BeauOrient

jueves, 17 de noviembre de 2016

MOrrIs WEsT lIBrO

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TE DE MaNzaNIlla BENEfIcIOs

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jueves, 10 de marzo de 2016

para EsTar MUy BIEN por Joseph Murphy

"Mi inteligencia infinita me guía en todos mis caminos. Mi salud es perfecta; la ley de la armonía opera en mi mente y en mi cuerpo. La belleza, el amor, la paz y la abundancia son mías. El principio de la acción verdadera y del orden divino gobierna mi vida entera. Sé que la

premisa mayor está basada en las verdades eternas de la vida, y yo conozco, siento y creo que mi subconsciente responde de acuerdo con la naturaleza de mi mente consciente".

Cuando usted se pone impedimentos, obstáculos y retrasos en su mente consciente, usted está negando la sabiduría y la inteligencia en su mente subconsciente. Si usted dice que su mente subconsciente no puede resolver todos esos problemas, le llevarán a una congestión emocional y mental, degenerando en enfermedad con tendencias neuróticas.

Para llevar a cabo su deseo y terminar con la frustración deberá decir para sí, varias veces al día:

"La inteligencia infinita que me sugirió este propósito me guía y me revela el plan perfecto para realizar mis deseos. Reconozco que la profunda sabiduría de mi subconsciente, me está ahora respondiendo, y lo que yo siento y reclamo dentro de mí se expresa fuera de mí. Existe un equilibrio y ecuanimidad".

Relájese, en lugar silencioso y dígase a usted mismo -con decisión firme: "mi mente subconsciente conoce la respuesta. Está respondiéndome ahora. Doy gracias debido a que yo conozca la inteligencia infinita de mi subconsciente que conoce todas las cosas y está revelando la respuesta perfecta en este momento para mí. Mi convicción real ahora está liberando la mente subconsciente majestuosa y gloriosa. Yo me regocijo de que eso es así".

REPASO DE LOS PUNTOS MAS IMPORTANTES

. Piense bien y el bien seguirá. Piense mal y el mal seguirá. Usted es lo que usted piensa todo el día.

. Su mente subconsciente no discute con usted. Acepta lo que su mente consciente le determina. Si usted dice "no puede comprarlo", podrá ser verdad, pero no lo diga. Seleccione un mejor pensamiento y diga "lo compraré, yo lo acepto en mi mente".

Usted tiene el poder de escoger. Escoja la salud y la felicidad Usted puede escoger ser amigable o puede escoger ser cascarrabias. Escoja ser cooperador, amigable, contento, amante de las cosas y todo el mundo le responderá. Esta es la mejor manera de desarrollar

una personalidad maravillosa.

Su mente consciente es el celador "a la entrada". Su función principal es proteger su mente subconsciente de las situaciones falsas. Escoja el creer que algo bueno le puede suceder, y que puede pasar ahora. Su gran poder está en la capacidad de escoger. Escoja felicidad y abundancia.

La sugestión y lo que otros dicen no tienen poder para herir lo. El único poder es el movimiento de sus propios pensamientos. Usted puede elegir o rechazar los pensamientos o lo que otros dicen y afirmar lo bueno. Usted tiene el poder de escoger cómo reaccionará.

Observe lo que usted dice. Usted debe recordar cada una de sus palabras. Nunca diga, "fallaré, perderé mi trabajo, no puedo pagar el arrendamiento". Su mente subconsciente no tolera bromas.

Su mente no es mala, no hay ninguna fuerza de la naturaleza que sea mala. Depende cómo use los poderes de la naturaleza. Use su propia mente para curar e inspirar a todas las personas.

Nunca diga "no puedo". Venza ese miedo sustituyendo esto por lo siguiente, "yo puedo hacer todas las cosas, a través del poder de mi propia mente subconsciente".

Comience a pensar desde el punto de vista de las verdades eternas y de los principios de la Vida y no desde los puntos de vista del miedo, la ignorancia y la superstición. No permita que otros piensen por Ud. Elija sus propios pensamientos y haga sus propias decisiones.

Ud es el capitán de su propia alma, es decir de su mente subconsciente. Usted es el maestro de su propio futuro.

Cualquier cosa que su mente consciente asuma y crea que es verdad, su mente subconsciente aceptará y la dejará pasar.

Crea en la buena fortuna, en la guía divina, en la acción verdadera y en todas las maravillas de la vida.

JOHNNY TILLOTSON INTERVIEW

Interview To Johnny Tillotson

Gary James' Interview With Johnny Tillotson

When he was only sixteen, he had his own TV show and a recording contract with Cadence Records. He's charted fourteen Top 40 hits including "Poetry In Motion", "Send Me The Pillow That You Dream On", "Without You", and "Talk Back Trembling Lips". He's received the B.M.I. Million-Air Award for over one million air-plays on radio for "It Keeps Right On A-Hurtin'", which was recorded by Elvis.

His name is Johnny Tillotson...and the stories he has to tell!

Q - How fortunate you were to be involved in the music business in the late '50s. It must've been a great time!

A - The late '50s were a great time to get into the record business because the independents were just coming into the world. Of course, you had the majors like Columbia and R.C.A. But you also had all of the new labels like the Sun record label with Elvis Presley and Carl Perkins. Even the label that I chose, Cadence Records was a small label. It was headed by a man named Archie Bleyer, who I watched on television for years. What I noticed about Archie Bleyer when he worked for Arthur Godfrey was there was so many musical acts and he would have to get songs that fit their voice and personality. So, when I had dreams of being on records, I already had in my mind consciously decided that I would rather be with a small company and a person who put the songs first, than a large company where you get lost and have more of a scheduled release date.

Q - You say "It's very important for me to say to young performers today that you must have in all stages of your creative life somebody who motivates you and you really look up to, whether it be mother, singer, producer or just a friend." What if you don't have that special person...are you doomed to failure then?

A - Well, I don't know that, but I can tell you where that answer came from. I believe that today. First of all, when you're very young and thinking about being a painter, a writer, a singer, a baseball player or a football player, a lot of these people have heroes and heroes right from the word go. For me it was people like Hank Williams and Elvis Presley, who I got to meet at a very early age because one of the mentors I had, Mae Axton lived in my home town. That was Hoyt Axton's mom. She was like a mom to everybody. Later on, she and my steel guitar player wrote "Heartbreak Hotel". The greatest thing about Mae was she encouraged you. She not only encouraged you, but sometimes would have a plan. In my case, she said "I've seen you on television." She watched me on my local television show. She said "I might be able to help you because we bring in those live packages. People like Buddy Holly, The Everly Brothers. If you would like to be the opening act, it wouldn't pay any money but you would learn so much just from being around those people." So, that was kind of step one. If you get enough positive feedback from your parents, from your friends and from people in your school and hometown, there's no one there to give you the idea that you cannot make it. Everybody's so proud of you. And that just feeds on your passion to do this. There's certain performers that will really inspire you not only by their talent. You go up to somebody like the late Buddy Knox or Jimmy Bowen and you might ask them "How do I get on records?" Now some people might not answer you. They'll give you some answer that's not relevant. I'll never forget Jimmy Bowen, who would later become Sinatra's producer and also greatly involved with Garth Brooks, Reba McEntire and Sammy Davis. He and Buddy Knox both said, well, if you write, you should make a little tape and get around to some people. A disc jockey friend of mine, after I'd written some songs, entered it into a contest and I was one of the six winners flown up to Nashville. In the audience was a publisher, a lady by the name of Lee Rosenberg. She became one of these helping hands without me even knowing her. Backstage she said to me "Do you want to record?" Yes I do! "Do You Write?" I said yes. And she said "Do you have anything?" I reached in my pocket and there was this tape with the three songs. She said "Who do you have in mind?" I said I'd like to be with Archie Bleyer and Cadence Records. She said "They have a Country music department. That's going to be the Everly Brothers. I think a fiddler named Gordon Terry would like you. He's got his Pop department and of course that's The Chordettes, Andy Williams and Morton Downey." He liked Morton Downey and I became a great friend of Morton Downey. So, she got the tape to Mr. Bleyer. Mr. Bleyer took it home after an Everly Brothers recording date and just had it lying around his house. His daughter picked it up and said "You know, you ought to sign this guy! He sounds like half an Everly Brother." And that's how it started. Some of these people you don't pre-destine their influence in your career. Sometimes they're kind of like angels. They just kind of happen. But, you have to be prepared and sensitive to them being there and make it a very fun experience creatively.

Q - Was it easier to break into the business when you did as opposed to today?

A - I believe it was easier to break into the business because of all your small labels. Your Cameo - Parkways out of Philadelphia. These small labels opened their doors to the young acts. These labels were very competitive with majors like MGM, Warner Brothers and Columbia because the music was so fresh they would take a chance on it.

Q - You had twenty-three hit singles?

A - I think it's twenty-eight Top 100 hits, give or take a few. It doesn't matter. I'm so happy to not only have that many hits, but the loyal fans that we have around world.

Q - You've been quoted as saying "The best press agent is a hit record."

A - Right.

Q - Sometimes you need a press agent to get attention to your product so it will become a hit record. Wouldn't you agree?

A - A press agent is really helpful, but a press agent cannot deliver a hit record. Nothing can, except what is on that record, CD or whatever that communicates with the heart and soul of the listener on whatever level it is. It can be fun. I can be a novelty. It can be a happy song. It can be a sad song. But it's got to touch that person enough where that person wants to make that song part of their life. One of the reasons that someone like an Elvis Presley or The Beatles had such a tremendous effect and sell so much to day is because it was hit after hit after hit. As the person grew in their life, they would be attracted to certain songs like the early dating period, then maybe when they got married and when they got a little older. So you would try to put out songs that people liked. Now what the press people do for you is if you give them the ammunition to run with that's great. In other words, if you give them a great product and you're a good communicator and not a pain in the neck to anybody, and you're likeable and the press and the disc jockeys like you, then they can really work in your favor. But, you have to give the guy or the lady something to work with.

Q - What was it like to tour with Dick Clark's Cavalcade Of Stars?

A - Well, you have to start with Dick Clark. Dick Clark didn't make hit records, but he made a hit television show. That show impacted people on a daily basis. People would come home and turn that on because it was the only outlet for this new music. That doesn't mean people like Perry Como and Bing Crosby were not great artists. But, for the new kids on the block so to speak, he was the outlet. When people could see the words Dick Clark's Cavalcade Of Stars and because some of the artists were just getting started, and only had one or two records, you'd have to have a large show. The most important thing about Dick Clark is, he was on the bus with you. He was young and enthusiastic about everything he does. When the artists would get off the bus, they would usually go to the hotel and sleep because some of the jumps were pretty big jumps.

Q - Hundreds of miles I've been told.

A - But see, when you're in your twenties, it's your first time so you don't even know there's such a thing as closer date. If the road manager says the next date you're going to sleep on the bus all night, then you get into the hotel the next day and you sleep there and you get up and do the show and that's just fine. Everybody's doin' it. The only person that didn't do that would be Dick Clark. He was amazing. He would bound off the bus. He wore like a flight suit just like an Air Force flight suit. So, he always looked great. And then he'd just run his hands through his hair and he was all ready. He would immediately go out to the radio stations and say "Hey, Dick Clark. We're all in town, Gene Pitney, Johnny Tillotson, Chubby Checker, The Supremes and The Orlons. We'll all be here tonight." He fielded a few telephone calls. He made the rounds. And although everybody knew he was in town, just hearing his voice was very exciting. He always had a great sense of humor. He would take pictures of us...real candid pictures. Nothing embarrassing. Maybe sleeping on the bus or after the shows a different artist would perform for the rest of the artists on the bus. That was kind of cool. At the end of the tour he would have a little party and then present us with an album of photos from that tour. So, it was kind of like a family on wheels. The other thing that we did that was most unusual is, all the performers on the show would pick a name out of hat and whoever's name you would pick, you would dress like that person and you would do a show at that wrap party. You would be that person. If I'd pulled Dee Dee Sharp, I could have been Dee Dee Sharp. Or, I might've pulled the name of one of The Drifters. In my case, a couple of times for some reason I pulled Brian Hyland. So, that was pretty easy for me to do. So, that's what those days were like. A lot of fun. But, Dick Clark was the one that made it very special.

Q - Did "groupies" exist back then?

A - You gotta understand how young people were. There wasn't any time to. You couldn't even sign autographs. As soon as the show was over, you'd be on the bus taking off. There wasn't any social life due to the fact that the fans were so young and the artists were so young. You're talking about people who were seventeen, eighteen, nineteen. It was a different time. It was just like the movies at the time. The closest relationship you had, and that's why it was so important, was between the beautiful girls in the audience. And all of them were beautiful. And on stage entertaining them and also making their boyfriends happy. The record hops were nice 'cause you got to actually meet the fans.

Q - In 1963, you were headlining the Copacabana and The Latin Quarter. That was a completely different scene for a Rock 'n' Roll singer wasn't it? Did you wear a tuxedo and tell jokes in between songs?

A - Well, I loved wearing the tuxedo. All of these things go in cycles. For the young teen artists, he had the Dick Clark Show to do. Paul Anka had put a show together where he was kind of like the Dick Clark. Paul Anka might've done one or two Dick Clark shows. Then he and his dad, Andy Anka saw how this thing worked. He realized that with his number of hit records he could have the Paul Anka Show and put acts on it. So, you didn't have a lot of outlets. Most people were doing the record hops and not just one hop, but three or four a night. You would just go with the biggest disc jockeys in the market. This was really terrific. The fans got a chance to see you, to hear the record and the disc jockey got a chance to meet you. It had a heart. That's what I'm trying to say. For the longest time if you weren't doing the record hops and the Clark Show, the only other place to perform were these big nightclubs and every town had one. An act like Connie Francis just took to that like a duck to water. She not only had hit records, but with her Italian heritage she knew wonderful Italian songs. Another great act was Bobby Darin, who was a great variety act. So, it was a stepping stone for Paul Anka, myself and Bobby Rydell and Frankie Avalon to go to these as far as furthering your career. What no one realized is, we came in on the latter stages of this supper club situation. It went great for a few years and then things switched into Las Vegas, Tahoe and Reno. So, you can never count on anything in show business. It's always changing. But, it was a great preparation 'cause it gave you experience in singing standards and understanding how great standards were. It's because of the nightclub act that I appreciated the work of Irving Berlin. I had a good appreciation of all kinds of music, but it definitely taught you how to communicate with a more sophisticated adult audience.

GENE PITNEY (2003) INTERVIEW

INTERVIEW WITH Gene Pitney

"Life after Tulsa"

There's more to Gene Pitney than 24 Hours From Tulsa. He tells Alexis Petridis about his friendship with Phil Spector, the Rock'n'Roll Hall of Fame - and taxidermy

The Guardian, May 2003 12.44 BST

Gene Pitney

Ten minutes in and my conversation with Gene Pitney has taken a turn for the odd. We were talking, harmlessly enough, about his childhood in Rockville, the small Connecticut town that REM's 1984 single advised people not to go back to.

By his own account, he was a slightly peculiar child. "Not shy. I was going to say loner, but that's not the right word either. I was just different. When the other kids gravitated to football or basketball I went fishing and skating. I was into trapping animals, pheasants and squirrels."

Then comes the surprise. "Not only was I trapper," he adds rather proudly, "I was a taxidermist."

Hang on, a taxidermist? Isn't that a rather macabre pursuit for a child? Apparently not. "It was a natural offshoot from trapping. I saw an advert in a magazine somewhere that showed you the beautiful thing that it was supposed to look like. The first few times you try it, it doesn't look anything like it did before. Today, I have to laugh - I saw that you now buy the body in plastic, small medium or large. If you want to do a pheasant with wings outstretched, that's how the plastic part comes. At the time, you had to take all the meat off the carcass, measure it, then rebuild the entire carcass to the dimensions that it was, before you put the skin and fur back on. It's a fine art."

He pauses, as if realising what a disconcerting image of the young Gene Pitney, up to his elbows in animal gore, this is, and what effect it might have on ticket sales at the Bournemouth Pavilion Theatre. "It only lasted for a short time and I wasn't very good at it."

However odd his childhood hobbies, Pitney must have seemed an oasis of normality next to his former friend and collaborator, Phil Spector. They worked together in the early 1960s: Pitney writing songs, Spector blessing them with spellbinding productions. The biggest hit was the Crystals' majestic He's a Rebel.

They haven't spoken in years, but these days Spector is, as the 62-year-old singer songwriter tactfully puts it, "kind of a hot news item". Pitney clearly enjoys spinning a yarn about the old days - "y'ever heard that one?" - and is happy to expound on his theories about the murder, suggesting that a combination of anti-psychotic drugs and the alcohol Spector was supposed to have given up could have been to blame: "He probably doesn't even know what happened, doesn't even know where he was."

Spector, he says, with commendable understatement, is "a very eccentric guy. I had dinner with him the first day he arrived in New York and he said to me his sister was in an asylum and she was the sane one in the family. I thought, 'Wow, where did that come from?' Even by the standards of the music business at the time, he was unique."

Candid and talkative, Pitney is good company. His voice is urgently staccato, and he has a habit of gruffly referring to his music industry peers by surname: Spector, Orbison, Bacharach. It's a trait which hints at the friendly rivalry that must have existed in the Brill Building, the Broadway song factory where Pitney worked in the 1960s, alongside the greatest songwriting teams in American pop: Goffin and King, Mann and Weill, Doc Pomus and Mort Shuman.

"It was a very open society. At that time, there were a lot of eccentrics running the business who made it interesting and unique. There was George Goldner, a big producer from the doo-wop era. He was one of those loudmouthed New Yorkers with a big cigar. I auditioned for him, sitting at the piano in his outer office. He came bounding into the room and said, 'Play!' I played him one of my songs and he said, 'Stop! What is your birthday?' I said February 17. He said, 'He's an Aquarian! Sign him!' then stomped out of the room. I thought he said, 'He's an aquarium', so I told the guy I was with, 'Fuck it, this guy's nuts, we're out of here'. I never signed the deal."

He began taking guitar lessons at school, "found out that if you could play four chords, you could play the top 20" and formed a band, the regrettably named Gene and the Genials. "One night, we were playing in this place outside Rockville and the proverbial fat man with a cigar came and said, 'Do you want to make a record?'"

His early efforts as a singer flopped, but his songs began selling to other artists. He wrote Rubber Ball for Bobby Vee, Ricky Nelson's Hello Mary. By the time He's a Rebel reached number one in 1962, Pitney was a star in his own right.

His forte was the big tragic ballad. Songs in which the protagonist was unceremoniously dumped or tortured by unrequited love suited his voice, which had a slightly odd, nasal quality and an ability to leap three octaves for dramatic effect.

Unlike most stars of the pre-Beatles era, he not only weathered their arrival, but flourished. His lushly orchestrated tales of catastrophe straddled the boundaries between pop and cabaret show-stopper, attracting both teenage screamers and their parents: Twenty Four Hours from Tulsa, I'm Gonna Be Strong, Nobody Needs Your Love and the remarkable Backstage, which depicted Pitney sobbing in his dressing room, oblivious to the cheers.

Occasionally, it seemed like no situation was too calamitous for Pitney to essay in song. Last Two People on Earth, from 1965, found him heartbroken once more, the vagaries of love this time compounded by outbreak of nuclear war.

He looks slightly nonplussed when the song is mentioned. "Yeah, I just read something where Bacharach said he couldn't have cared less what the words were when he was writing with David, so long as the rhyme scheme fitted his music. It was kind of like that with me. I didn't have much interest in the content, so much as the singability of the song."

For Pitney misfortune was strictly business. "They weren't reflecting my own personal life. It's like an acting job. When I did those things my heart and soul was in it, not necessarily because it was a part of me, but because I was trying to sell it, get something across in the song."

Indeed, he seems to have been strangely impervious to his surroundings throughout the 1960s. He was a friend and mentor to the Rolling Stones and duetted with the famously unstable country singer George Jones, yet never shared in their excesses.

He was a happily married family man who never left Connecticut. Did he never hanker after a slightly more credible, rock'n'roll image? He looks genuinely bewildered by the suggestion. "I think that to be successful as the type of guy that I am, I need to have the type of image that I have. I'm quite content with the area I live in."

He seems equally startled when talk turns to his 1989 remake of Something's Gotten Hold of My Heart, the duet with gay icon Marc Almond that returned him to the top of the British charts 15 years after his last hit. Was Pitney aware that he had a gay following? "Me? That I had a gay following? No, not really."

But surely he must have realised that there was something deeply camp about his 1960s hits: the sawing strings, the sense of melodrama? "Oh yeah, I can see that. Musically I got along perfect with Marc. The video in the middle of the desert, with me in the white tux and him in the leather, that was great."

At 62, he still tours six months of the year. The music industry is still very much at arm's length. He was recently inducted into the Rock and Roll Hall of Fame: "It's a nice thing, but there's a lotta screwballs there. It was a zoo. That was the last time I saw Spector. He was like being directed by someone behind him, who was kind of aiming him in the right direction. I just left it alone."

Out of the charts for over a decade, he has been trying to write songs with his son. "He shouts me down an awful lot: 'Aw dad, that's so 60s.' He's right. You can't write a great 60s song now and have it be successful."

He seems to have the same attitude to trends in pop music as he has to those in taxidermy: they're not quite doing it right. "Hal David was talking about successful contemporary songs and he says he gets the impression they're about 75 % finished. I thought, wow, that's exactly where I'm coming from. Nobody goes that extra yard and creates a gem, something that's going to survive for a long, long period of time. I don't think anybody around today will be around for 40 years, like I have. Not because of lack of talent, but because artists are created with a shelf life of about three or four years. It's kinda gone screwy."