pagesix.com Paul McCartney’s odd request for ‘Oldchella’ concert By Tashara Jones September 21, 2016
Paul McCartney
Photo: Getty Images
Rocker Sir Paul McCartney wants to make sure he isn’t dwarfed by any fellow rock gods — from the Rolling Stones to The Who — at the upcoming Desert Trip concert, which has also been dubbed “Oldchella.”
A music source close to the show says that the 74-year-old former Beatle requested the stage be raised a whole 6 inches every time he’s on it.
Rock giant Macca stands at a respectable 5-feet-11, but apparently feels he’s too short for his fans to fully bask in his knighted greatness at the venue, sources said. (Capacity at the show’s been speculated to be around 70,000 per day.)
Other rockers set to perform along with McCartney, the Stones and The Who include Bob Dylan, Neil Young and Roger Waters.
“Oldchella” is set for Oct. 7 to 9 and Oct. 14 to 16 at the Empire Polo Club grounds in Indio, Calif., the same location as famed fest Coachella. Tickets range from $199 to $1,599.
The concerts are expected to potentially haul in $100 million, while McCartney and others are reportedly earning $7 million to $10 million per show.
McCartney’s rep didn’t comment.
Paul McCartney performs on stage during the 'One on One' tour in Seattle,
www.latimes.com More hits for the Beatles in the 'Eight Days a Week' film and 'Hollywood Bowl' album By Randy Lewis
September 22, 2016
Ringo Starr, left, and Paul McCartney arrive for the London premiere of director-producer Ron Howard's documentary "The Beatles: Eight Days a Week — The Touring Years" on Sept. 15. (Kirsty Wigglesworth / Associated Press) A modestly budgeted independent film documentary about a pop culture phenomenon that played out half a century ago is out-grossing multimillion dollar major studio feature films, proving anew a time-honored music industry adage, “Never underestimate the power of the Beatles.” Ron Howard’s new documentary, “The Beatles: Eight Days a Week — The Touring Years,” has played so strongly during its first week in theaters that virtually all are holding it over for at least a second week, and the film’s distributor is nearly doubling the number of screens it will be shown on beginning Friday. “Any day when this little film can out-gross studio films in 48 of the top 50 theaters is a good day,” Richard Abramowitz, president of the film’s distributor, Abramorama , told The Times on Wednesday. “And by tomorrow, it will be 49 out of the 50.” The trailer for Ron Howard's documentary, "The Beatles: Eight Days a Week - The Touring Years." In the first three days after opening on 85 screens on Friday, Sept. 16, “Eight Days a Week” grossed $622,410, for a per-screen average of $7,322, Abramorama reported. Factoring in preview screenings on Thursday, the total gross through Sunday came to $771,154. As of Wednesday, the film’s box-office total had reached $923,312, putting it on track to cross the $1 million mark on Thursday, Abramowitz said. He noted the unusual rollout that doesn’t conform to conventional film-release practices. Many theater operators who had only committed to single-night screenings last week added a second night on Monday, and many also held the film over for the full week and are now committing to a second week of showings. It will expand to nearly 200 theaters starting Friday, Abramowitz said “The weekend was very strong,” he said, “but we’re also seeing solid audiences at the weekday screenings. I went to a 3:45 screening at a theater here [in New York] on Monday, and there were about 80 people there. The manager said ‘You should have seen it at noon.’” “Eight Days a Week” also has generated generally positive reviews, scoring a 97% positive rating at RottenTomatoes.com and 72% at Metacritic.com. Beatles documentary producer and director Ron Howard, left, with Ringo Starr and Paul McCartney in Las Vegas (MJ Kim) The distributor has not conducted demographic surveys on the makeup of the audience for the film — “From a commercial sense, it’s almost irrelevant to have that kind of data,” Abramowitz said — but anecdotally I have seen younger people, teenagers, at many of the theaters I’ve checked. “I overheard one girl, who was probably about 14, walking out with her dad and saying ‘That music was unbelievable. Paul is my favorite, but Ringo is so cute!’ It’s amazing to see how some things never change.” He also said audiences are often responding tangibly to the section of the film that outlines the Beatles’ contract rider specifying the group would not play to segregated audiences, a fact of life in many parts of the U.S. when the band was on tour between 1964 and 1966. “That’s been particularly gratifying,” Abramowitz said. “There’s a line where one of them says something like ‘We just play to people,’ and I’ve heard spontaneous applause in response, because it’s a particularly sensitive time in this country’s history right now. “You think back to how evolved these guys were, socially and politically,” he said. “When we think about all the changes they generated in our culture, it’s usually about music and fashion and things like that. So to think that 50 years ago they took a stand like that, when it clearly did not have any commercial value to them, it’s quite remarkable.” Abramorama booked “Eight Days a Week,” and the companion 30-minute concert film “The Beatles at Shea Stadium” documenting a 1965 performance before what was at the time the largest audience for concert in history, into a network of theaters that didn’t include major exhibitor chains such as Regal, AMC, Cinemark and Landmark. That was due to an arrangement in which Howard’s film also became available for streaming on Hulu as of Sept. 17. It has made for a strong week of Beatles in the entertainment world, as the companion album, “The Beatles: Live at the Hollywood Bowl,” recorded during shows in 1964 and 1965, entered the Billboard 200 Albums chart at No. 7. Producer Giles Martin, the son of the Beatles original producer George Martin, has overseen the audio for the Hollywood Bowl album as well as “Eight Days a Week” and the Shea Stadium film. He told The Times it was a major challenge to pull quality sound from original live recordings made under adverse conditions, with the volume of fans’ screams famously likened by his father to the sound of jet aircraft. But in particular with the Shea Stadium film, for which many performances were subsequently rerecorded in a London studio and overdubbed when the film was shown on television in 1967, he and his team were able to restore live-performance recordings to all the songs for the new edition of that document, which is only being shown in theaters. “We found the original tapes, which were pretty bad,” Martin told The Times in a separate interview, “and we had the repaired versions, which also were pretty bad.” “But now the Shea Stadium film is all using their live performance, unlike the original, which had replaced the live audio with big chunks from the Hollywood Bowl tapes or the rerecorded material.” Martin noted that some of the performances are still hybrids incorporating bits of studio recordings because portions of the live audio were unusable. Such was the case with “Act Naturally,” which for the original airing of the film used the Beatles studio version replacing the live audio. Now, Ringo Starr’s live vocal is blended with studio recording of the instrumental accompaniment. “The response to the movie and to the Hollywood Bowl album is just amazing,” he said, “more than I had expected. It’s great to see that people are being so emotionally touched by it.”
www.nola.com The Beatles and the Fat Man: the story behind the photo By Mike Scott, NOLA.com The Times-Picayune September 22, 2016 New Orleans musician Fats Domino, second from right, meets with the Beatles -- from left, Ringo Starr, Paul McCartney, George Harrison and John Lennon -- in a trailer behind New Orleans' City Park stadium before the band's concert there in September 1964. The Beatles were big fans of Domino's and wanted to meet him while in town. When the Beatles visited New Orleans for their now-legendary City Park concert in September 1964, they had two primary requests. Following the show, they wanted a day off from their grueling 25-concert, 30-day tour, in order to bask in the music of one of America's most soulful cities; and they wanted to meet local musician Fats Domino, one of their major influences. Poster for The Beatles in New Orleans, 16 September 1964 As far as that day off goes, it was scheduled – and then un-scheduled when the band was offered a reported $150,000, which is said to be about six times their normal fee, to add a last-minute concert in Kansas City to the jam-packed tour schedule. (After leaving New Orleans and arriving in Kansas City, the band was asked if there was any place in America they'd love to see. Beatle John Lennon's wistful reply: "New Orleans is one of them.") And as for meeting the notoriously shy Fats? Well, in that case, they scored – and there's photographic evidence to prove it. Two photos from that meeting make it into Ron Howard's new Beatles documentary "Eight Days a Week: The Touring Years." And while they are, somewhat disappointingly, the only images from the lads' New Orleans stop to make it into the film, they are still priceless images of an impromptu summit of rock 'n' roll legends. So, a music fan might wonder, how did that meeting come together anyway? And what's the story behind that photograph? It's a tale that starts with a Frogman – the Frogman, in fact. "New Orleans' own Clarence 'Frogman' Henry was one of the opening acts for the City Park concert," said New Orleans tax attorney and Beatles authority Bruce Spizer, who also served as fact-checker on Howard's film. "He joined the Beatles tour midway as a replacement for the Righteous Brothers, who withdrew from the tour after becoming tired of hearing chants of 'We want the Beatles!' during their performances." It was also Henry who, upon learning of the Beatles' fondness for Domino, told them that he'd try to set up a meeting with the Fat Man. According to Spizer, a British reporter was once quoted as saying the Beatles went to Domino's 9th Ward home to meet him. "But that has not been substantiated and is believed to be a false memory," Spizer said. In fact, the real trick, according to Beatle Paul McCartney's recounting, was tracking down the reclusive Domino on such short notice. "They found him getting groceries in a store or something," McCartney said at the Kansas City press conference when asked about the New Orleans meeting. Eventually, Domino and a friend – later identified by Henry as his longtime manager, Bob Astor -- were ferried to a trailer serving as a backstage area behind City Park Stadium. According to Lennon, the Fab Four hung out with Domino for about an hour, took pictures "for his kids. ... Had a sing-song with him." Soon enough, it was time for the band to say goodbye to Domino and take the stage, which they did before a raucous, sell-out crowd of 12,000 fans. Also there were an estimated 225 New Orleans Police officers, who found themselves repeatedly tackling fans making a break across the open field separating the stage and the stands in the hopes of getting up close and personal with the band. After an 11-song performance spanning a half hour, it was all over. "I want to thank everyone for coming, especially the football players," McCartney joked to the crowd in introducing "Long Tall Sally," which would be the final number of the night. Shortly after, the Beatles were off to Kansas City. Their time on the ground in New Orleans clocked in at less than 24 hours. They never got to see anything but the inside of their hotel room – which, for the record, was Room 100 at the now-defunct Congress Inn in New Orleans East – along with the stadium and the airport. And, of course, the Fat Man. Years later, Domino's sense of style was one of the things that stuck out in McCartney's memory of that meeting. "He had a very big diamond watch in the shape of a star, which was very impressive," McCartney said. That impressive watch is visible in the photographs from that day. And as for Domino's reaction? "Fats was asked by WWL-TV's Eric Paulsen if he got to meet the Beatles when they were in New Orleans," Spizer said. "Fats famously replied, 'No, they got to meet me.'"
www.rockcellarmagazine.com Watch Ringo Starr’s New ‘Now the Time Has Come’ Video, Recorded for the International Day of Peace Written by: Rock Cellar Magazine Staff Wednesday, September 21, 2016 Today, September 21, is known around the world as the International Day of Peace.
Yes it's peace day September 21 peace day day of peace a day full of peace day peace and love peace and love 😎✌️🌟💖🎵🎶🌻🌷🌼🌹
To mark the occasion, Ringo Starr released a new video for a song called Now the Time Has Come. A partnership between Starr and the United Nations, the track was co-written by producer Bruce Sugar and features vocal appearances from Colin Hay, Richard Page, Billy Valentine, Christian Collins, Maddi Jane, Casey McPherson, James Maslow and Wesley Stromberg. In addition, Michael Stern, Rock Cellar Media producer, noted film mixer and guitarist in our musical collaborative The Tribe, served alongside Bruce Sugar as one of the two engineers on Now the Time Has Come project, so congratulations to him! (And check the very end of the video for a cameo from Michael himself, too!) Watch the video and read more about the project’s conception below, via Starr’s Facebook page’s post about it: And as for Ringo’s old pal Paul McCartney, he also issued his own International Day of Peace message: -
www.pastemagazine.com 15 Artists Who Sampled Paul McCartney Songs By Juan Gutierrez September 20, 2016 Paul McCartney is obviously one of the most gifted and prolific songwriters of the 20th century. He has charted more number No. 1 singles than his co-songwriter John Lennon and—apart from his solo work—has managed to stay relevant by actively collaborating with the likes of Michael Jackson, Stevie Wonder, and Kanye West. There is no doubt that McCartney’s legacy is still percolating. So, it’s no surprise that in hip-hop and R&B artists from Beastie Boys to Frank Ocean have been sampled McCartney’s songs. Here are 15 of the best McCartney songs sampled by other artists.
1. “The Girl Is Mine” “The Girl is Mine” was released as the first single for Michael Jackson’s Thriller. Although Jackson wrote it, Paul McCartneystill adds his magic dust, so we’re counting it. Poor Righteous Teachers sample the song on “Shakiyla,” while also borrowing the narrative about being overly possessive with a girl. Additionally, rap legend Raekwon samples the song on his track “Got To Be There/ The Girl Is Mine.”
2. “Live and Let Die” The main theme of the iconic 1973 James BondFilm of the same name, “Live and Let Die” is McCartney’s most successful single as a solo artist, and he famously wrote it in 10 minutes. It was sampled by Guru in his song “Surviving The Game,” a song about struggling with whether to kill someone or not. It was also sampled by Diamond D and Fat Joe on their track of the same name.
3. “Eleanor Rigby” A classic off Revolver credited to Lennon-McCartney, “Eleanor Rigby” is one of the saddest songs about loneliness. It was sampled by The Game on the track “Dope Boys,” a song about dealing crack cocaine, that features the work of blink-182 drummer Travis Barker. It was also sampled byTalib Kweliin the song “Lonely People,” Immortal Technique’s “The Martyr,” G-Eazy’s “Dollarz and Dreamz” and B.o.B.’s “Lonely People.”
4. “Lady Madonna” “Lady Madonna” was inspired by Fats Domino and Humphrey Lyttelton and released as a Beatles single. It was McCartney’s attempt to write a ragtime blues song, but Lennon famously said he wasn’t proud of his lyrical contribution. A song about about the daily struggles of a working class woman, “Lady Madonna” also worked its way into Sublime’s iconic hit “What I Got,” a song itself about working class struggles in Southern California.
5. “Hey Jude” Generally accepted as a song McCartney wrote for John Lennon’s first song Julian to make him feel better about his parents’ divorce, “Hey Jude” is undoubted one of the best Beatles songs (in fact, we named it No. 5 in our list of the best Beatles songs). Boogie Down Productions sampled it on the track “Criminal Minded,” but with much less oblique intention. KRS-One takes the lyrical phrase and melody “Take a sad song and make it better” and twists it to say that he takes samples and makes them better than the original. It was also used in the song “Pay off My Debts” by Evidence (of Dilated Peoples), featuring Dirt Nasty.
6. “The End” “The End” is a track from the Beatlesclassic Abbey Road. Yet, the recording session for this song was the last time all four Beatles were present in the recording studio writing a song together (plus it showcases Ringo Starr’s only drum solo). The song also contained one of John Lennon’s favorite lines written by McCartney: “The love you give is equal to the love you take.” And while the Beastie Boyssampled so many Beatles songs on their double-LP masterpiece Paul’s Boutique,“Sounds of Silence” pays homage to “The End.”
7. “A Day in the Life” This song is famous for McCartney and Lennon writing two song parts separately and putting them together as one song at the end Sgt. Peppers Lonely Hearts Club Band. “A Day in the Life” was also controversial for the line “I love to turn you on”, which many believed was a reference to LSD and counter-culture icon/psychedelic enthusiast Timothy Leary’s slogan “Turn on, tune in, and drop out.”
Borrowing lines in different contexts, Public Enemysamples “A Day in the Life” on their track“Who Stole The Soul” from Fear of Black Planet. The song is about the exploitation and disenfranchisement of African-Americans. Plus, DJ Shadow and Zach De La Rocha use the line “I read the news oh boy” in “March Of Death,” a song about the irony of the government murdering people to stop crime and to spread freedom.
8. “Can’t Buy Me Love” “Can’t Buy Me Love” was released as a single and was also on the soundtrack for A Hard Day’s Night. Adding some stylistic flair in its similarly-named title, DJ Jazzy Jeff and Biz Markie sampled The Beatles’ original in their track “$ Can’t Buy Me Love.”
9. “Mrs. Vanderbilt” The superstar collaboration on 2015’s “FourFiveSeconds” was not the first time Macca and Yeezy worked together. Kaney produced 88-Keys’ The Death of Adam, which includes a sample of thisBand on the Run track on “Ho’ Is Short For Honey.” Additionally, Outkast’s Big Boisampled “Mrs. Vanderbilt” on his track “Mrs Vandebilt Told Me.” While 88-Keys (and guest star Kid Cudi) take a subtle route, just using the instrumentals, Big Boi’s sample is more obvious with vocal sample.
10. “The Note You Never Wrote” 88-Keys shows his Macca love once again by sampling “The Note You Never Wrote” in “Dirty Peaches,” also on The Death of Adam. The Wings original appeared on 1975’s Wings at the Speed of Sound.
11. “When the Wind Is Blowing” Kanye West actually re-recorded McCartney’s whistling for “All Day,” so it’s not exactly a sample. The melody of the song surfaced when McCartney performed on an old talk show, and while “When the Wind Is Blowing” was recorded during the Ram sessions, it never made the album. Macca eventually explained that he wrote the riff while looking at a Picasso painting. At least now the album title for Kanye West’s _Life of Pablo” makes more sense.
12. “Momma Miss America” “Momma Miss America” is yet another Paul song that the Beastie Boyssampled on Paul’s Boutique. It appears in “Johnny Ryall,” as well as The Roots’ “The Fire” and Common’s“Thisisme.” samples are subtle, mostly taking from the unique drum breakdown.
13. “Ebony and Ivory” “Ebony and Ivory,” the ‘80s classic featuring Paul and Stevie Wonderabout living in harmony despite our differences, also got the sample treatment by the OG of hip-hop. Boogie Down Productions used it in “100 Guns,” as KRS-One raps about racism and police corruption.
14. “Here, There and Everywhere” While not an obvious sample, Frank Oceanborrows a riff from “Here, There and Everywhere” on his new, highly anticipated album Blond. If you listen closely to “White Ferrari,” you can hear the same chord progression from The Beatles’ original tune.
15. “Flying” Instead of the typical Lennon-McCartney tag that most Beatles song have, this instrumental is credited to all Fab Four members. Once again on Blond, Frank Oceangive a nod to The Beatles, this time on “Siegfried.”
