“Tina: The Tina Turner Musical” Comes to Broadway

In previews at the Lunt-Fontanne, the show traces the singer’s beginnings, her Motown rise to fame, and, of course, her turbulent partnership with Ike Turner.

Tina Turner is seventy-nine and happily retired in Switzerland, but her story and her music are still reverberating to the rafters in “Tina: The Tina Turner Musical,” which is playing in London, in Hamburg, and now on Broadway. The show, in previews at the Lunt-Fontanne, traces the singer’s beginnings, in Nutbush, Tennessee; her Motown rise to fame; and, of course, her turbulent partnership with Ike Turner, whose creative control and physical abuse she escaped in the mid-seventies. Adrienne Warren (above) plays the title role.

https://www.newyorker.com/magazine/2019/10/21/tina-the-tina-turner-musical-comes-to-broadway
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Don’t mourn for iTunes. Here is how to listen to music on MacOS now

In MacOS Catalina, Apple does away with iTunes and lets the new Music app focus on songs, albums and playlists.

Some have waited years for this moment, the day when Apple killed off its iTunes media app for MacOS and split the exasperating tool into individual pieces, each dedicated to a specific purpose. With the Catalina update, the iTunes grumblers get their wish, because with the new update to MacOS, Apple retires iTunes, replacing it with new Apple Music, Apple TV, Apple Books and Apple Podcast apps. (Here’s the difference between them all.)

Over the years, Apple handed more and more responsibility to the MacOS version of iTunes until the app seemed to be in charge of all your MacOS entertainment needs. Mac users will be much better served in Catalina, which adopts the iOS approach of letting several apps handle individual tasks.

While Apple has split iTunes into three apps, the switch to Catalina doesn’t have to be jarring. Here’s what you need to know about breaking free of iTunes in MacOS Catalina.

Watch this: MacOS Catalina has arrived, Amazon’s first kids’ Kindle 1:29

Get started with the new Apple Music app

Apple’s made it fairly easy to move from iTunes to its new music service in Catalina. For example, music that you’ve bought through through iTunes or imports from elsewhere will be available in the new Apple Music app. 

Likewise, music playlists you created in iTunes will already appear in the new app — you won’t have to transfer a thing. iTunes gift cards and credit will still work, and you’ll still buy music through the iTunes Store. Here’s how to get set up and start listening to music.

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Tap Catalina’s new Music app in the Dock.Screenshot by Clifford Colby/CNET

1. In the Dock, tap the Music app to open it.

2. When prompted, use your Apple ID and password to sign in to the iTunes Store.

3. Tap the Get started listening button, and the Music app will pull in your iTunes playlists — both the ones you’ve built and the smart ones iTunes made for you. 

4. If none of your music is showing up and you sync your music library with Apple Music or iTunes Match, tap the Show all music button up at the top of the Music app. You can also choose the All Music option from the View menu to see all your songs.

Use the iTunes Store

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The iTunes Store still lives over on the left.Screenshot by Clifford Colby/CNET

While Music is new, the iTunes Store is much the same.

1. In the Music app, over on the left in the Music sidebar, and tap iTunes Store.

2. Apple’s music store should look familiar to you, with new music running down the center of the app’s window, charts over on the right and music that might interest you near the bottom.

MORE ON CATALINA

Sign up for Apple Music

If you are interested, you can also sign up for Apple Music — Apple’s similarly named subscription music-streaming service. 

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Sign up for Apple’s Music subscription service for $9.99 a month.Screenshot by Clifford Colby/CNET

1. In the left sidebar, up near the top, tap For You to check out Apple Music, which lets you stream songs, listen to curated playlists and tune into radio stations.

2. Tap Try It Now to start a free three-month trial. After the trial, Apple Music is $9.99/£9.99/AU$11.99 a month. After you sign up, set a calendar reminder so you don’t get charged after 90 days if you decide to back out.

If you are looking for the movies and TV shows you used to keep in iTunes prior to Catalina, those are now in the Apple TV app. Audiobooks are in the Apple Books app, and podcasts are in the Apple Books app. For more on Catalina, here’s our fuller take on the new MacOS.

https://www.cnet.com/how-to/dont-mourn-for-itunes-here-is-how-to-listen-to-music-on-macos-now/
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What a background in music taught me about business

Gillian Story bridges the arts and business worlds with a decade of not-for-profit and arts experience, and since 2017 has been a program manager at Sun Life. She is currently an MBA candidate in U of T’s Rotman Executive stream.

If I went back in time and told my undergraduate self, immersed in Beethoven and music theory, that over a decade later I would be in business school, no doubt I would be met with utter disbelief. Yet that’s exactly what happened last fall, as my executive MBA became the next step in my career’s transition from music therapy to arts administration to the corporate world. Along the way, I’ve been able to honour my love of music through playing in a band and staying involved in the arts with volunteer work.

I’ve also come to appreciate that many lessons I’ve learned through being involved in music are equally true in my current world:

A great teacher is worth everything – find lots of them: Music students will move across the world to study with the right teacher, because the right mentors and teachers inspire you to new heights, and unlock doors of knowledge that might otherwise remain closed forever. Following the advice of trusted mentors in both the arts and business worlds led me to taking the MBA, and the experience has felt like being given a key to new worlds I never even knew I wanted to explore: who would have thought economics and accounting would become two of my favourite subjects? Further, just as musicians continuously learn from playing together, I find myself constantly learning through my classmates, adding so many more layers to the experience.

It’s all about the band: At some point, we all have to learn how to play with others. Whatever the challenge – live performance, budget constraints, final project – success almost always lives and dies by the people around you, and how well and effectively you all work together. I’m surrounded by an incredibly diverse group of classmates – diverse in every sense: experience, age, gender, ethnicity – and the most incredible things happen when you embrace and actually use that diversity to tackle greater challenges than you could ever manage alone. Everyone has to be playing in the same key, but we all have our individual parts: the Rolling Stones wouldn’t have gotten very far if Mick, Ronnie and Keith were all stuck on playing lead guitar.

You can’t just play the same song over and over: No one wants to be a one-hit wonder. In music, once you’ve truly learned that devilish Chopin piece, it’s not time to rest on your laurels: mastering something is really just a sign it’s time to tackle the next challenge. By all means, take a moment to celebrate, but then it’s time to build on what you’ve learned. Each hard-won success is just a step on the journey, not the end of the road. Starting the EMBA felt like launching into learning the hardest piece I’ve ever played, but getting to the end is going to be one of the greatest achievements that my classmates and I will ever attain. More than that, it will be the launching pad to the next, exciting stage of our lives – one that will echo and come back in different choruses and refrains throughout our lives.

https://www.theglobeandmail.com/business/careers/leadership/article-what-a-background-in-music-taught-me-about-business/
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Paul is Dead: The Bizarre Story of Music’s Most Notorious Conspiracy Theory

Fifty years ago, a Detroit DJ accidentally started the biggest hoax in rock & roll history: the “Paul is dead” craze. It blew up on October 12, 1969, when Russ Gibb was hosting his show on WKNR. A mysterious caller told him to put on the Beatles’ White Album and spin the “number nine, number nine” intro from “Revolution 9” backwards. When Gibb tried it on the air, he heard the words, “Turn me on, dead man.” The clues kept coming. At the end of “Strawberry Fields Forever,” John says, “I buried Paul.” What could it all mean?

It meant the Beatles were hiding a secret: Paul McCartney got killed in a car crash back in 1966, and the band replaced him with an imposter. The rumor spread like wildfire, as fans searched their Beatle albums for clues. Fifty years later, “Paul is dead” remains the weirdest and most famous of all music conspiracy theories. It became a permanent part of Beatles lore—a totally fan-generated phenomenon that the band could only watch with amusement or exasperation. As Paul told Rolling Stone in 1974, “Someone from the office rang me up and said, ‘Look, Paul, you’re dead.’ And I said, ‘Oh, I don’t agree with that.’”

Needless to say, it wasn’t true — Paul is not just gloriously alive, he’s still peaking as a songwriter and performer, debuting at Number One last year with Egypt Station. But after the Detroit radio broadcast, people pounced on the story. Two days later, the Michigan Daily explained the Abbey Road cover as a funeral procession: the Preacher (John in white), the Undertaker (Ringo in black), the Corpse (poor Macca). And bringing up the rear, George in blue denim as the grave-digger—man, even in the conspiracy theories, George gets shafted with the dirty work.

Here’s how the rumor went, as summed up by Nicholas Schaffner in The Beatles Forever: Paul died on November 9, 1966. He drove away from Abbey Road late the night before — a “stupid bloody Tuesday” — then blew his mind out in a car. He was Officially Pronounced Dead (“O.P.D.”) on Wednesday morning at 5 o’clock, which is why George points to that line on the Sgt. Pepper sleeve, while Paul wears an “O.P.D.” patch. But the other Beatles decided to hush up the news, so Wednesday-morning papers didn’t come. Somehow, they kept Paul’s death a secret, replaced him with a look-alike, then dropped sly hints about the cover-up scam. The imposter wrote “Hey Jude” and “Blackbird,” which means he’s the guy who probably should have had Paul’s job in the first place.

Fans began whispering about all the clues on the just-released Abbey Road. Look at that cover — Paul’s barefoot, out of step with the others, holding a cigarette in his right hand. (The real Paul was a lefty.) The Volkswagen with the “28 IF” license plate — that’s how old Paul would have been if he were still alive. (He was 27.) No theory was too ridiculous to get taken seriously. Fans eagerly believed “walrus” is Greek for corpse (it isn’t — it’s Scandinavian) or that “goo goo goo joob” is what Humpty Dumpty says in James Joyce’s Finnegans Wake, before his fatal fall off the wall. (Nope, sorry.) “I Am the Walrus” ends with a live BBC broadcast of a fatal scene from Shakespeare’s King Learwith Oswald groaning, “O, untimely death!” (That one’s true—John just taped it off the radio one night and liked how it fit the song.) And in “Glass Onion,” John sings, “Here’s another clue for you all / The Walrus was Paul.”

When the rumor blew up, Paul was neither dead nor a walrus. He was in seclusion on his Scottish farm with Linda, Heather, and their six-week-old daughter Mary, known to the world as the infant cradled in his leather jacket in Linda’s most famous photo. With a newborn baby to care for (a first for Paul), he was in no mood to indulge the media frenzy. As he told Rolling Stone, “They said, ‘Look, what are you going to do about it? It’s a big thing breaking in America. You’re dead.’ And so I said, leave it, just let them say it. It’ll probably be the best publicity we’ve ever had, and I won’t have to do a thing except stay alive. So I managed to stay alive through it.”

John Lennon, calling the same Detroit radio station on October 26th, fumed, “It’s the most stupid rumor I’ve ever heard. It sounds like the same guy who blew up my Christ remark.” John denied any coded messages (“I don’t know what Beatles records sound like backwards; I never play them backwards”) or that he was the preacher at a funeral. “They said I was wearing a white religious suit. I mean, did Humphrey Bogart wear a white religious suit? All I’ve got is a nice Humphrey Bogart suit.” John’s pique was understandable — he was releasing his solo single “Cold Turkey” (the record where he finally ditched the “Lennon-McCartney” credit) and his Wedding Album with Yoko. The last thing on earth he wanted to talk about was Paul’s bare feet.

The attorney F. Lee Bailey hosted a TV investigation, cross-examining witnesses like Allen Klein and Peter Asher. Beatles scholar Andru J. Reeve, in his wonderful history of the phenomenon, Turn Me On, Dead Man, gives transcripts of the TV trial. When Klein was asked why John said, “I buried Paul,” he claimed, “On that particular take, his guitar buried Paul’s sound.” (Imagine: Allen Klein not giving a straight answer.) The record racks got flooded with quickie exploitations, like Jose Feliciano’s “So Long Paul” (under the name Werbley Finster) and “Brother Paul” by Billy Shears & the All-Americans. The best of these tunes: “We’re All Paul Bearers,” by Zacherias and the Tree People. It was actually a decent Buffalo Springfield imitation, with the lament: “See the patch insinuation ‘O.P.D.’ on his sleeve / Wearing black sweet carnation while bringing mystery.”

Something about the Beatles had always inspired death rumors, even in the early days. As Mark Lewisohn reports in Tune In, when original bassist Stu Sutcliffe quit in 1961, “Mersey Beat printed a letter from a fan asking if it was true that this member of the Beatles had been killed in a car crash.” But this one was different. The novelist Richard Price, in a hilarious 1984 memoir for Rolling Stone, recalls listening to a 1969 college-radio show with fans sharing their off-the-wall theories. (“‘Here Comes The Sun’ played backwards at 78 rpm says, ‘Woe is Paul.’”) He calls the DJ, just for the kick of hearing his voice on the radio. “You know what eighty-four per cent of all the coffins in England are made of?…It might even be eighty-seven per cent…Norwegian Wood.”

At first, the Fabs’ long-suffering press officer Derek Taylor brushed off the latest hoax: “Ahh, they’re always trying to start one of those. It’s happened before. The calls will stop coming in a few days.” But this time, the calls didn’t stop. Richard DiLello’s book The Longest Cocktail Party gives an inside account of the chaos that hit Apple. With Paul off the grid in Scotland, Taylor kept denying the gossip with all his usual charm: “The Paul McCartney who wrote ‘And I Love Her’ still loves you, and is still alive, and has a lot to write. There are a thousand songs unwritten and much to do.” But in the Apple office, he added: “We’ll start our own rumor that the public is dead from the neck up, and they’ve been using a stand-in facsimile of a brain for the past three and a half years.”

Life magazine sent reporters out to stalk McCartney on his farm; after throwing a bucket of water on them, Paul agreed to an interview and photos, just to make this mess go away. In the November 9th cover story (“Paul McCartney Is Still With Us”), he casually added, “The Beatles thing is over.” But nobody noticed. That’s how over-the-top the whole hysteria was — Paul could drop a bombshell like this and people missed it, because they were too busy scrutinizing his chin or jaw for proof this was a fake. As he told Mojo in 2009, “I think the worst thing that happened was that I could see people sort of looking at me more closely: ‘Were his ears always like that?’”

By 1970, nobody seriously believed Paul was dead. But for some reason, the story remained hugely popular, long after it was debunked — it became a timeless ritual of fan culture to check out the clues for yourself. Countless Paul-bearers over the years have held up a butter knife to the back cover of Abbey Road, so we could see the reflection of a human skull. (It’s there, to the right of the “S.”) Or put on Side Two of the White Album, dropped the needle on the vinyl right after “I’m So Tired,” and spun it backwards to hear the words: “Paul is dead, man, miss him, miss him.” Hell, the cover of his first solo album was a bowl of cherries — as in “Life is just…” — but the bowl was empty, which could only mean Paul was starting the world’s first posthumous solo career.

As we all know now, John was saying “cranberry sauce,” not “I buried Paul,” and the “O.P.D.” patch said “O.P.P.,” a gift from the Ontario Provincial Police. But that didn’t spoil anyone’s fun. As Schaffner wrote, it’s “a genuine folk tale of the mass communications era.” The story outlived Russ Gibb, who died in April 2019. (Paul did not comment.) It also outlasted the band — as it turns out, something major really did happen to the Beatles on November 9, 1966. It was the day John met Yoko.

Fortunately, Paul is still around to celebrate this anniversary — he’s always been bemused by the whole thing, even calling one album Paul Is Live. It was more than just a rock-star rumor—it inspired ordinary fans to turn into detectives, and permanently changed the way people consume music. “Paul is dead” walked so “Tupac is alive” and “Stevie Wonder can see” and “there are 12 different Avril Lavignes” could run. Every time Taylor Swift hints you should count the palm trees in her new video, she’s tapping into the 28 IF legacy. (She buried John Mayer.) The whole phenomenon, however accidentally, shows how crazy and devoted fan love can get. And that’s really why the “Paul is dead” legend lives on. It’s a tribute to all the life in the music. Long live the Beatles — and long live Paul.

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10 Things You Didn’t Know About the Beatles’ Music

Composer and engineer Scott Freiman deconstructs the band’s work and unveils some little-known facts

ByJAMES SULLIVAN 

Scott Freiman’s first record was by the Partridge Family. An uncle quickly rectified that, lending the 10-year-old copies of the Beatles’ Sgt. Pepper and the White Album, and Freiman has been hooked ever since.

Working as a composer and engineer, Freiman has developed a series of well-received lectures on the music of the Beatles, including “Deconstructing Sgt. Pepper,” “Looking Through a Glass Onion” (about the White Album) and “Tomorrow Never Knows” (on Revolver). It’s been a lifetime of fanaticism in the making: “I mentioned what I was doing to a high school friend, and he said, ‘Oh, I always knew you’d be doing that,’” Freiman says.

Freiman’s focus is strictly on the band’s music. “If someone says, ‘I have a napkin that John Lennon once used,’ that doesn’t interest me,” he says. “I’m all about the creative process.” Click through for 10 things you may not have known about the Beatles’ music.

1.Paul Played Lead Guitar on ‘Ticket to Ride’

Known as a great bass player, Paul McCartney played lead guitar on several Beatles tracks, including “Ticket to Ride,” “Taxman,” “Sgt. Pepper’s Lonely Hearts Club Band” and “Good Morning Good Morning.”

2.The ‘Kazoos’ on ‘Lovely Rita’ Were Played on Pocket Combs Wrapped in EMI Toilet Paper

The toilet paper was “very thin,” says Freiman, “because EMI was cheap. They sent Mal Evans to the bathroom to get it.”

3.The Bridge on ‘A Day in the Life’ Was Inspired By ‘Hey Joe’

Paul McCartney was a big fan of Jimi Hendrix from the guitarist’s arrival in the U.K. Hendrix’s “Hey Joe” directly inspired the descending bridge on “A Day in the Life”; Freiman identifies it as a “quadruple plagal cadence.” 

4.The Intro to ‘I Feel Fine’ Was Borrowed from Bobby Parker’s ‘Watch Your Step’

John Lennon was a fan of the Louisiana R&B guitarist Bobby Parker, whose hit song ‘Watch Your Step’ the Beatles played on stage in 1961 and 1962. The riff inspired “I Feel Fine.” “Led Zeppelin used the riff even more obviously, on ‘Moby Dick,'” says Freiman.

5.‘Her Majesty’ Originally Appeared As Part of the ‘Abbey Road’ Medley

When the 23-second “Her Majesty” was excised from the medley that makes up side two of Abbey Road, it was tacked onto the end of a tape. Hearing it pop up there, the band members decided to leave it as a “hidden” track on the album. “It’s missing the last chord because that’s the first chord to ‘Polythene Pam,’” says Freiman.

6.John and George Sang ‘Frere Jacques’ on ‘Paperback Writer’

As part of the background vocals.

7.George Played Bass on ‘She Said She Said’

It’s a rare ensemble Beatles recording that Paul McCartney did not participate on. 

8.Paul Played Drums on ‘Back in the U.S.S.R.’

“Dear Prudence,” too.

10.The Flamenco Guitar Intro on ‘Bungalow Bill’ Was Actually a Mellotron

Beatles fans have speculated which band member played the guitar at the beginning of “The Continuing Story of Bungalow Bill,” but according to Freiman, it’s just “someone pressing a note on a Mellotron and triggering a tape loop of flamenco guitar.”

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RS Recommends: The Magic Chaos of Music’s Golden Age, as Told by Mick Jagger’s Accountant

Laurence Myers’ memoir recounts his time as a rock & roll accountant, an early manager to stars like David Bowie, and a music exec in music’s heyday

ByAMY X. WANG 

“I’m not going to be singing rock & roll when I’m 60,” Mick Jagger told his accountant 50 years ago, matter-of-factly, when he was merely an ex-economics student who’d started a rock band. Jagger’s dogged defiance of his own proclamation — the frontman turned 76 earlier this year and the Rolling Stones wrapped a major three-year tour last month — became a source of lifelong motivation for that very accountant, Laurence Myers, who’s now publishing a memoir about his own zig-zagging career in the music industry.

That book is Hunky Dory (Who Knew?), out this week, which recounts Myers’ journey from an apprenticeship at a small London accounting firm to his stint working with the Stones — which included sharing his management office with the struggling, up-and-coming band when the members were kicked out of their own — to his decades as an industry-spanning entertainment executive in his own right. Meyers believed in David Bowie so much that he signed the artist from near-obscurity and invested his own money into helping him make promo discs, which led to major-label deals and eventually the albums Ziggy Stardust and Hunky DoryHe helped shepherd acts like the Animals, Jeff Beck, Rod Stewart, The Sweet, and Billy Ocean into stardom by putting them in the right studios and handing them the right contracts. He witnessed the better part of music’s major moments in the Sixties and Seventies firsthand, and his memoir serves as an insider’s history, if a somewhat wistful one, of those impossible-to-replicate times.

“I became the go-to accountant for the music business when it was brand new, the wild west,” Myers, now 83, tells Rolling Stone. “I quit being an accountant because I didn’t like it, but after that I got to know the business even more. The inspiration for this book was that my grandchildren would always hear me say ‘Did I tell you about that time?’ and they’d say, ‘You boring old fart, write a book.’” While dozens of accounts of the time period have been penned by artists, Myers takes readers into the scene as a behind-the-scenes industry player. Chapters explore his relationships with various artists, as well as the deals he helped mastermind and the opportunities he, in amusing retrospect, missed. One example: Myers threw away most of the 500 copies of the original Bowie promo without a second thought, not knowing that they would sell in the future for as much as $10,000 each.

“My book is subtitled ‘Who Knew’ because — who knew? Every other paragraph seems to be saying it. I didn’t predict where things would go. At the time, Mick talked about his future and the possibility of not seeing rock and roll,” Myer says, recalling how Jagger, who’d attended the London School of Economics before diving into music, once asked him for help with moving into a career in the insurance industry. But luckily, “the Stones never stopped,” Myers says, pointing to their endurance in the zeitgeist even in 2019. “Nostalgia is just huge. People who bought their records as kids are now grown up and more affluent and they feel comfortable at a Stones show, a Led Zeppelin concert.”

Myers’ book ends in the 1980s — not because his adventures did, but because that was when he began stepping away from the music industry out of lack of personal interest in the new types of music that were emerging. “Rap and its various forms are the biggest watershed change in the music business, but I love the old pop songs,” Myers says, though he concedes that he does find himself in awe of how deeply certain contemporary works of music connect with a new generation. In recent years, the veteran has found himself turning toward film and theater, most recently worked as a producer on Judy, the biographical drama of July Garland starring Renée Zellweger. While he doesn’t have much to do with the music business these days, he does enjoy watching from the sidelines: “Some of the rappers these days, they’re poets, great poets, and they’re saying meaningful stuff and they make kids feel like they have a chance of saying something in music,” he says. “I think that will always be inclined to continue.”

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