jueves, 23 de noviembre de 2017

Beatles legend Paul McCartney ready to rock Perth














thewest.com.au
Beatles legend Paul McCartney ready to rock Perth
Simon Collins, Music Editor
Thursday, 23 November 2017




The last time he was in Perth, Sir Paul McCartney serenaded local dolphins with some Frank Sinatra.
The Beatles legend, late wife Linda and their children went swimming in the Mandurah Estuary in 1993, when his first Australian solo tour kicked off at Subiaco Oval.
Chatting this week from New York, where he’s making an album with top producer Greg Kurstin (Adele, Beck), McCartney recalls taking a one-man sailboat out on the water and soon being joined by a pod of dolphins.
“That was a big thrill,” the 75-year-old Liverpudlian says. “I thought ‘You know, I heard they were intelligent creatures so I’ve got to communicate’.
“So what do I do? I sing Strangers in the Night,” McCartney laughs before breaking into the Ol’ Blue Eyes chestnut. “For some unknown reason I decided that was the song dolphins would like.”
The animal lover and famed vegetarian has no doubts about which songs his human fans would like to hear when he starts only his fourth Australian visit at nib Stadium on December 2.
“If you come to see me, you’re going to want to see me do some Beatles songs,” McCartney says.
The One on One tour will be his third to WA, following 1993 and Wings’ tour of 1975 when Linda took him horseriding. Perth missed out on the Fab Four’s fabled Australasian invasion of 1964.
Kicking off in April last year, a mere six months after his previous Out There tour wrapped in late 2015, One on One features a set list loaded with Beatles favourites.
Most notably, McCartney and his long-serving touring band play A Hard Day’s Night, a song he hadn’t performed since 1965, mainly because John Lennon sang lead vocals on the original.
“I used to shy away from John’s or George’s or Ringo’s songs,” he says. “But, more recently, I thought ‘It’s a great song’. We co-wrote it and I have great memories of writing the song, so I think it gives me the right to sing it.”
The same goes for Sgt. Pepper’s track Being for the Benefit of Mr. Kite! and early duet Love Me Do. “They’re great songs to do, so I do ’em.”
McCartney says that performing Beatles classics often conjures memories of writing and recording with his old mates. “My mind wanders off and it’s either in the studios with the Beatles or it’s wondering what I’m going to eat later.”

Paul McCartney.
Paul McCartney.Picture: MJ KIM/MPL Communications

He’s half-joking. But Macca is serious about giving bang for your buck at his gigs — on this tour he’s averaging 39 songs per show.
“People pay good money to come to these concerts,” he says. “I step back from myself and imagine I’m going to my concert — what would I like to hear him do? What would I hate if he left it out?”
Some songs pick themselves, such as Hey Jude. But at over seven minutes long, he could play three or four other songs in the time it takes to belt out the 1968 ballad.
“That’s true,” McCartney chuckles. “Well, you can always go to the toilet in the middle of it. That’s what it was originally designed for, to give DJs a break.”
In addition to playing Beatles, Wings and solo hits, the evergreen pop maestro has reached all the way back to 1958 to revive In Spite of All the Danger, a song by Fab forerunners the Quarrymen.
“I thought it would be good to try the very first song that we ever recorded and bring the show through to the most recent we recorded,” says McCartney, referring to the handful of tunes from 2013 album New.
“I still remember all those years ago recording it (In Spite of All the Danger) in a little studio in Liverpool, it’s a great memory and it’s interesting for people ... you get to see the development of the music when you play things like that.”
The greatest partnership in pop music began 60 years ago when, thanks to a mutual friend, McCartney met Lennon at the St Peter’s Church Hall fete.
“John was a great guy, you know,” McCartney says. “You feel very lucky that we got together because the two of us were very good for each other. You know, each of us had the bit that the other one didn’t have, so when you came to write a song we got quite good at it, quite quickly.
“I definitely feel very lucky to have bumped into him — and George and Ringo. Fate pulls these four guys together from Liverpool and they go on to rule the world.”
McCartney’s next album should be unveiled mid-next year. As always, love is a central theme, while he has also penned a not-so-veiled dig at Donald Trump and climate change deniers.
The purest of pop songwriters says there’s still something magical about “goofing around” on a guitar or at a piano to create a song out of thin air. “You feel very proud of yourself that you’ve done it,” he says.
While creating music has barely changed for the English icon, touring is a far less taxing proposition than the hard days and nights of screaming fans and Beatlemania.
“I think people think of the road as it used to be, which is Greyhound buses and terrible hotels and no sleep and partying all night,” McCartney says. “It’s much more relaxed now.
“I’ll do a gig and then I’ll have the next day off to rest up and rest the voice. You get a bit of a chance to see where it is you’re playing ... have a bike ride or a swim at the beach.”
Maybe reconnect with Mandurah’s Sinatra-lovin’ dolphins?
“They won’t remember me,” Macca laughs, “but they’ll remember Strangers in the Night.”
Paul McCartney plays nib Stadium on December 2. Tickets from Ticketmaster.





Image result for paul mccartney perth 2017 ticket



miércoles, 22 de noviembre de 2017

Paul McCartney was named in the FIFA-Gate trial











www.dobleamarilla.com.ar
¡INSÓLITO!
Paul McCartney fue nombrado en el juicio del FIFA-Gate
Doble Amarilla
LUNES 20 DE NOVIEMBRE DE 2017



Inverosímil, pero el FIFA Gate sigue dando detalles y "perlitas" que quedaran en la historia. Ahora, en medio del testimonio del empleado de "Full Play", Santiago Peña, apareció el nombre de Paul McCartney. 

El motivo es que Juan Ángel Napout, además del fútbol, parece ser muy apasionado de la música. Así como Alejandro Burzaco ya había mencionado que le había pedido entradas para Elton Jhon.

Ahora, Peña, reveló que "Full Play" le pagó $10175, 88 pesos a Napout en entradas a un concierto de Sir Paul.

La fiscalía quiso saber que significaba el pago de "Entradas PM" y ese monto. Peña reveló, para sorpresa de los presentes que "Entradas es como se dice tickets en español y PM es Paul McCartney". Al parecer, a Napout le fascinan los cuatro de Liverpool. 







www.reuters.com
Witness in U.S. FIFA trial describes off-books payments to soccer officials
Mica Rosenberg, Brendan Pierson
November 20 2017

NEW YORK (Reuters) - A government witness in the U.S. corruption trial related to soccer’s world-governing body FIFA testified on Monday about millions of dollars paid to former soccer officials in exchange for broadcasting and sponsorship rights for international tournaments, all logged in a secret spreadsheet.

The witness, Santiago Pena, said he was a financial manager at the Argentina-headquartered sports marketing firm Full Play from 2009 to 2015 and kept an Excel file which he presented in court. It detailed payments made to what he said were eight soccer officials from the South American soccer governing body CONMEBOL

Each of the officials was given a code name in the spreadsheet of different car brands, Pena testified in Brooklyn federal court.

“Honda” was Juan Angel Napout, former president of Paraguay’s soccer federation, and “Fiat” was Manuel Burga, former president of Peru’s soccer federation, Pena said. The two men are among the defendants in the trial, along with Jose Maria Marin, former president of Brazil’s soccer federation. All three have pleaded not guilty.

Pena said the payments were kept off the books of the company and were paid out over time, to “get influence and get loyalty from the presidents.”

Image result for paul mccartney fifa
FILE PHOTO: Former head of Paraguayan Football Association and former president of the South American Football Confederation (CONMEBOL) Juan Angel Napout, arrives for opening arguments of the FIFA bribery trial at the Brooklyn Federal Courthouse in New York, U.S., November 13, 2017. REUTERS/Darren Ornitz

The payments included cash, wire transfers and, in the case of Napout, Paul McCartney tickets and a rental house in Uruguay worth tens of thousands of dollars, Pena said.

They also included a commitment of $750,000 to former president of the Venezuelan soccer federation Rafael Esquivel, code-named “Benz,” for “Q2022.” Pena said that stood for the 2022 World Cup tournament in Qatar, but that he did not know the purpose of those payments. Esquivel has pleaded guilty to U.S. corruption charges.

He said he was instructed about the amounts and details of the payments by his bosses - the owners of Full Play, Argentine nationals Hugo Jinkis and his son Mariano. The two are among the 42 people and entities charged by the United States in the probe.

In the afternoon, under cross-examination by Napout’s lawyer, Silvia Pinera, Pena said he had no direct knowledge of any payments to Napout and never spoke to him directly about bribe payments.

Pinera’s cross-examination is expected to continue on Tuesday, followed by cross-examination by Burga’s and Marin’s lawyers.

Reporting by Mica Rosenberg and Brendan Pierson in New York; Editing by Cynthia Osterman











martes, 21 de noviembre de 2017

Eight Days a Week: The Beatles' Touring History in 8 Concerts











 The Beatles live in Essen, Germany, 25 June 1966



people.com
Eight Days a Week: The Beatles' Touring History in 8 Concerts
Jordan Runtagh
November 21, 2017




For those of us who weren’t lucky enough to attend a Beatles concert in the 1960s, Ron Howard’s Eight Days a Week just might be the next best thing. The 2016 documentary traces the band’s rise from a cramped and dank cellar in Liverpool to record breaking television appearances, jam packed stadiums, and—ultimately—rock immortality. Lovingly assembled through rare and often unseen fan home movie footage, Howard’s film also draws on more familiar material—restored to the highest echelons of  HD— and new interviews with Paul McCartney and Ringo Starr. All told, it’s a joyous and stunningly visual representation of their unbelievable journey, and an unparalleled look at a time when the four Fabs roamed the Earth and made themselves available to see, live and in person, for just a few dollars.

In honor of Eight Day’s a Week‘s television debut this Saturday, Nov. 25, at 8 p.m. (7 p.m. central) on PBS, here’s a detailed look at the Beatles’ touring career, told through eight of their concerts.

1. The Cavern, Liverpool (Aug. 22, 1962)



Though hardly the first gig at their unofficial home base on Liverpool’s Mathew Street—it was actually their 218th session in the former fruit cellar—this set marks the group’s first ever television appearance. A camera crew from Grenada Television, a Manchester-based regional network, captured the band plowing through two takes of Richie Barrett’s latest R&B stomper, “Some Other Guy.” Extra stage lights were needed to provide suitable illumination in the subterranean venue, adding to the already sweltering summer heat. “It was really hot and we were asked to dress up properly,” George Harrison recalled in the Beatles Anthology documentary project. “We had shirts, and ties and little black pullovers. So we looked quite smart…It was big-time, a TV-company-coming-to-film-us excitement.” John Lennon might have had another cause for his excitement—he was scheduled to marry his girlfriend Cynthia Powell the following day.

Ringo Starr had played his first official show as a Beatle just four nights before at Hulme Hall in Port Sunlight, but some fans were still up in arms over the abrupt dismissal of previous stickman Pete Best, whose shy charm and matinee idol good looks made him a particular favorite with the ladies. As the final notes give way to applause on the Grenada recording, a dissenting male voice cuts through the crowd: “We want Pete!”

Initially filmed for the Know the North program, the grainy footage was deemed substandard for broadcast and shelved until the following year—by which point everything the Beatles touched became a surefire ratings draw. While its cameraman, the future documentarian Leslie Woodhead, later described the lo-fi film as looking “like something smuggled out of Eastern Europe,” its historical significance more than makes up for its questionable quality. The clip is the first moving image of the Beatles with synced sound, the first video with Starr, and the only film ever made of them performing at the Cavern.

2. The Palladium, London (Oct. 13, 1963)



For the Beatles in 1963, Val Parnell’s Sunday Night at the London Palladium was the absolute pinnacle of showbiz. Their appearance on the televised variety program was the British equivalent of their star making turn on The Ed Sullivan Show across the Atlantic four months later, launching them into the highest echelon of the pop stratosphere. “There was nothing bigger in the world than making it to the Palladium,” Starr later recalled in the Anthology. “Anyone who knew you would say, ‘F—king hell, hey, look at this!’”

Though the band’s reputation had been on the rise since releasing their first number one single, “Please Please Me,” and their debut album of the same name earlier that year, the show’s high viewership—regularly topping 15 million Britons—was enough to rattle even the steeliest of nerves. “Before the show, I was so nervous with craziness and tension that I spewed up into a bucket,” Starr later admitted. He had no need to worry: their performance was met with the rapturous response that would greet their shows until the end of their live concert career. Their appearance was teased at the start of the show, leading emcee Bruce Forsythe to advise the crowd, “If you want to see them again they’ll be back in 42 minutes!” They returned to play “From Me to You” and “I’ll Get You.” Their most recent hit, “She Loves You,” followed, drawing screams so deafening that Lennon (only half joking) yelled back at the audience to “Shut up!” They signed off with their current closer, a barnstorming version of the Isley Brothers’ “Twist and Shout.”




However, it was the crowd outside that made the headlines. Several hundred fans began converging earlier that afternoon, but by the end of the performance the venue had been swarmed by over 1,000 teenagers, whipped into a frenzy at the mere chance of seeing their musical idols. “Screaming girls launched themselves against the police—sending helmets flying and constables reeling,” read one account in the Daily Herald. The press soon came up with a new word for this strange phenomenon that had its grip on the nation’s youths: Beatlemania.

3. Washington Coliseum, Washington D.C. (Feb. 11, 1964)



Yes, the Beatles’ debut appearance on The Ed Sullivan Show two days before completely changed history and its impact on popular culture reverberates to this day. Close your eyes and think of the Beatles, and chances are you will see them in stark black and white, launching into “All My Loving” before an live audience of just 728 in CBS Studio 50 on New York City’s Great White Way—and 74,000,000 elsewhere, watching on television screens across the country. It was the performance that launched a thousand bands and invented a new generation of teenagers.




That having been said, the Beatles’ first proper American concert took place on Feb. 11 at the Washington D.C.’s Coliseum. The venue was primarily used for boxing matches, and the group played their 35-minute, 12-song set in a ring at the center while nearly 8,100 fans enveloped them in screams—and jellybeans. In a then-recent interview, the Beatles had discussed their fondness for Jelly Babies, a squishy English candy similar to gummy bears. These treats were unknown to fans in America, who simply opted for the hard-shelled American cousins. “That night, we were absolutely pelted by the f—kin’ things,” Harrison recalled. “Imagine waves of rock-hard little bullets raining down on your from the sky. It’s a bit dangerous, you know, ‘cos if a jellybean, traveling about 50 miles an hour through the air hits you in the eye, you’re finished. You’re blind, aren’t you?” The guitarist was already annoyed that his microphone had conked out during the first song, requiring a mid-show swap. The sugary assault was more than he could handle. “Every now and again, one would hit a string on my guitar and plonk off a bad note as I was trying to play.”

It would get worse. Performing “in the round” meant that they were only facing a quarter of the audience at any moment. The awkward solution was for the band to stop every third song and shift their equipment 90-degrees clockwise, which worked as well as could be expected until Starr’s drum riser got stuck. The Beatles’ trusty—and enormous—roadie, Mal Evans, was called upon to save the day. Despite the challenges, they rose to the occasion, giving their all in the land that had inspired them to make rock ‘n’ roll.

4. KB Hallen, Copenhagen (June 4, 1964)



John, Paul, George and….Jimmie? The Beatles’ world tour in the summer of 1964 was nearly derailed the day before it was due to begin after Starr collapsed in the midst of a photo-shoot. Diagnosed with tonsillitis and pharyngitis, doctors at London’s University College Hospital confined him to bed rest. At the suggestion of George Martin, the band brought in Jimmie Nichol, a 24-year-old session drummer who had previously worked with Martin on an album of Beatles covers. “I was having a bit of a lie down after lunch when the phone rang,” Nichol later recalled. “It was EMI asking if I could come down to the studio to rehearse with the Beatles.”

They spent a short time that afternoon running through six numbers from their stage set. Satisfied that he could handle the gig, the band called in manager Brian Epstein to work out payment. “When Brian talked of money in front of them, I got very, very nervous,” Nichol remembered in 1987. “They paid me £2,500 per gig and a £2,500 signing bonus. Now, that floored me. When John spoke up in a protest by saying ‘Good God, Brian, you’ll make the chap crazy!’ I thought it was over. But no sooner had he said that when he said, ‘Give him £10,000!’ Everyone laughed and I felt a hell of a lot better.” After being measured by a seamstress for some new stage clothes and having his hair cut in the prerequisite mop top, he was sent home to pack for the journey to Copenhagen the following day. “That night I couldn’t sleep a wink,” he later said. “I was a f—king Beatle!”

The decision to replace Starr on the road was met with resistance from some within the group. Harrison, for one, very nearly refused to do the tour. “We shouldn’t have done it,” he complained later in the Anthology. “The point was, it was the Fabs. Can you imagine the Rolling Stones going on tour: ‘Oh, sorry, Mick can’t come.’—‘All right, we’ll just get somebody else to replace him for two weeks.’ It was silly, and I couldn’t understand it.” Though considerate of the situation, Starr himself wasn’t exactly thrilled with the way events had unfolded, either. “It was very strange, them going off without me. They’d taken Jimmie Nichol and I thought they didn’t love me anymore—all that stuff went through my head.” McCartney sent him a telegram after they arrived in Copenhagen reading, “Didn’t think we could miss you so much. Get well soon.”

The “Threetles” plus Nicol played 10 concerts with the band over the next 10 days, spanning Denmark, the Netherlands, Hong Kong and Australia before Starr rejoined his comrades in Melbourne on June 14. “That was a nice moment,” he remembered. “And they’d bought me presents in Hong Kong.” Epstein presented Nichol with a check and a wristwatch engraved with a message to him: “From The Beatles and Brian Epstein to Jimmy – with appreciation and gratitude.” Nicol crossed paths with the band just once more, when they shared a bill with his own band, the Shubdubs, at the Hippodrome Theatre in Brighton a month later. “The boys were very kind but I felt like an intruder,” he later reflected. “They accepted me but you can’t just go into a group like that – they have their own atmosphere, their own sense of humor. It’s a little clique and outsiders just can’t break in.”

Nicol was to play one more role in the Beatles’ story. McCartney never forget his pet phrase, “It’s getting better!”—usually uttered in reference to his drumming. In the spring of 1967, he wrote a song around the optimistic expression, becoming the third track on Sgt. Pepper’s Lonely Hearts Club Band.

5. The Hollywood Bowl, Los Angeles (Aug. 23, 1964)



When the Beatles returned to the United States for their first full scale tour later that summer, they aimed to document the trek with a (highly lucrative) live album. Plans to record their set at New York City’s Carnegie Hall the previous February had fallen through due to problems with the American Federation of Musicians, so this time around they set their sights on an even glitzier venue: the Hollywood Bowl. All 18,700 seats at the iconic art deco amphitheater had sold out soon after going on sale, thus guaranteeing an electrifying display of Beatlemania, California style. The band took to the stage at 9:30 p.m., playing 12 songs over the course of half an hour before speeding off in a chauffeur-driven car.

“The Hollywood Bowl was marvelous,” Lennon said in 1964. “It was the one we all enjoyed most, I think, even though it wasn’t the largest crowd — because it seemed so important, and everybody was saying things. We got on, and it was a big stage, and it was great. We could be heard in a place like the Hollywood Bowl, even though the crowds was wild: good acoustics.” Starr was also taken in by the glamorous locale. “It was the Hollywood Bowl — these were impressive places to me,” he said during the Beatles Anthology. “I fell in love with Hollywood then, and I am still in love with Hollywood.”

The experience was less pleasant for Martin, who was on hand with Capitol Records producer Voyle Gilmore to oversee the recording process. While the music sounded fine, it was completely overpowered by the screams from the audience. “It was like putting a microphone at the tail of a 747 jet. It was one continual screaming sound, and it was very difficult to get a good recording.” They made a second attempt when the band played the venue on their American tour the following year, but they encountered the same technical problems. The Beatles would be one of the few major acts if the era who didn’t release a live album in the ‘60s. More than a decade later, technological advances allowed the tapes to be sufficiently sweetened and they finally saw release as The Beatles at the Hollywood Bowl in 1977. After going out of print for many years, a remixed, remastered, and expanded version of the album was issued in 2016 to correspond to the premiere of Eight Days a Week.

6. Shea Stadium, New York City, (Aug. 15, 1965)




If the Beatles’ Palladium concert gave birth to Beatlemania, then their performance at Shea was the big bang of arena rock. The Mets’ newly completed home in the outer borough of Queens welcomed 56,000 fans who turned out to the first date of their 1965 American tour, shattering concert attendance records for years to come. “Now it’s quite commonplace for people to play Shea Stadium or Giants Stadium and all those big places, but this was the first time,” McCartney recalled during the Anthology. “It seemed like millions of people, but we were ready for it. They obviously felt we were popular enough to fill it.”

A flimsily stage was constructed just over second base, putting a seemingly insurmountable distance between the band and the crowd—which included future Beatle wives Linda McCartney (then Eastman) and Barbara Bach. (“I was shocked!” Starr recently told PEOPLE of this remarkable coincidence. “Who knew?”) For safety’s sake, the field was lined with a phalanx of NYPD officers and wooden barricades. After being transported from Manhattan to the roof of a World’s Fair office building in nearby Flushing, the Beatles were shuttled into the stadium via Walls Fargo armored van.

Following opening acts that included Brenda Holloway and the King Curtis Band, Cannibal & The Headhunters, Sounds Incorporated, and the Young Rascals, the headliners were introduced just before 9:15 p.m. by Ed Sullivan himself. It wasn’t a totally magnanimous gesture: Sullivan’s production team, coupled with the Beatles’ own NEMS Enterprises and Subafilms, hired a 12 camera crew to capture the colossal event for a television special which would later air the following year. As usual the screams made it impossible for the band, let alone anyone else, to actually hear the music. Poor Starr was reduced to watching his bandmate’s rear-ends to discern where they were in the song. “Vox made special big 100-watt amplifiers for that tour,” Harrison remembered. “We went up from the 30-watt amp to the 100-watt amp and it obviously wasn’t enough; we just had the house PA.”

That didn’t stop the band from having a blast. They played their usual 12-song, 30-minute set with wild abandon, exchanging giddy grins as they shook their mop tops. A highlight of the show came when Lennon perfomed the organ solo on their incendiary closer; the Little Richard-tinged “I’m Down.” Feeling “naked” without his guitar, he went full Jerry Lee Lewis, playing the instrument with his elbows and leaping like a man possessed. “I was putting my foot on it and George couldn’t play for laughing,” he later said. “I was doing it for a laugh. The kids didn’t know what I was doing.”



It would remain a fond memory for the remainder of his life. Years later, Lennon bumped into the show’s promoter, legendary New York impresario Sid Bernstein. Reminiscing about the night at Shea Stadium, he said, “We reached the top of the mountain, Sid.”

7. Rizal Memorial Football Stadium, Manila (July 4, 1966)



Once you’ve reached the mountaintop, the only place left to go is down. The continual waves of screams washed away any hope of the band ever hearing themselves onstage, and as a result their performance chops began to atrophy—not that the fans cared much. But even this blind devotion was growing tiresome. What had initially begun as a teenage hysterics, not dissimilar to outpouring of affection that greeted Elvis Presley or Frank Sinatra in prior decades, had evolved into something wholly other. Scenes akin to riots began to follow the band wherever they went. “It felt dangerous,” Harrison later said. “Everybody was out of hand. Even the cops were out of line. They were all just caught up in the mania. It was like they were in this big movie, and we were the ones trapped in the middle of it while everyone else was going mad.”

After closing 1965 with a short tour of the United Kingdom—ultimately the last in their homeland—the Beatles began to rethink their priorities. “By the end of 1965, the touring started to hit everybody,” says Starr. “I remember we had a meeting during which we all talked about how the musicianship was going downhill, never mind the boredom of doing it.” On their only trek through Japan the following June, an extensive security personnel (some 3,000 police for 10,000 fans) enforced strict silence among the crowds in Tokyo’s Budokan, rendering the Beatles’ rusty performance audible for the first time in years. “The band suddenly realized they were out of tune and they had to get their act together,” remembered their road manager (and future Apple Records President) Neil Aspinall.



But no event cemented their distaste for touring quite like their trip to the Philippines in July 1966. Ferdinand Marcos’ repressive regime made its brute strength known from the moment the Beatles’ plane touched down at Manila International Airport. “As soon as we go there it was bad news,” remembered Harrison. “There were tough guerillas—little men—who had short sleeved shirts and acted very menacingly.” Starr, who later unequivocally said that he “hated” the experience, remembered “everyone had guns and it was really like that hot/gun/Spanish Inquisition attitude.” They were forcibly taken onto a yacht owned by a wealthy local business man, where they were held as “guests of honor” until 4 a.m.

The following morning they were awoken by loud bangs on the door. Unbeknownst to the band, they had been invited to attend a luncheon with first lady Imelda Marcos, and now government officials were there to collect them. “The officers spoke coldly: ‘This is not a request. We have our orders. The children who wish to meet the Beatles will assemble at eleven,’” the Beatles’ press officer, Tony Barrow, wrote in his memoir. It was an offer the Beatles couldn’t refuse, but they refused it anyway. They played two back-to-back shows at the Rizal Memorial Football Stadium to significantly more seats than had been agreed upon. “We were thinking, ‘Well, the promoter is probably making a bit on the side out of this,’ said Harrison. “We went back to the hotel really tired and jet-lagged and pretty cheesed off.”

The Marcos’ were also pretty cheesed off when the group was a no-show at the lunch party. The entire country seemingly turned against them as the morning papers screamed “BEATLES SNUB FIRST FAMILY.” Security detail was withdrawn, and the band were forced to find their own way back to the airport to catch their departing flight. Lugging their own guitars and equipment, they braved through a furious crowd of shouting and spitting citizens hellbent on roughing up some Beatles. They made it through the melee with maximum difficulty, but their plane was forbidden to take off until the group handed over a great deal of money in “taxes.” Fearing that they’d wind up in prison as enemies of the state, they paid up. “Strangely enough, I think it came to the same amount as the receipts for the trip,” McCartney later said.



The prospect of going out on the road again just over a month later did not exactly appeal to any of the Beatles. “We’re going to have a couple of weeks to recuperate before we go and get beaten up by the Americans,” Harrison sarcastically told one reporter. It would prove scarily accurate.

8. Candlestick Park, San Francisco, (Aug. 29, 1966)



Still shaken from the Manila experience, the band was due to fly to Chicago within weeks to begin their third annual U.S. summer tour. The general stress of the road was compounded by the rising furor over a supposedly blasphemous comment Lennon had made to a columnist earlier in the year. “Christianity will go,” he had said while being interviewed by Maureen Cleave of the London Evening Standard that March. “It will vanish and shrink. I needn’t argue about that; I know I’m right and I will be proved right. We’re more popular than Jesus now. I don’t know which will go first – rock & roll or Christianity.”

While the remark passed unnoticed in the U.K., it ignited a firestorm south of the Mason-Dixon line. The Beatles’ music was boycotted, their albums were burned—along with crosses—and their concerts were picketed by Klansmen making unsubtle death threats. Their show in Memphis was irrupted by a loud bang that reverberated through the auditorium. “Every one of us … look[ed] at each other,” Lennon remembered, “because each of us thought the other had been shot. It was that bad.” It was just a cherry bomb, thrown as a prank by some kids, but the fresh bullet holes in the fuselage of their plane were no joke.



The problems continued days later when Biblical rains drenched several open-air concerts. The Beatles rescheduled one, risking a riot in the process, but gamely played another, making due with the sparks flying off their soaked electrical equipment. Mal Evans was tasked with unplugging the main AC connection as soon as the first Beatle collapsed from electric shock, but thankfully that was never necessary.

Even safety measures had a disheartening effect on the group’s morale. After decoy limos proved ineffectual against the cunning fans, the Beatles were shuttled into venues in a military-like armored car. “I remember us getting in a big empty steel-lined wagon, like a removal van,” remembered McCartney. “There was no furniture in there – nothing. We were sliding around trying to hold on to something, and at that moment everyone said, ‘Oh, this bloody touring lark – I’ve had it up to here, man.'” His bandmates were in total agreement. “It was just a sort of a freak show,” Lennon also recalled. “The Beatles were the show, and the music had nothing to do with it.”

The tour was due to wrap on Aug. 29 at Candlestick Park, a windswept baseball field on the outskirts of San Francisco. Before they played a note, the Beatles came to an understanding: this was the end of the road. “It wasn’t fun anymore. And that was the main point: We’d always tried to keep some fun in it for ourselves,” McCartney during the Anthology. “So by Candlestick Park it was like, ‘Don’t tell anyone, but this is probably our last gig.'”

Twenty-five thousand fans paid between $4.50 and $6.50 to watch their heroes sprint to the elevated stage constructed over second base just after 9:30 p.m. In a fitting touch, a chain-link fence enveloped the platform—ensuring that the Beatles would play their 11-song set in what was effectively a cage. Particularly eagle-eyed spectators might have noticed that the foursome were clutching something in addition to their instruments: cameras. Like students on their graduation day, they were determined to document what they knew to be an historic occasion. “We placed our cameras on the amplifiers and put them on a timer,” says Harrison. “We stopped between tunes, Ringo got down off the drums, and we stood facing the amplifiers with our back to the audience and took photographs. We knew: ‘This is it – we’re not going to do this again. This is the last concert.’ It was a unanimous decision.”

Just before taking the stage, McCartney asked Tony Barrow a favor. “I remember Paul, casually, at the very last minute saying, ‘Have you got your cassette recorder with you?’ I said, ‘Yes, of course.’ Paul then said, ‘Tape it, will you? Tape the show.'” True to his word, Barrow held his recorder aloft, capturing everything up to McCartney’s mumbled final stage announcement. “We’d like to ask you to join in and, er, clap, sing, talk, do anything. Anyway, the song is … good night.” He makes up for his lack of enthusiasm by summoning an unholy shriek to kick off the band’s closer, Little Richard’s “Long Tall Sally.” It’s a song that had been in the Beatles’ repertoire since their earliest shows in 1960, and it was still clearly a favorite. For a single verse the band can be heard giving it all they have—more for themselves than for anyone else. No one in the crowd can hear them anyway.



Then the tape runs out. Cassettes only held 30-minutes per side in 1966—a technical quirk that robbed history of the very last strains from a live Beatles concert. But in the end, maybe it’s best to remember them playing.

NUMBER 9 BONUS: Karlaplansstudion Radio Studio, Stockholm, Sweden (Oct. 24, 1963)



From the Palladium gig onwards, nearly all of the Beatles concerts were drowned out by the screams of adoring fans. One rare exception is this set for Swedish radio, during which the band blows through seven songs with all the force of a cyclone. Recorded for Klas Burling’s Sveriges Radio (Swedish National Radio) show Pop ’63, the audience consisted of 100 lucky winners of a ticket giveaway.

The Beatles blast off with a particularly explosive version of “I Saw Her Standing There,” offering perhaps the best glimpse of the band’s rough and raw days as a nocturnal bar band on in the Red Light District of Hamburg, Germany, less than a year earlier. Forgoing a rehearsal, and even a sound check, their cranked up guitars pushed the radio sound meters into the red zone. The distorted sound horrified engineer Hans Westman, who called it “the worst recording I’ve ever made.” The Beatles, on the other hand, loved it.


lunes, 20 de noviembre de 2017

Berlin police recover John Lennon diaries

















www.thelocal.de
Beatles for sale: Berlin police recover John Lennon diaries
The Local Germany
AFP
20 November 2017

Beatles for sale: Berlin police recover John Lennon diaries
A sketch drawn by John Lennon that hangs at the Hard Rock Cafe in New York. Photo: DPA.

German police on Monday arrested a 58-year-old man in Berlin on suspicion of handling stolen items from John Lennon's estate, including the late Beatle's diaries.

The items were stolen from Lennon's widow Yoko Ono in New York in 2006 and have been seized as evidence, Martin Steltner, a spokesman for the Berlin prosecutor's office, said.

The unidentified man was taken into custody suspected of fraud and handling stolen goods.

A second suspect, who lives in Turkey, "is unattainable for us at the present time," Steltner said in a recorded statement posted on Twitter.

The stolen goods consisted of "various items from the estate of John Lennon, including several diaries that were written by him," Steltner added.

The items resurfaced in the German capital about three years ago.

They were confiscated this year as part of the investigation and it is unclear when they will be returned to the estate.

"The release of the seized evidence cannot yet be decided," Steltner said.

Lennon, who along with Paul McCartney penned some of the Fab Four's biggest hits including "Help" and "With a Little Help from My Friends", was shot dead by a troubled fan in New York in 1980.

His possessions have since become collectors' items.

A leather jacket supposedly worn by Lennon sold for £10,400 (€11,700; $13,800) at an auction in England in February.










The Salvos Take On a Vision for Strawberry Field in Liverpool









 John Lennon at the gates of Strawberry Field in Liverpool



beatlesblogger.com
The Salvos Take On a Vision for Strawberry Field in Liverpool
by beatlesblogger
Posted on November 20, 2017



After what turned into a bit of a fight to get permission, The Salvation Army has finally received full planning go-ahead at its Strawberry Field site in Liverpool to build a much-needed training and work placement hub for young people with learning disabilities. On the site, which has been closed to the public for years, there’ll also be an exhibition centre where visitors can find out more about John Lennon and his connection to the site, as well as a place to explore spirituality. It’ll look something like this:





The next phase of the project is to raise the money needed to move these plans from vision to reality. And that’s where you come in. To find out how you can donate, purchase merchandise and support the project, visit www.strawberryfieldliverpool.com

You’ll be helping young people like Jordan Clark to overcome their learning difficulties, get jobs and to make a contribution to the community:




One of the fundraising projects saw a group of young people from the City of Liverpool College and the Salvos’ Steps to Work Programme come together to form a choir and record their version of John Lennon’s legendary ‘Strawberry Fields Forever’. They did it at the Abbey Road Studios in London, no less:




To hear the song in full,  click here.




Jules Sherwood, Development Manager for The Salvation Army, said: “We believe Strawberry Field is the final piece of the Beatles jigsaw in Liverpool and once open will offer a magical experience to visitors who will be able to follow in the footsteps of the young John Lennon.”

“The very latest technologies will be adopted to create an exhibition where visitors will enter a space where “nothing is real” as they experience the wondrous, intertwined histories of the house, John Lennon and the writing and recording of the iconic song. The gardens will be filled with messages of peace and love which we hope will inspire visitors as Lennon himself was inspired.”

Strawberry Field is an iconic part of Liverpool’s history, as well as an important part of the local community in Woolton. The Salvation Army has owned the site since the 1930s and ran a children’s home there until 2005. Lennon was inspired to write ‘Strawberry Fields Forever’ after climbing over the wall and playing in the grounds. For him, it was a special place which had a lasting impact on his life.

You can donate here, plus there’s lots of cool merch in the official Salvos store



Living is Easy Mug

Nothing Is Real Tote Bag


sábado, 18 de noviembre de 2017

Paul McCartney has banned meat for crew at Perth show














www.perthnow.com.au
Sir Paul McCartney has banned meat for crew at Perth show
Linda Parri, PerthNow
November 18, 2017

Paul McCartney is an animal rights activist.
Paul McCartney is an animal rights activist.Picture: AP

SITE crew preparing for Sir Paul McCartney’s show at Perth’s nib Stadium on December 2 have been told caterers will provide them with vegan food only.

“All the crew members have to eat vegan food,” a crew member said.

“No one’s allowed to eat meat for three weeks on site.”

“It has to be vegan food rider.”

It’s not the first time the animal activist has encouraged others to follow his diet.

McCartney, pictured, reportedly demanded only vegan food be sold in the concourse at his concert in Illinois in July. Offerings included vegan chilli fries, vegan nacho grande and buffalo cauliflower and fries.

Also in July, employees at Intrust Bank Arena in Kansas reported they received emails informing them no meat products would be allowed backstage. Those who wanted to eat meat were confined to a designated area on the upper concourse after the concert started. The 75-year-old has banned animal food products from his rider when he performed in Canada in 2013.

It was reported he would not perform unless show organisers confirmed no meat would be eaten backstage.

He also said he did not want any furniture in his dressing room to be made of animals at his Driving USA Tour, as in 2002.



Image result for paul mccartney veggie


viernes, 17 de noviembre de 2017

The Archive Collection: Eight Titles In Stores Today!












www.PaulMcCartney.com


NOV
17
2017

The Archive Collection: Eight Titles In Stores Today!

 The Archive Collection: Eight Titles In Stores Today!
THE PAUL McCARTNEY ARCHIVE COLLECTION 
EIGHT TITLES IN-STORES NOW
FEATURING LIMITED EDITION 180g COLOR VINYL PRESSINGS
The first eight Archive Collection titles are now available in stores released as single CD digipack, 180gram black vinyl, and limited edition 180gram colour vinyl. All vinyl LPs in the Archive Collection will feature a download card and fully restored artwork.
Fans can complete their collection at their local record store, or online via the below links: 
Paul McCartney: McCartney - RED
Paul and Linda McCartney: RAM - YELLOW
Paul McCartney & Wings: Band on the Run - WHITE
Wings: Venus And Mars - RED & YELLOW
Wings: At The Speed Of Sound - ORANGE
Paul McCartney: McCartney II - CLEAR
Paul McCartney: Tug of War - BLUE 
Paul McCartney: Pipes of Peace - SILVER 
Every release in the ongoing Paul McCartney Archive Collection is supervised by Paul himself, who oversees all aspects of each and every title from remastering to the curation of lost tracks, outtakes, artwork, photographs and video from his personal vaults, and much more. The result is one of the most ambitious and personal undertakings of its kind, one that encompasses more than 40 years of cherished, classic material from the most successful songwriter and recording artist in music history.
TRACKLISTING
McCartney
The Lovely Linda
That Would Be Something
Valentine Day
Every Night
Hot As Sun / Glasses
Junk
Man We Was Lonely
Oo You
Momma Miss America
Teddy Boy
Singalong Junk
Maybe I'm Amazed
Kreen-Akrore
RAM
Too Many People
3 Legs
Ram On
Dear Boy
Uncle Albert / Admiral Halsey
Smile Away
Heart Of The Country
Monkberry Moon Delight
Eat At Home
Long Haired Lady
Ram On [reprise]
The Back Seat Of My Car
Band on the Run
Band On The Run
Jet
Bluebird
Mrs. Vandebilt
Let Me Roll It
Mamunia
No Words
Picasso's Last Words (Drink To Me)
Nineteen Hundred And Eighty Five
Venus and Mars
Venus And Mars
Rock Show
Love In Song
You Gave Me The Answer
Magneto And Titanium Man
Letting Go
Venus And Mars [reprise]
Spirits Of Ancient Egypt
Medicine Jar
Call Me Back Again
Listen To What The Man Said
Treat Her Gently - Lonely Old People
Crossroads
At The Speed of Sound
Let 'Em In
The Note You Never Wrote
She's My Baby
Beware My Love
Wino Junko
Silly Love Songs
Cook Of The House
Time To Hide
Must Do Something About It
San Ferry Anne
Warm And Beautiful
McCartney II
Coming Up
Temporary Secretary
On The Way
Waterfalls
Nobody Knows
Front Parlour
Summer's Day Song
Frozen Jap
Bogey Music
Darkroom
One Of These Days
Tug of War
Tug Of War
Take It Away
Somebody Who Cares
What's That You're Doing
Here Today
Ballroom Dancing
The Pound Is Sinking
Wanderlust
Get It
Be What You See
Dress Me Up As A Robber
Ebony And Ivory

Pipes of Peace
Pipes Of Peace
Say Say Say
The Other Me
Keep Under Cover
So Bad
The Man
Sweetest Little Show
Average Person
Hey Hey
Tug Of Peace
Through Our Love