlanc says White’s pioneering role in the industry should be celebrated.
“If there was a Mount Rushmore of the Canadian music industry, Paul White would be part of it,” says LeBlanc.
“His influence on the Canadian music industry, on the placing of it on the international stage, is incalculable.”




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'WE'RE ALL PART OF SOMETHING BIG': REVEALED,THE CHILLING LETTERS JOHN' KILLER SENT TO HIS ARRESTING NYPD OFFICER


The chilling contents of letters written by John Lennon’s killer have been revealed, showing his deep obsession with ‘Catcher on the Rye’ and his desire to be friends with his arresting officer.
In a series of never-before-seen letters obtained by Page Six, Mark David Chapman details to NYPD officer Steve Spiro his deranged mind.
He first wrote in 1983 that he ‘wanted to be friends’ with Officer Spiro, and asked if the cop would locate Chapman’s copy of ‘The Catcher in the Rye,’ which he had on him during the murder and was lost during Chapman’s arrest.
The letters, which are being sold by Gary Zimet’s Moments in Time, which sells rare or historic documents, are valued at around $75,000.
Chapman sent three typed letters to the NYPD officer. At the end of one, he mused that Mr Spiro was ‘still the best d*** cop in New York City.’
Chapman also eerily said: ‘We were all part of something big, Steve,’ adding that something ‘phenomenal’ was all going to ‘come out.’
In one of his letters, Chapman compared a self-immolating woman in Saigon to his belief in J.D. Salinger’s influential novel, saying that the poems found on her body were her legacy.‘The Catcher in the Rye’ is my statement,’ Chapman wrote.



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New York's finest: Police direct traffic outside the Dakota the morning after Lennon was shot to death in front of the building; the arresting officer, Steve Spiro, received letters from Chapman


The convicted murderer also chillingly told Officer Spiro: ‘Lennon was a phony of the highest degree, but there were others who could – and would- have served the same purpose.’
Mr Spiro, who was the first officer on the scene of the shooting, said that he first thought the shots were fireworks over Central Park.
‘I grabbed the guy, Mark David Chapman,’ Mr Spiro said at the time. ‘I wheeled him around. I’m cuffing him…I turn to my right, and see John Lennon being carried out of the building.’The two had no more interaction than tha.

According to a hearing transcript released last August, Chapman, 57, a former security guard from Hawaii, said during an August 22 parole hearing that he's been offered lodging and a farm job by Stanley Thurber in Medina, a village between Rochester and Buffalo.
He also said that if he was granted parole, he would ‘probably stay right where I’m at’ – in prison.
The convicted killer added: ‘I’m so bonded that I could probably assure you that, if released, I’d probably stay right where I’m at.
‘You know, once you stand on a rock for 20 years and feel the waves on you and you don’t go anywhere because you’re on a rock, you don’t want to move.’
Chapman, who was again denied parole last August, shot Lennon in December 1980 outside the Manhattan apartment building where the former Beatle lived.
He was sentenced in 1981 to 20 years to life in prison after pleading guilty to second-degree murder.
Speaking about Mr Thuber in the hearing, Chapman told the parole board: 'He's a minister and he's an older fellow and he has a lot of contacts in the area and he has agreed to refurbish his upstairs apartment for me and offered me two jobs.’

He said his wife, Gloria Hiroko Chapman, met Thurber at a church function and was 'impressed by his deep commitment to Christ.' After corresponding with Mr Thurber, Chapman said, they met for the first time on August 20.

During his latest hearing, Chapman remembered Lennon as a 'very cordial and very decent man' who stopped to sign an autograph hours before the murder.
'He was very kind to me,' Chapman said. 'Ironically, very kind and was very patient with me. The limousine was waiting, his wife was waiting in the limousine, and he took his time with me and he got the pen going and he signed my album. He asked me if I needed anything else. I said, no. No, sir and he walked way.'
Chapman, who said his motivation for killing Lennon was instant notoriety, also told the parole board he was surprised more celebrities haven't been the targets of violence and said he has thought about someone trying to kill him as a way to gain fame as the person who avenged Lennon.
'To do something like that against another person, it's something that would keep me alive and boost me,' he said.
'That's ludicrous and I'm actually glad that that's not done more. I thought maybe more people would do that and I'm glad that they have not.
'I'm surprised that they have not because this society is just geared toward celebrity like crazy.'


Concealed: A day after the 1980 murder, Mark David Chapman, centre, is escorted out of police station with a jacket covering his face and head
A day after the 1980 murder, Mark David Chapman,centre,is escorted out of police station with a jacket covering his face and head
Weapon of choice: The .38 calibre handgun used by Mark David Chapman to kill John Lennon, seen on the 25th anniversary of Lennon's death, and stored by the NYPD
Weapon of choice:The 38 calibre handgun used by Mark David Chapman to kill John seen on the 25th anniversary of Lennon's death, and stored by the NYPD


Chapman, who has said he considered killing several other celebrities, told the parole board he wanted Lennon's widow, Yoko Ono, to know that he felt no anger toward Lennon.
'It wasn't anything against her husband as a person, only as a famous person,' he said.
'If he was less famous than three or four other people on the list, he would not have been shot. And that's the truth.'
At his previous hearing, he recalled that he had considered shooting Johnny Carson or Elizabeth Taylor instead, and said again that he chose Lennon because the ex-Beatle was more accessible.
He said that his century-old Upper West Side apartment building by Central Park 'wasn't quite as cloistered."
Chapman fired five shots outside the Dakota apartment house on December 8, 1980, hitting Lennon four times in front of his wife, Yoko Ono, and others.
The former security guard from Hawaii said that his motivation was instant notoriety but that he later realized he made a horrible decision for selfish reasons.

'I felt that by killing John Lennon I would become somebody and instead of that I became a murderer and murderers are not somebodies,' Chapman told the board two years ago.
Ono, 79, had said two years ago that she was trying to be 'practical' in asking that her husband's killer remain behind bars.
She said Chapman might be a danger to her, other family members and perhaps even himself.
In a 1992 interview at Attica, Chapman told Barbara Walters that it was dark when he shot Lennon in the back with a .38-caliber revolver after he exited a limousine, headed up the walkway to his apartment building and looked at Chapman.
'I heard this voice - not an audible voice, an inaudible voice - saying over and over, `Do it, do it, do it,'' Chapman said. He explained, 'I thought that by killing him I would acquire his fame.'
He has been in protective custody with a good disciplinary record, according to corrections officials.
Chapman was denied parole in 2000, 2002, 2004, 2006, 2008, and 2012.




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