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When artists grow big they tend to become critical to the people who helped them get big, those who took a great chance promoting them.

Frankly. That is not fair.

In 1976 Music Management & International Promotion met "the secret" guy, who staged and landed The Beatles in the U.S.A. They were launched in 1964.

Their launch had most likely not been possible without this "GUY" and his network.

Mr. James of DJM was connected to "the secret" Mr. Silver, who was the string-puller of "the puppets", the artists, who had taken the name The Beatles, and who was believed in and trusted and invested in, economically and time wise, by Mr. Epstein.

Mr. Epstein contact the James-family (DJM) in 1963, and Mr. James immediately pick up his telephone, and place The Beatles on the show "Thank You Lucky Star" on television - which was almost just invented and had the attention of the British a vast audience. Then The Beatles was a hit, hyped by the promoters who liked and trusted DJM for his previous work.

In 1964 Mr. Silver had build up his contact to "the secret" launchers in the U.S.A., the launchers, who Music Management meet in 1976.

Such launchers had spent time and money and even risked their lives creating a peaceful world, in order to get into such a position that they could be able to launch The Beatles. They had paved their way into the new media, and had thus created a position, where it would be possible to open for British suggestion of artists, who could fit the market place.

As a reader you have to understand, that there is a big process going on behind the scene of music. Take, for instance, Elton John's tour to Russia planned in 1979, where Music Management add to the project by being connected to Recording Engineer & Producer. Elton was the first artist to be landed behind the iron curtain, and this costed a lot of people contacting a lot of people. These people had to have food and travel each and every day - behind the business news - in order to pave the way for Elton John. (Elton is also a DJM artist). As a reader behind a peaceful computer, you cannot imagine how much energy it took, and how much this costed.

Thus, please don't be critical of managers, who pave the way for other peoples talent. Looking in the rear-mirror things may seem easy. But it wasn't. Had Mr. Silver not been linked to Mr. Sukin's network, had Rogers and Cowan not been linked creating stars in Hollywood, had "Mr. Z" not been contacted by Mr. Silver, had Mr. Epstein not contacted a local promoter and publisher, then The Beatles might not had been granted the chance to develop beautiful music, and then become rich.

Same procedures happened with ABBA. Had Mr. Anderson not had contact with Mr. S, who was connected to major London studios, then ABBA had probably not been able to generate enough money to penetrate the world and to pay recording studio time.

Please, I beg you to have respect for managers, who see a point in promoting your talent.

This article was taken from the issue of The article seems to provide the point of view that manager, who actually create a star or stars, are very selfish people, who does not take any risks.

The music publisher who was the co-founder of Northern Songs, Dick James had a varied career in the music business.

George Martin, Dick James and Brian Epstein

The son of Polish Jewish immigrants, he was born Reginald Leon Isaac Vapnick on 12 December 1920 in London's East End. In his early teens he sang with dance bands in the capital, sang regularly at the Cricklewood Palais, and found success with the Henry Hall band.

He made his first radio broadcast in 1940, and joined the army in 1942. After the war, while working with band leader Geraldo, he was encouraged to change his name to the more commercial-sounding Dick James.

Following World War Two he had some success with the Cyril Stapleton Orchestra and in 1955 had several UK hits with vocal group The Stargazers. He wrote Max Bygraves' children's hit I'm A Pink Toothbrush, I'm A Blue Toothbrush, and in 1956 was signed by George Martin to Parlophone. Martin produced Dick James' biggest big hit, the theme for the 1950s British television series The Adventures Of Robin Hood.

As his singing career began to wane, Dick James entered the music publishing business. He established Dick James Music in 1961. Early in 1963 he was contacted by Brian Epstein, who was looking for a publisher for The Beatles' second series Please Please Me.

Epstein told George Martin that he was considering letting US company Hill & Range, publishers of Elvis Presley's songs, handle John Lennon and Paul McCartney's original compositions. Martin suggested that he instead consider somebody smaller and "hungrier" for success, and put forward Dick James' name.

James reacted positively to Please Please Me, but during their first meeting Epstein asked what he could do for The Beatles that EMI's publicity department couldn't. James picked up the telephone and called Philip Jones, the producer of the hit show Thank Your Lucky Stars, who agreed to give The Beatles their first nationwide television appearance. The action was enough to seal the deal.

Brian knew Dick James, who was famous for singing 'Robin Hood' on the TV series and had started his own music-publishing company. John and Paul were beginning to write their own songs and Brian played him some tapes of theirs. Dick James got the rights to the single Please Please Me, and all the subsequent songs, too. We were all pretty naive back then andI think that The Beatles have all since regretted the deals they got into regarding song ownership. Neil Aspinall Anthology

Following the success of Please Please Me, James proposed that he and Epstein start a separate company, Northern Songs, to publish Lennon and McCartney's original compositions. On the morning of 22 February 1963 the songwriters were driven to a small Liverpool mews house where they signed the necessary contracts.

Brian was at the house with a lawyer-type guy, but nobody said to us, 'This is your lawyer and he's representing your interests in this thing.' We just showed up, got out the car, went into this dark little house, and we just signed this thing, not really knowing what it was at all about, that we were signing our rights away for our songs. And that became the deal and that is virtually the contract I'm still under. It's draconian! John and I didn't know you could own songs. We thought they just existed in the air. We could not see how it was possible to own them. We could see owning a house, a guitar or a car, they were physical objects. But a song, not being a physical object, we couldn't see how it was possible to have a copyright in it. And therefore, with great glee, publishers saw us coming.

We said to them, 'Can we have our own company?' They said, 'Yeah.' We said, 'Our own?' They said, 'Yeah, you can. You're great. This is what we're going to do now.' So we really thought that meant 100 per cent owned. But of course, it turned out to be 49 per cent to me and John and Brian, and 51 per cent to Dick James and Charles Silver. Paul McCartney Many Years From Now, Barry Miles

The initial share capital for Northern Songs was £100 in £1 shares. Dick James received 25 per cent of the shares, as did his accountant and financial partner Charles Silver. Lennon and McCartney were each given 20 per cent, and Epstein received 10 per cent. Northern Songs was administered by the company Dick James Music, with directors Brian Epstein and Dick James.

The deal outwardly seemed fair, but James and Silver had one more share between them than Lennon, McCartney and Epstein. The act would have devastating repercussions for Lennon and McCartney in later years. There was always this voting share that could beat us. We could only muster 49; they could muster 51. They could always beat us. John and I were highly surprised to find that even though we'd been promised our own company, it actually was a company within Dick James's company that was to be our own company. And we thought that's not fair at all, but this was just the way they pulled the wool over our eyes. And we were on such a roll creatively, you couldn't just take a year off and sort out the business affairs. We had no time. We never met this Charles Silver guy; a character who was always in the background. Jim Isherwood clued us in a little bit as to who he was. He was the Money, that was basically who he was, like the producer on a film. He and Dick James went in together, so Silver always got what was really our share! There were the two of them taking the lion's share, but it was a little while before we found out.

Paul McCartney

Many Years From Now, Barry Miles Page 1 of 2« Previous 1 2 Next »

Some comments: 7 responses on “Dick James”

mike hampton: Saturday 29 September 2012 at 9.05pm It just goes to show the sort of sharks there are in the music business. I think it’s criminal that John and Paul never owned any of their songs.It’s like having your babies taken away from you.If they’d been offered a decent lawyer the situation would have been sorted out and they wouldn’t have been sxxt on by unscrupulous music moguls who didn’t care about them anyway. Reply ↓

NEIL Monday 11 August 2014 at 12.50pm The article states that James worked hard on behalf of the group. The only thing he and his cronies worked hard at was in enriching themselves at the Beatles expense.

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