Some context: The Royal Philharmonic Orchestra (RPO), based in London, was formed by Sir Thomas Beecham in 1946. In its early days the orchestra secured profitable recording contracts and important engagements including the Glyndebourne Festival Opera and the concerts of the Royal Philharmonic Society. After Beecham's death in 1961 the orchestra's fortunes declined steeply; it battled for survival until the mid-1960s, when its future was secured after an Arts Council report recommended that it should receive public subsidy; a further crisis arose in the same era when it seemed that the orchestra's right to call itself "Royal" could be withdrawn. Since Beecham's death the RPO has had seven chief conductors, including Rudolf Kempe, Antal Dorati, Andre Previn and Vladimir Ashkenazy, and most recently Charles Dutoit.
In 1932 the conductor Sir Thomas Beecham had founded the London Philharmonic Orchestra (LPO), which, with the backing of rich supporters, he ran until 1940, when finances dried up in wartime. Beecham left to conduct in Australia and then the US; the orchestra continued without him after reorganising itself as a self-governing body. On Beecham's return to England in September 1944 the LPO welcomed him back, and in October they gave a concert together that drew superlatives from the critics. Over the next months Beecham and the orchestra gave further concerts with considerable success, but the LPO players, now their own employers, declined to give him the unfettered control he had exercised in the 1930s. If he were to become chief conductor again it would be as a paid employee of the orchestra. Beecham responded, "I emphatically refuse to be wagged by any orchestra ... I am going to found one more great orchestra to round off my career." In 1945 he conducted the first concert of Walter Legge's new Philharmonia Orchestra, but was not disposed to accept a salaried position from Legge, his former assistant, any more than from his former players in the LPO. His new orchestra to rival the Philharmonia would, he told Legge, be launched in "the most auspicious circumstances and eclat". In 1946 Beecham reached an agreement with the Royal Philharmonic Society: his new orchestra would replace the LPO at all the Society's concerts. He thus gained the right to name the new ensemble the "Royal Philharmonic Orchestra", an arrangement approved by George VI. Beecham arranged with the Glyndebourne Festival that the RPO should be the resident orchestra at Glyndebourne seasons. He secured backing, including that of record companies in the US as well as Britain, with whom lucrative recording contracts were negotiated. The music critic Lyndon Jenkins writes: Naturally, it quickly became known that he was planning another orchestra, at which the cry "He'll never get the players!" went up just as it had done in 1932. Beecham was unmoved: "I always get the players," he retorted. "Among other considerations, they are so good they refuse to play under anybody but me".
what are the origins?
A: In 1932 the conductor Sir Thomas Beecham had founded the London Philharmonic Orchestra (LPO), which, with the backing of rich supporters,
Some context: Paul Heyman was born on September 11, 1965 in Westchester County, New York, to Richard S. Heyman (died June 25, 2013), a prominent personal injury attorney, and Sulamita Heyman (died February 27, 2009). His family was Jewish, and his mother was a Holocaust survivor. By age 11, he was running a mail order business selling celebrity and sports memorabilia from his home. While still a teenager, he fast-talked his way backstage at a World Wide Wrestling Federation event at Madison Square Garden as a photojournalist.
Heyman decided he wanted to work in professional wrestling when he saw Vince McMahon interviewing Superstar Billy Graham. He began as a photographer when he was 13 and bought his own photo lab to take photos of pro wrestlers in New York. He published his own newsletter, The Wrestling Times Magazine, and wrote for third-party wrestling publications such as Pro Wrestling Illustrated. At the age of 14, he called Capitol Wrestling Corporation, the parent company of the World Wide Wrestling Federation, and obtained a backstage pass for Madison Square Garden, his first official work in pro wrestling. Heyman met Dusty Rhodes at a Jim Crockett Promotions taping, when he entered a production meeting. In 1985, Heyman was hired by New York Studio 54 as photographer. The same year, he became producer of Studio 54 and hosted the first Wrestle Party 85 show. He called Jim Crockett, who sent Ric Flair, Dusty Rhodes and Magnum TA. The show featured Bam Bam Bigelow's debut and an award to Flair. At the urging of Bigelow, Heyman made his managerial debut on January 2, 1987, initially appearing on the Northeast independent circuit before moving to a more high-profile stint with Championship Wrestling from Florida in February 1987. There, he joined forces with Kevin Sullivan and Oliver Humperdink, and acquired the name Paul E. Dangerously because of his resemblance to Michael Keaton's character in Johnny Dangerously. After CWF was absorbed by Jim Crockett Promotions, Bigelow brought him to Memphis and the Continental Wrestling Association to manage Tommy Rich and Austin Idol in a heated feud with Jerry Lawler, a war which later carried over to the American Wrestling Association (AWA), with the Original Midnight Express (Dennis Condrey and Randy Rose) taking over for Idol and the face-turned Rich. The Paul E. Dangerously gimmick was an extension of Heyman's own personality: a brash New Yorker with a yuppie attitude, often seen holding a mobile phone, which was occasionally used as a "foreign object" (according to Heyman, he decided to use the mobile phone as a weapon when he watched Gordon Gekko in Wall Street). After departing the AWA, Heyman went to the Alabama-based Continental Wrestling Federation. Heyman joined with Eddie Gilbert's Hot Stuff Inc. stable. Behind the scenes, Gilbert was the head booker of the promotion, and Heyman became his assistant. Heyman was also the head booker for Windy City Wrestling in Chicago and started developing a reputation as being an innovative television writer and producer.
did he work with anyone else?
A:
After CWF was absorbed by Jim Crockett Promotions, Bigelow brought him to Memphis and the Continental Wrestling Association to manage Tommy Rich and Austin Idol