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New book about Apple

Тема: Apple Records

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New book about Apple
Автор: Sweet Little Queen XIII   Дата: 13.06.02 16:39:30
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http://www.cherryred.co.uk/books/apple.htm
Those Were the Days
Stefan Granados
An unofficial history of the Beatles' Apple Organization 1967-2001
This is the first complete telling of the Apple story, culled from exclusive interviews with the recording artists, staff and business associates who helped make Apple a fascinating chapter in the history of both the Beatles and pop music in general.

Today, the Apple office is remembered as a place where almost anyone could come in off the street and meet one of the Beatles, get funding for an outlandish art project, or just drop in to the Apple Press Office for a drink and a quick smoke. For less well-intentioned visitors, Apple was where one could go to pinch and electric typewriter, a box of LPs, or quite literally the lead off the roof of the Apple building at 3 Saville Row. But Apple was also the company that the Beatles used to discover and develop many deserving artists, including such stars as Mary Hopkin, James Taylor, Bad Finger, Hot Chocolate, Billy Preston and Mercury-award winning classical composer, John Tavener. Even a teenage Richard Branson figures in the Apple story..

Those Were The Days: An Unofficial History Of The Beatles Apple Organization 1967-2001 details the colourful history of Apple, from its inception to its current incarnation as the sole protector of the Beatles legacy.

Stefan Granados has diligently been researching this project now for several years and the book also contains many very rare previously unseen photographs.

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Re: New book about Apple
Автор: Lenna   Дата: 13.06.02 16:43:23   
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На сайте приводиться одна глава из книги. Вот она. (Это будет несколько сообщений)
The NEMS years

Life in post-war England was relatively simple back in 1962. For aspiring professional entertainers like The Beatles - a four-man rock and roll band from Liverpool - a career in music promised little more than weekly engagements at local dances and youth clubs, and if they were lucky, perhaps a chance to cut a record that might get one or two spins on Radio Luxembourg or the BBC. Of course, fate held something quite different in store for The Beatles. Six months after their debut single Love Me Do became a minor hit, The Beatles sparked off a tidal wave of fan hysteria the intensity of which had never before been seen in popular music. During the halcyon days of 1963 and 1964, Beatlemania swept unchecked across the world. Show business, popular music and the world itself would be changed forever.

Guiding The Beatles throughout the turbulent Beatlemania era was their manager, Brian Epstein. From 1962 to 1967, The Beatles were managed exclusively by Epstein and his artist management firm, Nems Ltd - an organization that Epstein himself had set up shortly after meeting The Beatles in 1962. Coming from an affluent Liverpool family, the mild-mannered Epstein was quite unlike the typical "pop" managers of the era. Prior to becoming the group's manager, Epstein's music industry experience had been limited to running the record department of his parents' Liverpool department store. But given that he was one of the few people in Liverpool to have actually conducted business with the London-based record companies, Epstein's decision to venture into artist management was not as far-fetched as it might have seemed at the outset. The Beatles were certainly impressed with Epstein's modest music industry connections together with his genuine enthusiasm for the band, so they signed a five-year management contract with him in January 1962. From that point onwards, all of the money generated by The Beatles was funnelled directly through Nems. In exchange, the four Beatles were each given a salary and had their living expenses paid by the company.

Initially, Epstein's management duties focused on securing a record contract for the group, polishing their professional presentation and overseeing the group's live bookings. But once the full force of Beatlemania took hold in 1963, The Beatles became increasingly reliant on Epstein and Nems to take care of almost every aspect of their personal and professional lives.

Receiving a 25% share of The Beatles' gross income, Epstein was certainly very well compensated for his efforts. Epstein served the band with a remarkable sense of care and devotion and it was obvious that he regarded The Beatles as much more than just a once-in-a-lifetime business opportunity. In the early days of Beatlemania, Epstein's name was synonymous with The Beatles. Due in large part to the remarkable success of the group, Epstein was able to build Nems into a high-powered management company that would become the dominant force behind the Liverpool music scene.

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Re: New book about Apple
Автор: Lenna   Дата: 13.06.02 16:44:08   
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Having seen what Epstein had done for The Beatles, almost all of the performers in Liverpool rushed to align themselves with Nems. From 1963 onwards, Nems Enterprises managed the careers of artists such as Cilla Black, Gerry and The Pacemakers, The Fourmost and Billy J. Kramer, as well as several lesser-known Liverpool groups.

Under Epstein's skilful direction, Nems developed a diverse and initially highly successful client roster, but it was clear to all of the other Nems artists that The Beatles were Epstein's one true passion. Whether charged with finding a house for one of The Beatles, negotiating television appearances or quietly settling such personal matters as threatened paternity suits, Epstein handled his duties in an efficient, dignified manner and all four Beatles considered him to be not only a manager, but a friend. When it came to The Beatles, no matter was too trivial to be given Epstein's full attention.

In retrospect, Epstein's only real professional shortcoming was his marked lack of business acumen. Still, while much of The Beatles' success can, and should, be attributed to their immense talent, it was Epstein's music industry contacts and his careful handling of the group's image and presentation that transformed The Beatles from a rough, leather-clad rock and roll band from "up North" into a polished, international show business phenomenon.

Today, Epstein's significant contributions to launching The Beatles' career are often overshadowed by the embarrassingly poor business deals that he negotiated on behalf of the group. The original recording agreement Epstein signed with EMI in 1962 was a one-year contract that gave EMI the option of extending The Beatles' contract for three successive years. In return, the band would get one penny of recording royalties for each single sold and precious little more for each album sold in England. For any Beatles recordings licensed to record companies outside of England, the group would receive only half of the English royalty rate. Epstein would somewhat rectify matters when it was time to renegotiate The Beatles' EMI contract in January 1967. In exchange for re-signing to EMI until 1976, The Beatles would receive 10% of the wholesale price of an English album and 17.5% of the wholesale price of each album sold in America.

In Epstein's defence, the deals he negotiated for the group were fairly common by music industry standards in 1962. He would fare far worse with the non-music deals that he set up for the group. Epstein's most celebrated fiasco was the 10% royalty rate he negotiated for the American rights to manufacture and sell such seemingly trivial Beatles merchandise as wigs, shampoo, trading cards and the countless other items that flooded into American discount stores during 1964 and 1965. When Epstein entered into these deals in 1964, the 30-year old ex-furniture and record salesman from Liverpool was no match for the quick-talking New York City businessmen who appeared to be offering him thousands of dollars in exchange for the simple use of The Beatles' name on what he perceived to be insignificant teen-oriented products. Due to the limited scope of his business experience, Epstein practically gave away the rights to The Beatles' American merchandising - a move that would ultimately cost The Beatles millions of dollars of revenue.

To be fair to Epstein, few music industry professionals at that time - let alone a music industry novice like Epstein - ever imagined just how much money music merchandising could generate. To Epstein, any revenue from the sale of such ancillary "Beatles products" was just "found money" to supplement The Beatles' live and recording income.

Never considered to be a great negotiator, Epstein's true strengths were his well-developed organizational abilities, his unflinching honesty and his conservative, reliable stewardship of The Beatles' finances. With Epstein overseeing the group's affairs, the four Beatles enjoyed a relatively carefree existence when it came to financial matters. If they wanted any item - be it a car, a house, or new clothes - they simply charged it to Nems and the bill would be paid with no questions asked. With Nems so thoroughly involved with managing their finances, the four Beatles made very few personal investments during the peak years of Beatlemania. The investment activities of the individual Beatles were limited to Ringo Starr's interest in a high-end construction company and Paul McCartney's decision (unbeknownst to the other three Beatles) to buy additional shares in Northern Songs, the music publishing company that held the rights to The Beatles' songs. In general, The Beatles seemed content to simply let Nems take care of business
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Re: New book about Apple
Автор: Lenna   Дата: 13.06.02 16:45:04   
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In addition to the money earned from live performances and record and music publishing royalties, The Beatles had several other sources of revenue prior to 1967. Their most significant collective investment was Subafilms, the Nems-run film company that controlled the group's share of The Beatles' film projects, responsible for producing Beatles promotional films (in the days before video) for television.

As well as owning Subafilms, all four Beatles held shares in Northern Songs Music Publishing, the company that held the publishing rights to The Beatles' songs. Although Northern Songs founder Dick James retained a majority interest in the company, The Beatles and Nems each held significant portions of Northern Songs. In addition to their Northern Songs stock, Lennon and McCartney were also co-owners of a company formed on 4 February 1965 named Maclen Music Ltd. Theoretically, Maclen licensed the rights to publish Lennon and McCartney songs to Dick James' Northern Songs with Maclen collecting 50% of the publishing royalties due to Lennon and McCartney from Northern Songs. The remaining 50% of the publishing revenue went to Northern Songs.

Dick James had been unusually fair to The Beatles (by industry standards of the day) when he set up Northern Songs in February 1963. Recommended to Brian Epstein by Beatles producer George Martin, James had a tremendous amount of respect for The Beatles and their music. Though The Beatles were little more than a talented group with one minor hit (Love Me Do) to their credit when James first met them in early 1963, James, a failed pop singer and then struggling music publisher, knew that the songs of Lennon and McCartney had the potential to become major hits.

In exchange for the publishing rights to The Beatles' second single Please Please Me James used his music industry connections to secure The Beatles a coveted spot on the BBC television program Thank Your Lucky Stars. Impressed by James' ability to get The Beatles on television, Epstein decided that The Beatles would sign with Dick James Music.

In a highly unusual move in an era in which songwriters would often sign away their songwriting royalties for an advance of twenty pounds or less, James set up a subsidiary company, Northern Songs, for the sole purpose of publishing the songs of Lennon and McCartney. As part of the deal James offered the group, the two songwriting Beatles and Nems were given shares in Northern Songs that represented almost 50% of the company's worth. By 1967, Northern Songs had been re-structured and had gone public, so in addition to having received significant cash payments between 1964 and 1966 for a portion of their equity in the company, Lennon and McCartney each still owned roughly 15% of Northern Songs' stock. George Harrison and Ringo Starr owned 1.6 % of Northern Songs stock between them.

But outside of investments like Subafilms and Northern Songs, all four Beatles seemed to be perfectly willing to let their royalties pile up in their Nems account and draw a weekly wage. It would not be until the mid-sixties that The Beatles, George Harrison and Paul McCartney in particular, began taking an increased interest in the group's business affairs.

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Re: New book about Apple
Автор: Lenna   Дата: 13.06.02 16:46:53   
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In the innocent era during which The Beatles had emerged, it was generally accepted that artists were responsible for creating the music and that professional managers took care of business. Out of all of the English groups who sold millions of records during the "British Invasion" only Dave Clark of the Dave Clark Five had the foresight, and skill, to take full control of his group's business affairs. (In addition to negotiating a royalty rate with EMI that far exceeded that of The Beatles, Clark retained the rights to all of the his band's master tapes and music publishing. He would also later buy the rights to the celebrated English pop music television show Ready Steady Go giving him exclusive rights to live TV performances by The Beatles and almost every other top band of the mid-sixties.)

Even when Harrison and McCartney started to take a greater interest in financial affairs of the group, there was actually very little that one or even two Beatles could do to influence matters. Since the earliest days of the group, the band made all of their decisions by consensus. Given the success of this democratic system, each of the four Beatles were somewhat reticent to appear too domineering in the eyes of the others. In the interest of preserving harmony within the group, it was often simply easier to let Epstein or another outsider take care of business matters.

Compared to many of their contemporaries, The Beatles were unusually democratic for a pop group. The way they conducted their business was largely governed by the strong personal ties between the four members of the band. Having been bound together through the non-stop recording and touring schedule that they maintained for close to five years, by 1967 The Beatles enjoyed a near family-like relationship and were quite accustomed to doing almost everything together.

Each Beatle explored individual pursuits after the group ceased touring in 1966. These included such non-Beatles projects as John Lennon's acting role in the film How I Won The War and Paul McCartney composing the music for the film The Family Way. However, these projects were not regarded as serious efforts to establish careers outside of the group and none of the side projects seemed to detract from the band's intense camaraderie. When the group settled back into Abbey Road Studios in late 1966 to begin work on "Sgt. Pepper" they were still an incredibly tight-knit unit. In early 1967, the group even looked into buying a Greek island where they could live and work together. They went as far as to visit Greece and select a remote Greek island to purchase before they characteristically lost interest and dropped the whole project.

Curiously, while each Beatle had at one time or another stated that The Beatles as a group would not go on forever, none of them appeared to envisage the possibility that there could ever come a time when they would no longer be on speaking terms. It was in this spirit that they entered into their next venture, the jointly owned business that would become Apple.

In late 1966, The Beatles and their financial advisors had started to explore options for setting up a new Beatles corporation that would consolidate the groups' business affairs and enable them to lessen the impact of the notoriously harsh tax system that pertained in Britain at that time. (When Apple was formed, the group's income was being taxed at a rate of around 90%.) Additionally, the band had been informed by its tax advisors that they would have to collectively pay three million pounds in tax unless they offset their tax liability by investing in a business. Apple was not set up to replace Epstein and Nems. It was created as a tax shelter to complement, rather than replace, the existing business structure.

The first step towards creating this new business structure was to form a new partnership called Beatles and Co. in April 1967. To all intents and purposes, Beatles and Co. was an updated version of The Beatles' original partnership, Beatles Ltd. Under the new arrangement, however, each Beatle would own 5% of Beatles and Co. and a new corporation owned collectively by the four Beatles (which would soon be known as Apple) would be given control of the remaining 80% of Beatles and Co. With the exception of individual songwriting royalties, which would still be paid directly to the writer of writers of a particular song, all of the money earned by The Beatles as a group would go directly to Beatles and Co. and would thus be taxed at a far lower corporate tax rate.

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Re: New book about Apple
Автор: Lenna   Дата: 13.06.02 16:51:54   
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Продолжение главы см. http://www.cherryred.co.uk/books/appletxt.htm
Любовь  
Re: New book about Apple
Автор: Ая   Дата: 13.06.02 16:54:24   
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Лена, ты бесценна!
Вопрос  
Re: New book about Apple
Автор: Jaroslavko   Дата: 28.09.07 21:34:10   
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сограждане, не могли бы вы выложить в современном виде фотографию здания, того самого, которое на протяжении пары недель (или меньше?) 68-го было раскрашено в психоделические цвета???
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Re: New book about Apple
Автор: Kurt Donald Cobain   Дата: 28.09.07 22:44:56   
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2Jaroslavko:  Пжалста :) 2Jaroslavko:

Пжалста :)
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Re: New book about Apple
Автор: Kurt Donald Cobain   Дата: 28.09.07 22:47:05   
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2Jaroslavko:  И еще2Jaroslavko:

И еще
Здорово!  
Re: New book about Apple
Автор: Jaroslavko   Дата: 29.09.07 21:10:18   
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2 Kurt Donald Cobain
большое спасибо!
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