John Lennon and Yoko Ono Demonstrate "Howling" (September 15, 1969)

On Monday, September 15, 1969, at the iconic Apple Corps headquarters in London, England, ITV News correspondent Keith Hatfield had the exclusive opportunity to sit down with Lennon and Ono, who discussed the genesis of "howling."With the dissolution of the Beatles looming and rumors swirling about potential solo projects, Lennon hinted at his willingness to explore new avenues of creativity.

This footage originally aired on Tuesday, September 16, 1969, and within four days Lennon would announce his departure from the Beatles at an Apple meeting with the group.

 

John Lennon and the Plastic Ono Band: Sweet Toronto (September 13, 1969)

On the night of Saturday, September 13, 1969, the Toronto Rock and Roll Revival Festival erupted in a whirlwind of music, mayhem, and unexpected moments. For John Lennon, it began with a sense of reluctance, a nagging regret at having agreed to take the stage at all. But as fate would have it, Lennon found himself swept up in a whirlwind of events, propelled forward by the irrepressible energy of his bandmates and the allure of rock 'n' roll.

As the hastily assembled Plastic Ono Band – featuring Lennon, Eric Clapton, Klaus Voormann, and Alan White – boarded a plane bound for Canada, the air crackled with anticipation. Amidst the hum of engines and the chatter of passengers, the group hastily rehearsed a medley of rock 'n' roll standards, their impromptu jam sessions setting the stage for what was to come.

Arriving at the Varsity Stadium of Toronto University, the band found themselves thrust into a festival atmosphere unlike any other. With 20,000 eager ticket holders unaware of their impending performance, the element of surprise hung thick in the air, adding to the electric atmosphere of the night.

As midnight approached, the Plastic Ono Band's black limousine swept into the backstage area, accompanied by a roaring procession of 80 motorcycles. Amidst a flurry of excitement and flashing cameras, Lennon and his bandmates retreated to the dressing room, nerves and anticipation mingling in equal measure.

But when the moment finally arrived, all doubts melted away in the blaze of lights and the roar of the crowd. Led by Lennon's raw vocals and Clapton's blistering guitar solos, the band tore through a setlist that spanned the spectrum of rock 'n' roll, from the infectious rhythm of 'Blue Suede Shoes' to the raw intensity of 'Cold Turkey'.

Yet, amidst the frenzy of performance, Lennon's candor shone through. Admitting his struggles with addiction and his inability to recall lyrics, he improvised words on stage, weaving a tapestry of spontaneity and emotion that captivated the audience.

The Beatles at the Savoy Hotel, London (September 10, 1963)

On September 10, 1963, during a rare break from their hectic schedule, John Lennon and Paul McCartney attended a luncheon at the Savoy Hotel in London hosted by the Variety Club of Great Britain. They were honored with the award for Top Vocal Group of the Year, solidifying The Beatles' growing status as establishment figures. The Variety Club, associated with Variety, the Children's Charity, has long-standing ties to the entertainment industry and aims to raise funds for disadvantaged children.

 

Pattie Boyd Pictures

The Beatles Attending a Bob Dylan Concert at the Isle of Wight Festival (August 31, 1969)

On the evening of Sunday, August 31, 1969, the Isle of Wight Festival pulsed with anticipation as music legends converged for a historic event. Among the throngs of eager spectators were none other than three-quarters of The Beatles – John Lennon, George Harrison, and Ringo Starr – accompanied by their wives, Yoko Ono, Pattie Harrison, and Maureen Starkey.

The festival's main attraction? None other than the enigmatic Bob Dylan, making his triumphant return to the stage after a three-year hiatus. As the sun dipped below the horizon, Dylan and his band took to the stage, their music igniting the night with a fiery energy that reverberated through the hearts of the 150,000-strong audience.

Amidst the sea of faces, familiar figures could be spotted – Keith Richards, Bill Wyman, Eric Clapton, and more, all drawn by the magnetic pull of Dylan's legendary performance. For Lennon, Harrison, and Starr, the evening held a special significance, a chance to witness one of their musical heroes in action.

Yet, as the night wore on, anticipation gave way to a sense of restless energy. The late hour weighed heavily on the crowd, and even the promise of a potential Beatles-Dylan jam seemed to hang in the balance. Despite their eagerness, the opportunity never materialized, leaving a sense of unfulfilled possibility lingering in the air.

After the final chord had faded into the night, the three Beatles found themselves at Dylan's rented farmhouse, where they shared in the camaraderie of music and friendship. Amidst laughter and revelry, they presented Dylan with a pre-release copy of Abbey Road, a gesture of respect and admiration between musical titans.

As the night stretched into the early hours, the farmhouse echoed with the strains of Abbey Road, a testament to the enduring bond shared between artists who had shaped the very fabric of rock 'n' roll. And in that moment, amidst the glow of friendship and music, the spirit of collaboration thrived, transcending the boundaries of fame and fortune.

When Did the Beatles Meet Elvis?

The Beatles met Elvis Presley on August 27, 1965, at Presley's home in Bel Air, Los Angeles. This meeting is often referred to as one of the most iconic moments in the history of popular music, bringing together two of the biggest stars of the era.

The meeting was arranged by Brian Epstein, The Beatles' manager, who reached out to Colonel Tom Parker, Presley's manager, to arrange the encounter. Both groups were eager to meet each other, as they admired each other's work and had a mutual respect for each other's talents.

When The Beatles arrived at Presley's home, they were greeted warmly by Presley and his entourage. The two groups spent several hours together, chatting, jamming on guitars, and exchanging stories about their experiences in the music industry.

Despite some initial nervousness and awkwardness, the meeting was a friendly and memorable occasion for both parties. Although no recordings or photographs of the encounter exist, the meeting between The Beatles and Elvis Presley remains a legendary moment in music history, symbolizing the meeting of two cultural icons and the peak of Beatlemania.

 

How Did the Beatles' Manager Die?

Brian Epstein, The Beatles' manager, died of an accidental drug overdose on August 27, 1967, at the age of 32. Epstein had struggled with depression and anxiety throughout his life, and his death was attributed to an accidental overdose of sleeping pills. He was found unconscious in his London home by his housekeeper, and despite efforts to revive him, he was pronounced dead upon arrival at the hospital.

Epstein's death was a tragic loss for The Beatles and the music industry as a whole. He had played a pivotal role in shaping the band's career and helping them achieve international fame and success. His untimely passing left a void in the lives of those who knew him, and his legacy as one of the greatest music managers of all time continues to be celebrated to this day.

The Beatles - Live at the ABC Theatre, Blackpool, England (August 25, 1963)

On August 25, 1963, The Beatles performed at the ABC Theatre in Blackpool, Lancashire, marking their sixth concert in the city within a span of two months. This particular performance was part of a series of shows held at either the ABC Theatre or the Queen's Theatre on Sunday nights between July and September 1963.

It was the fourth of five shows that The Beatles played at the ABC Theatre in Blackpool. The concerts were introduced by actor Jack Douglas, adding a touch of showbiz to the events.

Notably, a three-minute silent 8mm film of The Beatles' performance from this concert was auctioned in February 2015. This film, believed to be the earliest known color footage of the group, was shot by Chas McDevitt, a skiffle singer who was also on the bill at the ABC Theatre that night.

This concert was yet another opportunity for fans to experience The Beatles' energetic live performances during the height of Beatlemania, further cementing their reputation as one of the most iconic bands in music history.

 

Frost on Saturday (August 24, 1968)

John Lennon and Yoko Ono captivated audiences on the fourth edition of Frost On Saturday, hosted by David Frost. Broadcasting live from Studio One of Wembley Studios in London, the couple, adorned in black attire with white badges from their art exhibition "You Are Here," engaged in a thought-provoking discussion about their personal and artistic philosophies.

Amidst other guests including singer Blossom Dearie and satirist Stan Freberg, Lennon and Ono seized the opportunity to delve into the essence of their exhibition, which invited active participation from visitors. Ono described the exhibition as unfinished, symbolized by a broken cup on a pedestal awaiting mending.

Lennon elaborated on the interactive nature of their art, showcasing a blackboard with "You Are Here" scrawled in chalk and discussing visitors' varied reactions. The segment featured a glimpse of their film "Smile," described by Lennon as a poignant portrait.

As the discussion progressed, Lennon and Ono sensed the audience's intrigue but also skepticism. They invited guests to partake in the "Hammer a nail" piece, offering a unique outlet for channeling aggression and fostering engagement. The segment culminated in a playful interaction as David Frost joined in, humorously acknowledging his novice status with applause from the audience.

Ono introduced another artwork, "Built Around," highlighting their collaborative approach to art. Lennon shared anecdotes, including the tale of their first encounter, a story recounted in subsequent interviews.

The interview concluded with Lennon and Ono reflecting on their endeavor to communicate through art and music, accompanied by the Beatles' forthcoming single, 'Hey Jude,' playing over the closing credits.

 

When Did the Beatles Become a Band?

The Beatles officially formed as a band in Liverpool, England, in 1960. The core lineup of the band consisted of John Lennon, Paul McCartney, George Harrison, Stuart Sutcliffe, and Pete Best. Lennon and McCartney had been performing together since 1957 as part of a skiffle group called The Quarrymen, but the formation of The Beatles marked the beginning of their professional collaboration as a band.

The name "The Beatles" was adopted in August 1960, shortly before their first trip to Hamburg, Germany, to perform at clubs in the city's nightlife district. Over the next few years, The Beatles honed their musical skills and developed their distinctive sound through extensive live performances in Liverpool, Hamburg, and other cities in the United Kingdom and Europe.

The early years of The Beatles were marked by numerous lineup changes, with Stuart Sutcliffe leaving the band in 1961 and Pete Best being replaced by Ringo Starr as the drummer in 1962. By the time of their breakthrough success in 1963 with the release of their first #1 single, "Please Please Me," The Beatles had solidified their lineup and established themselves as one of the most promising bands in the burgeoning British music scene.

 

The Beatles’ Last Photoshoot - Tittenhurst Park (August 22, 1969)

August 22, 1969, marked a bittersweet milestone in the annals of music history – The Beatles' final photo shoot. Gathered together for one last time in the tranquil environs of Tittenhurst Park, the band embarked on a poignant journey through lens and light.

Nestled amidst the verdant grounds of John Lennon and Yoko Ono's Sunninghill estate, this historic session captured the essence of an era drawing to a close. Against the backdrop of Tittenhurst's sprawling acres, Ethan Russell and Monte Fresco wielded their cameras, immortalizing the band in a series of iconic shots.

Amidst the click of shutters and the whisper of leaves, John, Paul, George, and Ringo stood united, their bond palpable even as the shadows of change loomed large. Joined by Yoko Ono and a radiant, heavily pregnant Linda McCartney, the group painted a portrait of camaraderie and resilience in the face of an uncertain future.

From the grandeur of the main house to the quiet serenity of the garden path, each frame captured a moment suspended in time – a testament to the enduring legacy of The Beatles. Wide-brimmed hats adorned Lennon and Harrison, adding a touch of whimsy to the solemnity of the occasion.

As the sun dipped low on the horizon, the shutter ceased its rhythmic dance, and the final clicks echoed through the hallowed halls of Tittenhurst. Yet, in those fleeting moments frozen in emulsion, The Beatles' spirit lived on – a timeless reminder of the power of music to transcend the confines of space and time.

Though the day may have ended, the memories captured on film would endure, a lasting testament to the indelible mark left by four young men from Liverpool who dared to dream beyond the confines of their era. And as the final rays of sunlight bathed Tittenhurst Park in a golden glow, The Beatles bid farewell to an era, leaving behind a legacy that would resonate for generations to come.

 

The Beatles' First TV Appearance: Know the North - Live at the Cavern Club (August 22, 1962)

In the annals of music history, certain moments stand out as pivotal, altering the trajectory of not just a band's career, but the entire landscape of popular culture. August 22, 1962, marked one such moment when The Beatles, still in their formative years, took to the stage at Liverpool's iconic Cavern Club for their 126th lunchtime performance. Little did they know, this performance would also mark their television debut, immortalizing their raw talent and infectious energy for generations to come.

The Cavern Club, nestled in the heart of Liverpool's bustling Mathew Street, served as a breeding ground for emerging talent, a crucible where artists honed their craft amidst the dimly lit underground ambiance. For The Beatles, it was a second home, a stage where they had captivated audiences time and again with their electrifying performances. But on that fateful August afternoon, the stakes were higher than ever before.

Granada Television, intrigued by the fervor surrounding the band and spurred on by the deluge of fan mail flooding their offices, decided to capture The Beatles in their element. The decision to feature them on the Know The North program would prove to be a stroke of genius, a decision that would forever cement their place in the pantheon of musical legends.

As the cameras rolled and the crowd buzzed with anticipation, The Beatles launched into their set, belting out their now-iconic rendition of "Some Other Guy." It was a moment of pure magic, the convergence of talent, passion, and an undeniable connection with their audience. But amidst the cheers and applause, a lone voice cried out, "We want Pete!" — a stark reminder of the recent departure of drummer Pete Best, replaced by Ringo Starr just days prior.

The footage captured that day, though marred by technical imperfections and audio discrepancies, would become a cherished artifact, a window into a bygone era of rock 'n' roll. For years, the tape languished in obscurity, its significance overlooked until The Beatles ascended to global superstardom.

It wasn't until November 6, 1963, that "Some Other Guy" finally made its television debut on Granada's Scene At 6.30, a momentous occasion that heralded the band's meteoric rise to fame. Since then, the footage has been revisited time and again, a testament to the enduring appeal of The Beatles and the indelible mark they left on music history.

But perhaps equally remarkable is the story behind the audio recording of that historic performance. Forgotten for decades in a dusty desk drawer, the tape resurfaced in 2015, offering a crystal-clear glimpse into the sonic landscape of The Beatles' early years. Its discovery serves as a poignant reminder of the countless untold stories and hidden treasures waiting to be unearthed in the annals of music history.

As we reflect on that fateful day in August 1962, let us not only celebrate the legacy of The Beatles but also marvel at the serendipitous chain of events that immortalized their humble beginnings on the small screen. For in that dimly lit cavern, amidst the echoes of cheering fans and the strum of guitars, a revolution was born — one that would forever change the course of music as we know it.

John Lennon: Recording "I'm Losing You" at the Hit Factory (August 19, 1980)

The footage captures John Lennon recording "I'm Losing You" at the Hit Factory Studio on August 19, 1980, alongside Yoko Ono. Director Jay Dubin intended to produce music videos to promote their upcoming album "Double Fantasy." The recording sessions for both "I'm Losing You" and Yoko's "I'm Moving On" were filmed using two cameras, and the footage was stored on 1-inch video tapes. Despite Dubin never editing the footage, raw film of the sessions exists.

This footage holds significant historical importance as it marks the last documented time John Lennon was filmed making music before his tragic death. Although unseen by the public for years, snippets were included in the 1985 documentary "Yoko Ono: Then & Now" and later broadcast by NHK-TV of Japan in 1992.

A version of the 1998 "line drawing" video for "I'm Losing You" was uploaded by Revolver Records & Video, featuring footage from the secondary camera showing Lennon playing his Sardonyx guitar. Despite Lennon's reported attempt to destroy the film, the footage survived, showcasing his passionate performance. Despite Lennon's dissatisfaction with his appearance in the video, the clip serves as a poignant reminder of his talent and energy.

The release of this footage has dispelled doubts about its existence, leaving fans hopeful for a complete edited version. However, reports suggest that only twenty minutes of footage from camera two remain. Nonetheless, the emergence of this footage provides a rare glimpse into Lennon's final studio sessions and serves as a testament to his enduring legacy.

 

How Did the Beatles Affect American Culture?

The Beatles had a profound and lasting impact on American culture in numerous ways:

• Musical Influence: The Beatles revolutionized popular music with their innovative songwriting, catchy melodies, and experimental sound. Their influence can be heard in countless bands and artists across a wide range of genres, from rock and pop to hip-hop and electronic music.

• Fashion and Style: The Beatles' distinctive style, from their signature haircuts to their colorful mod-inspired clothing, influenced fashion trends in the 1960s and beyond. Their look became synonymous with the "British Invasion" of music and culture in the United States.

• Youth Culture and Identity: The Beatles became icons of youth culture, embodying the spirit of rebellion, freedom, and self-expression that defined the 1960s counterculture. Their music and message resonated with a generation of young people who were challenging traditional norms and values.

• Media and Marketing: The Beatles were masters of media and marketing, leveraging their popularity to shape and control their image through television appearances, press conferences, and promotional campaigns. They set new standards for celebrity culture and became pioneers in the field of music merchandising.

• Social and Political Impact: The Beatles were not only musicians but also cultural ambassadors who used their platform to advocate for social and political change. Their music and activism played a role in shaping public opinion on issues such as civil rights, peace, and environmentalism.

• Legacy and Enduring Influence: Even decades after their breakup, The Beatles continue to be celebrated and revered as one of the greatest bands in the history of popular music. Their songs remain timeless classics that are beloved by people of all ages and backgrounds, ensuring their legacy will endure for generations to come.

The Beatles' impact on American culture was profound and far-reaching, touching every aspect of society from music and fashion to politics and social change. They helped to shape the cultural landscape of the 20th century and continue to inspire and influence artists and audiences around the world.

 

The Beatles on Scene at 6.30 (August 14, 1963)

On August 14, 1963, The Beatles made an appearance on the television program "Scene At 6.30" at Granada TV Centre in Manchester. "Scene At 6.30" was a current affairs magazine show broadcast to England's northern ITV region.

The recording took place in Studio Four, where The Beatles performed two songs. They opted for a more casual look, sporting black polo-necks and jeans, a departure from their usual suited attire. The first song, "Twist And Shout," was broadcast on the same evening, while the second song, "She Loves You," was shown the following Monday.

Following the filming, The Beatles drove back to Llandudno, where they were in the midst of a six-night residency at the Odeon Cinema

 

How Did the Beatles Affect Society?

The Beatles had a profound and multifaceted impact on society, influencing culture, politics, and social norms in numerous ways:

• Musical Revolution: The Beatles revolutionized popular music with their innovative sound, songwriting, and studio techniques. Their influence can be heard in virtually every genre of music, from rock and pop to hip-hop and electronic music.

• Youth Culture and Identity: The Beatles became symbols of the youth movement of the 1960s, embodying the spirit of rebellion, freedom, and self-expression. Their music and image resonated with a generation of young people who were challenging traditional norms and values.

• Fashion and Style: The Beatles' distinctive style, from their signature haircuts to their mod-inspired clothing, influenced fashion trends in the 1960s and beyond. They helped to popularize the "British Invasion" look and set new standards for personal style and grooming.

• Social and Political Activism: The Beatles used their platform to advocate for social and political change. They spoke out against war, injustice, and inequality, and their music became anthems for the peace and civil rights movements of the 1960s.

• Globalization of Culture: The Beatles' global appeal helped to break down cultural barriers and bring people together across national borders. Their music and message transcended language and cultural differences, uniting fans around the world in a shared love of music and art.

• Legacy and Inspiration: Even decades after their breakup, The Beatles continue to be celebrated and revered as one of the greatest bands in the history of popular music. Their songs remain timeless classics that are beloved by people of all ages and backgrounds, and their influence can be seen in the work of countless artists and musicians around the world.

The Beatles' impact on society was profound and enduring, shaping the cultural landscape of the 20th century and leaving an indelible mark on the world. Their music and message continue to resonate with audiences and serve as a reminder of the power of art to inspire, unite, and bring about positive change.

 

George Harrison Signing Autographs at His Home in Kinfauns, Esher, England (August 4, 1969)

In this rare footage, witness the quiet charm of the "Quiet Beatle" as he graciously interacts with Pat Kinzer Mancuso, President of the George Harrison Fan Club.

As the camera captures the scene, George, ever the embodiment of humility, takes time out of his day to connect with fans who have journeyed from afar to meet their idol. Pat, who had fostered a deep connection with George through her role in the fan club, stands in awe alongside her friends as they come face to face with the man behind the music.

In a moment filled with nervous anticipation, George breaks the ice with his trademark wit, paving the way for a memorable exchange. Despite his own apparent stresses, George's genuine warmth shines through as he engages with Pat and her companions, signing autographs and even lending a creative hand in designing a special birthday card for fellow fan club members.

Through the lens of history, this poignant encounter captures the essence of George Harrison – a musician, a friend, and a beacon of kindness in a world captivated by Beatlemania. Join us as we journey back to a time when music transcended fame, and a simple act of generosity left an indelible mark on those fortunate enough to experience it firsthand.

 

Pattie Boyd Pictures

The Beatles - The Complete Hey Jude Recording Sessions at EMI Studios (July 30, 1968)

On this historic day, Studio Two at Abbey Road was abuzz with creative energy as The Beatles embarked on the second session for their monumental track, "Hey Jude." Under the guidance of producer George Martin and engineer Ken Scott, the Fab Four dove deeper into shaping the song's sound and structure.

Seventeen takes were meticulously recorded, marked with numbers 7-23, as the band fine-tuned the arrangement, striving for perfection. Despite their musical genius, tensions simmered between bandmates, notably between Paul McCartney and George Harrison, as disagreements arose over guitar parts, adding a layer of drama to the proceedings.

Amidst the musical exploration, a film crew documented the session for the documentary Music! by the National Music Council of Great Britain, providing a rare behind-the-scenes glimpse into The Beatles' creative process. The footage captures the band members immersed in their craft, with McCartney on vocals and piano, Lennon on acoustic guitar and vocals, and Starr holding down the beat on drums.

In a spontaneous burst of creativity, The Beatles treated listeners to impromptu renditions of "St. Louis Blues" and Ray Charles’ "Don’t Let The Sun Catch You Crying."

As the day drew to a close, the definitive take of "Hey Jude," take 23, emerged, setting the stage for further overdubs. With two reduction mixes, numbered 24 and 25, completed, the groundwork was laid for additional layers of vocals and instruments.

Before bidding farewell to Studio Two, a rough mix was crafted, paving the way for George Martin to work his orchestral magic, adding the finishing touches to this iconic anthem. As the sun set on Abbey Road, the legacy of "Hey Jude" was in the making, destined to become a timeless masterpiece cherished by generations to come.

 

The Beatles at Royal Pier Hotel, Weston-Super-Mare and Brean Down Beach (July 27, 1963)

 

Why Did the Beatles Become Popular When They Did?

 

The Beatles became popular when they did due to a convergence of several key factors:

• Musical Talent and Innovation: The Beatles' music was innovative, catchy, and accessible, drawing on a wide range of influences from rock and roll, R&B, pop, and folk music. Their songwriting, vocal harmonies, and instrumental prowess set them apart from other bands of the time and helped to redefine the sound of popular music.

• Cultural Context: The Beatles emerged during a period of significant cultural and social change, known as the "Swinging Sixties." Their music and image reflected the optimism, energy, and rebellion of the youth culture of the time, resonating with a generation that was eager for change and self-expression.

• Media Exposure: The Beatles benefited from extensive media exposure, including radio airplay, television appearances, and coverage in newspapers and magazines. Their appearance on The Ed Sullivan Show in February 1964 introduced them to a massive American audience and helped to fuel the phenomenon of Beatlemania.

• Managerial and Marketing Savvy: The Beatles were managed by Brian Epstein, who played a crucial role in shaping their image, promoting their music, and securing lucrative recording and performance deals. Epstein's vision and marketing savvy helped to elevate The Beatles from a local Liverpool band to international superstars.

• Global Touring and Promotion: The Beatles embarked on several successful tours around the world, performing live concerts and making personal appearances that further fueled their popularity and fan base. Their concerts were highly anticipated events that drew huge crowds of screaming fans wherever they went.

• Crossing Generational and Cultural Boundaries: The Beatles' music appealed to a broad audience across generational and cultural boundaries. Their catchy melodies, relatable lyrics, and universal themes resonated with people of all ages and backgrounds, helping to make them one of the most beloved and enduring bands in history.

The Beatles Arriving at EMI Studios, London (July 23, 1969)

At Abbey Road Studios on Wednesday, July 23, 1969,  musical history was being meticulously crafted. Under the guiding hand of producer George Martin and the technical expertise of engineers Geoff Emerick and Phil McDonald, The Beatles embarked on a day of intensive recording in Studio Three.

The spotlight fell on Paul McCartney as he stepped up to the microphone to lay down the long-awaited lead vocals for 'Oh! Darling'. After weeks of early morning sessions, McCartney's quest for the perfect take reached its climax as he poured his soul into each note, striving to capture the raw emotion of the song.

With 'Oh! Darling' finally in the can, attention turned to 'Come Together', as additional vocal layers were delicately woven into the tapestry of sound. But it was the epic finale, known then as 'Ending', that truly stole the show. The Beatles, in their trademark collaborative spirit, rehearsed tirelessly before laying down seven takes of the backing track, each a testament to their musical prowess.

As the day drew to a close, the control room of Studio Two buzzed with anticipation as an hour-long playback of the day's recordings unfolded. From the raw intensity of 'Oh! Darling' to the intricate layers of 'Ending', the playback offered a glimpse into the creative journey of one of the greatest bands the world had ever known.

In Studio Three, amidst the flicker of tape reels and the hum of amplifiers, The Beatles forged ahead, each chord and lyric immortalized in the annals of music history. And as the sun set on Abbey Road, the echoes of their genius reverberated through the corridors, a testament to the enduring legacy of a band that dared to dream beyond the confines of convention.

 

Pattie Boyd Pictures

Photos of the Beatles on Lucky Stars (Summer Spin) Birmingham (June 23, 1963)

On June 23, 1963, The Beatles headlined a special edition of "Summer Spin," which was the summer version of the popular show "Thank Your Lucky Stars." The episode was dedicated to Mersey Beat groups and was filmed at Alpha Television Studios in Birmingham, England.

Presented by Pete Murray, the show featured The Beatles miming to two songs at the close: "From Me To You" and "I Saw Her Standing There." The broadcast took place on June 29, 1963, from 6:05 to 6:45 pm across most of the UK's ITV network. However, the final 10 minutes of the show overlapped with John Lennon's appearance on the BBC's "Juke Box Jury."

Unfortunately, no recording of this particular program is believed to exist today

 

John Lennon on Juke Box Jury (June 22, 1963)

On June 22, 1963, John Lennon appeared on the BBC-TV program "Juke Box Jury" at Television Theatre in London. The episode aired a week later on June 29, 1963. "Juke Box Jury" was a weekly show where a panel of celebrities rated newly released records as either 'HIT' or 'MISS' based on their personal opinions.

Lennon's appearance on the show caused a stir as he rated every record as a 'MISS,' prompting criticism from some who viewed him as cynical. During the taping, Lennon gave a scathing review of Elvis Presley's new record "Devil In Disguise," expressing disappointment with Presley's departure from his earlier style.

After the taping, Lennon was flown by helicopter from Battersea Airport to Abergavenny, where The Beatles were scheduled to perform at the Abergavenny Town Hall Ballroom in Wales.

Unfortunately, the video recording of Lennon's appearance on "Juke Box Jury" no longer exists. However, most of the audio from the show has survived, providing insight into Lennon's candid and sometimes humorous critiques of the featured songs.

This appearance marked a notable moment in Lennon's outspokenness and honesty, further solidifying his reputation as a provocative figure in the music industry.

 

The David Frost Show (June 14, 1969)

On Saturday, June 14th, 1969, John Lennon and Yoko Ono made a memorable appearance on The David Frost Show. The couple, known for their activism and avant-garde approach to art, took the opportunity to share their message of peace and challenge societal norms.

Recorded at the InterTel studios in Wembley, London, the episode featured Lennon and Ono engaging in their trademark eccentricity. As the show began, acorns were playfully tossed into the audience, marking the start of "acorns for peace week." Lennon, ever the provocateur, held up their album Unfinished Music No 2: Life With The Lions and extended birthday wishes to the Queen.

The conversation delved into their experimental music, with Frost humorously discussing the controversial cover of Two Virgins and its black market value. Lennon and Ono also touched on their artistic philosophy, emphasizing the interconnectedness of all creative forms and the concept of "Bagism."

Bagism, they explained, was a metaphor for societal divisions and prejudices, encapsulated in the idea of being "in a bag." By getting "in the bag," they argued, one could experience a peaceful detachment from societal norms and biases.

Their advocacy for peace extended beyond philosophical discussions. Lennon passionately advocated for peace as a commodity, urging people to "sell peace" like any other product. Through their famous "bed-ins" and other acts of activism, Lennon and Ono sought to disrupt the status quo and promote a world free from violence and discrimination.

The interview with Frost was not just a showcase of their music or ideas but a snapshot of a transformative era. Lennon and Ono's willingness to challenge conventions and use their platform for social change left a lasting impression on viewers, echoing their timeless message of love and peace.

 

Paul McCartney Interview at the Melbourne’s Southern Cross Hotel in Australia (June 14, 1964)

On June 14, 1964, Ringo Starr rejoined The Beatles in Melbourne, Australia, after nearly two weeks apart due to illness. Starr had been recovering from tonsillitis and pharyngitis. He held a press conference at Sydney Airport with manager Brian Epstein before flying to Essendon Airport in Melbourne.

Despite large crowds awaiting the other three Beatles, who were scheduled to arrive five hours later, Starr expressed discomfort being separated from the group during his flight. He found solace in reuniting with his bandmates, especially as they had bought him presents in Hong Kong.

Upon Starr's arrival at Melbourne's Southern Cross Hotel, he was greeted by 3,000 fans. Inspector Mike Patterson attempted to carry Starr through the crowd on his shoulders but accidentally tripped and fell.

Meanwhile, the other Beatles left their Adelaide hotel and arrived in Melbourne to a crowd of 5,000. The hotel was overrun with fans, requiring the assistance of army and navy troops.

The Beatles received a police escort upon entering Melbourne, with 12 motorcyclists leading the way. Amidst chaos and hysteria, the band was ushered into the Southern Cross Hotel, where they waved to fans from their windows to calm the crowd.

Once reunited, The Beatles, along with stand-in drummer Jimmie Nicol, held a press conference and later attended a party until 4 am, marking the joyful reunion of the band after Starr's illness.

 

John Lennon & George Harrison interviewed in Rishikesh, India (April 10, 1968)

On Friday, April 12, 1968, after nearly two months immersed in the practice of Transcendental Meditation under the guidance of Maharishi Mahesh Yogi in Rishikesh, India, John Lennon and George Harrison, along with Cynthia Lennon, Pattie Harrison, and their friend 'Magic' Alex Mardas, made the decision to depart from the camp. This choice was influenced by Mardas's allegations that Maharishi had behaved inappropriately with a young female meditator, leading Lennon and Harrison to believe that they should leave immediately.

Despite initial doubts and the absence of concrete evidence, Lennon and Harrison were swayed by Mardas's claims, and they departed for Delhi with plans to return to London. Reflecting on the situation later, Lennon expressed disillusionment with Maharishi's behavior, feeling that the spiritual leader had become too preoccupied with fame and wealth.

As they prepared to leave, Lennon began composing the song "Sexy Sadie," inspired by the events and feelings surrounding their departure from the camp. The lyrics reflected his skepticism and frustration towards Maharishi. The song's title was suggested by Harrison, and the two musicians continued to develop it as they journeyed to Delhi.

Following their departure, Harrison and Pattie Harrison, accompanied by her sister Jenny, ventured to Madras to visit sitar virtuoso Ravi Shankar, finding solace in his music before facing the chaos awaiting them upon their return to England.

Ultimately, the departure from Rishikesh marked the end of their spiritual retreat and the beginning of their reintegration into the tumultuous world awaiting them back home.

 

Will The Real Mr. Sellers Please Stand Up (1969)

This rarely seen 1969 documentary offers a fascinating glimpse behind the scenes of the making of The Magic Christian, featuring exclusive interviews with the iconic Peter Sellers. Narrated by Spike Milligan, the film delves into Sellers' complex persona, with candid appearances from notable figures such as Ringo Starr, Paul McCartney, Linda McCartney, and John Lennon.

Despite its intriguing content, the documentary was never rebroadcasted by the BBC, purportedly because Sellers felt it portrayed him in a depressed light. Milligan provides insightful commentary, dissecting Sellers' character amidst the production chaos.

Viewers should be prepared for strong imagery, including scenes of a bullfight, open-heart surgery, and nudity. Despite any perceived melancholy, Sellers continued his illustrious career for 11 more years after this documentary's release.

Tragically, Sellers passed away on July 24, 1980, succumbing to a massive heart attack at the Dorchester Hotel in London, leaving behind a legacy that continues to captivate audiences.

 

Why Didn't John Lennon Have Security?

John Lennon famously opted not to have security for a variety of reasons, but primarily because he wanted to maintain a sense of normalcy and freedom in his life. He was known for his belief in peace and love and often expressed a desire to connect with people on a personal level. Additionally, he may have felt that having security would create a barrier between himself and his fans, which went against his desire for openness and accessibility. Unfortunately, this decision left him vulnerable, and tragically, he was fatally shot by a fan outside his apartment building in New York City in 1980.

One afternoon I entered the room while John entertained a guest. My sudden appearance took him by surprise but rather than sending me away, he introduced us.

“Michael, this is Doug MacDougall.”

“Doug, this is Michael . . .” John said. Then he couldn't recall my last name. He gave me a look and blurted, “This is Michael Tree.” My Portuguese family name always got him confused.

The next day, John told me Doug was a retired FBI agent hired to be Sean's bodyguard. He worried that his son could be the target of kidnappers.

-In John Lennon's Garden

According to Fred Seaman: "The bodyguard, an ex-FBI agent named Doug MacDougall, was originally hired in spring 1979 as Sean’s bodyguard. After John and Yoko went public in September 1980 MacDougall urged Yoko to beef up security. He was particularly alarmed by an interview Yoko gave to the Daily News in which she indiscreetly talked about their recording schedule and even the route their limo took. On September 25 Doug had a stormy meeting with Yoko in which he suggested that they have an armed guard ride with John and Yoko in their limo, or that a guard meet their limo at the entrance to the recording studio and Dakota. Yoko rejected both suggestions. Frustrated by Yoko’s lackadaisical attitude regarding security Doug then went on a 'leave of absence.' He was scheduled to meet with Yoko on December 9 to review the security issue, but by then it was too late."

 

How Did the Beatles Arrive at Shea Stadium?

The Beatles arrived at Shea Stadium, a famous sports and entertainment venue in New York City, on August 15, 1965, for their historic concert performance. They arrived in a specially chartered helicopter that landed on the field of the stadium. This dramatic entrance by helicopter was a highly publicized event and added to the excitement and anticipation surrounding the concert, which was the first-ever stadium show for a rock band.

After landing, The Beatles were escorted from the helicopter to a limousine, which drove them to a special entrance at the stadium. From there, they made their way to the stage, where they performed in front of a record-breaking crowd of over 55,600 screaming fans.

The Beatles' concert at Shea Stadium was a groundbreaking moment in music history and helped to solidify their status as one of the most popular and influential bands of all time. The event marked the beginning of the era of stadium concerts and set new standards for live performance in the rock music industry.

The Dentist Interview - John Lennon and Yoko Ono (December 14, 1968)

Step into the intriguing world of John Lennon and Yoko Ono as they invite viewers into the unexpected locale of a dentist's waiting room in Knightsbridge, London, for a candid and revealing interview on the Dutch television show Rood Wit Blauw (Red White Blue).

Yoko Ono takes the spotlight initially, engaging in a deep conversation with interviewer Abram de Swaan about her art and its profound purpose as a tool for communication. She reminisces about her first encounter with Lennon at the Indica gallery, highlighting her initial unawareness of his celebrity status.

As the interview progresses, Lennon joins the conversation, his demeanor slightly altered by the effects of anesthesia. Despite this, he delves into a range of topics, from their infamous drugs bust to their avant-garde film, Smile. The dialogue takes unexpected turns, touching on The Beatles' tax woes and culminating in a discussion about their controversial song "Revolution."

Throughout the interview, Lennon offers candid reflections, expressing skepticism toward protesters while extending solidarity to the black power movement. Meanwhile, Ono draws parallels between the struggles of women and marginalized communities, famously proclaiming, "woman is like the nigger of the world," a sentiment that would reverberate in Lennon's later musical compositions.

 

Pattie Boyd Pictures

The Two Junkies Interview: John Lennon & Yoko Ono on Heroin (January 14, 1969)

In this candid and infamous January 14, 1969 interview, John Lennon and Yoko Ono sit down with a reporter from Canada's CBC-TV. As the camera rolls, Lennon's demeanor shifts noticeably, his pallor growing as he becomes increasingly restless—a telltale sign of his heroin use. Midway through, Lennon abruptly excuses himself, citing feeling unwell, prompting a brief pause in filming.

Returning with a renewed energy, the latter half of the interview sees Lennon engaging in animated discussions about live performances, sources of inspiration, and the couple's ambitious future plans. Despite the initial turbulence, the interview offers a raw glimpse into Lennon and Ono's world, capturing the complexities of their relationship amidst the backdrop of their artistic journey.

 

Did John Lennon Like "Hey Jude"?

John Lennon did like "Hey Jude," which was a song written by Paul McCartney for John's son, Julian Lennon, during the time of John's divorce from his first wife, Cynthia Lennon. John and Paul had a complex relationship, particularly during the later years of The Beatles, but there were still moments of mutual respect and admiration for each other's work. "Hey Jude" was a massive hit for The Beatles and remains one of their most beloved songs. While there may have been some professional and personal tensions between John and Paul, it's widely acknowledged that they both appreciated each other's musical talents.

‘Hey Jude’ is Paul’s. It’s one of his masterpieces...I don’t think I had anything to do with it. Ask him! [laughs] I don’t feel as though I had anything to do with it. He said it was written about Julian, my child. He knew I was splitting with Cyn and leaving Julian, then, and so he was driving towards [Kenwood] to visit me, or Julian. I think it was just to see Julian, to just sort of say hi to him, ’cause he’d been like an uncle, you know – he was always good with kids. And he’d come up with ‘Hey Jude’.

But I always heard it as a song to me. If you think about it, Yoko’s just come into the picture – he’s saying, “Hey Jude.” “Hey John.” I mean, so now I’m sounding like one of those fans who’s writing things into it, but you can work – you can hear it as a song to me. Although it’s also a song about him and [Francie] Schwartz at the time, too. Uh, but you hear “lies a chip on your shoulder” [sic] and all those things, [which] I always took personally, because I was the one with a chip on me shoulder. And “go out and get her,” you know, and forget everything else. So subconsciously I take it that he was saying, “Go ahead.” On a conscious level, he didn’t want me to go ahead. So subconsciously, he… The angel in him was saying, “Bless you.” The devil in him didn’t like it at all. Because he didn’t want to lose his partner.

-John Lennon, 1980

How Did the Beatles Meet?

 

The Beatles met in Liverpool, England, during the late 1950s. The core members of the band—John Lennon, Paul McCartney, and George Harrison—first crossed paths at various points in their youth before eventually forming the band.

John Lennon and Paul McCartney: John Lennon and Paul McCartney first met on July 6, 1957, at the Woolton Parish Church in Liverpool. McCartney was introduced to Lennon by a mutual friend, Ivan Vaughan, who knew that McCartney played guitar and thought he would be a good addition to Lennon's band, The Quarrymen. McCartney impressed Lennon with his ability to play and sing the song "Twenty Flight Rock" by Eddie Cochran, and they soon became friends and musical collaborators.

George Harrison: George Harrison joined The Quarrymen a bit later, in 1958, after impressing John Lennon with his guitar skills during a chance encounter. McCartney was also friends with Harrison, who was a few years younger, and he eventually joined The Quarrymen as their lead guitarist.

Ringo Starr: Ringo Starr (real name: Richard Starkey) did not join the band until later, replacing their original drummer, Pete Best, in 1962. Starr had been playing drums with another popular Liverpool band, Rory Storm and the Hurricanes, before joining The Beatles, and occasionally filled in for Best before his replacement during their live shows.

 

What Is the Beatles' Song "Hey Jude" About?

"Hey Jude" is one of The Beatles' most iconic and enduring songs, written by Paul McCartney and released as a single in 1968. The song's lyrics are widely interpreted as a message of comfort and encouragement to a young boy named Julian Lennon, the son of McCartney's bandmate John Lennon, during his parents' divorce.

The story goes that McCartney wrote "Hey Jude" as a way to console Julian during a difficult time. Originally titled "Hey Jules," McCartney changed the name to "Jude" because he felt it sounded better. The song's lyrics offer reassurance to Jude (or Julian), urging him to take a sad song and make it better, and reminding him not to be afraid to let someone into his heart.

The song's uplifting melody and sing-along chorus have made it a timeless classic, beloved by generations of listeners. Its message of hope, resilience, and unconditional love resonates with people of all ages and backgrounds, making it one of The Beatles' most enduring and universally beloved songs.

 

John Lennon & Yoko Ono interview with Marshall McLuhan in Toronto (December 21, 1969)

On December 19th, 1969, when three iconic figures of the 20th century converged in snowy Toronto for an extraordinary meeting of minds. John Lennon and Yoko Ono, champions of peace and avant-garde expression, found themselves in conversation with none other than Marshall McLuhan, the renowned Canadian media theorist and author.

Organized by the Canadian Broadcasting Corporation, this inspired pairing brought together Lennon and Ono, fresh from their "War is Over" billboard and poster campaign, with McLuhan, whose groundbreaking works like "Understanding Media" had already left an indelible mark on global intellectual discourse.

In a captivating exchange captured on film, Lennon, Ono, and McLuhan delve into the genesis of their peace-promoting campaign, revealing the creative process behind its inception and the challenges of spreading its message worldwide. From the power of posters as a medium of expression to the complexities of organizing a global initiative, the conversation offers a rare glimpse into the minds of these influential figures.

 

John Lennon's BBC Radio 1 Interview with Michael Wale - Rock Speak (September 27, 1974)

Audio interview with Michael Wale on BBC Radio 1's "Rock Speak," aired on September 27, 1974. Lennon delves into the creative process behind his solo albums, including Mind Games and Walls and Bridges, and offers teasers about his upcoming album release, Rock 'n' Roll.

 

The Drug Bust - George Harrison and Pattie Boyd (March 18, 1969)

On the fateful evening of March 12, 1969, the tranquil sanctuary of Kinfauns, the home of George and Pattie Harrison, was shattered by the intrusion of the drug squad.

In a dramatic turn of events, Sgt. Pilcher, the head of the raid, planted drugs in George's shoe, leading to the swift arrest of the Harrisons. Despite the shock and disbelief, George and Pattie were promptly booked and released on bail, marking the beginning of a legal ordeal that would test their resolve.

Amidst the chaos, the Harrisons defiantly returned home, refusing to be cowed by the authorities' heavy-handed tactics. That very night, they bravely attended a Pisces party, accompanied by Pattie's sister, Paula Boyd. In an audacious act of rebellion, Paula offered Princess Margaret, a member of the British royal family, a joint, symbolizing the countercultural spirit of the era.

Just six days after their arrest in a drug bust, the couple found themselves in the solemn halls of Walton Magistrates’ Court. Charged with cannabis possession, Apple's press officer, Derek Taylor, provided surety and the couple were released as they awaited their trial. George and Pattie were each fined £250, along with an additional 10 guineas each in costs.

George Harrison: The Way It Is (October/November 1968)

Step back in time to late 1968, when the world was in the midst of change, and the counterculture was at its zenith. In Los Angeles, California, amidst the creative fervor of the era, George Harrison, the legendary guitarist of The Beatles, flew in to produce Jackie Lomax's Apple debut. Amidst his busy schedule, George took a moment to share his thoughts with Canada's CBC TV program The Way It Is, which aired in 1969.

Was John Lennon an Orphan?

No, John Lennon was not an orphan. He was born on October 9, 1940, in Liverpool, England, to Alfred Lennon and Julia Stanley. However, his parents separated when he was very young, and he was raised primarily by his Aunt Mimi and Uncle George. Lennon did have a strained relationship with his parents, especially his father, but he wasn't an orphan in the traditional sense.

What Did the Beatles Think of Joe Cocker?

The Beatles had a positive opinion of Joe Cocker, particularly regarding his cover of their song "With a Little Help from My Friends." Cocker's rendition of the song, which was notably different from the original, gained significant popularity and critical acclaim. Paul McCartney in particular praised Cocker's soulful and distinctive interpretation of the song:

He was a lovely northern lad who I loved a lot and like many people I loved his singing. I was especially pleased when he decided to cover "With a Little Help from My Friends" and I remember him and Denny Cordell coming round to the studio in Savile Row and playing me what they’d recorded and it was just mind blowing, totally turned the song into a soul anthem and I was forever grateful to him for doing that. 

In fact, Cocker's version became so iconic that it is often associated with him more than with the Beatles themselves. Joe Cocker also covered the songs "She Came in Through the Bathroom Window" and "Something," tracks from their iconic album Abbey Road for his album Joe Cocker! released in 1969, also releasing "Let It Be" as a B-side. 

What Is the Beatles' "Helter Skelter" About?

"Helter Skelter" is a song by The Beatles, written primarily by Paul McCartney, and it's known for its intense and raucous sound. The song's meaning has been the subject of much speculation and interpretation over the years.

Paul McCartney has stated that he was inspired to write "Helter Skelter" after reading a review of The Who's song "I Can See for Miles," which described it as the "loudest, rawest, dirtiest" song ever recorded. McCartney wanted to write a song that would outdo The Who's in terms of raw energy and intensity.

The term "helter skelter" originally refers to a British amusement park ride, a spiraling slide. McCartney later learned that the phrase was also used to describe chaos and disorder, which further influenced the song's lyrics.

While "Helter Skelter" may have started as a simple exercise in rock and roll intensity, its lyrics have been interpreted in various ways. Some listeners see it as a commentary on the chaos and upheaval of the late 1960s, a time marked by social and political unrest. Charles Manson infamously interpreted "Helter Skelter" as a call to incite a race war.

"Helter Skelter" remains one of The Beatles' most powerful and enigmatic songs, with its meaning open to interpretation and debate. It's a testament to the band's versatility and willingness to push musical boundaries, even if the exact meaning of the song may never be fully understood.

What Did the Beatles Say About Jesus?

More popular than Jesus is part of a remark made by John Lennon of the Beatles in a March 1966 interview in which he argued that the public were more infatuated with the band than with Jesus, and that Christianity was declining to the extent that it might be outlasted by rock music. His opinions drew little controversy when originally published in the London newspaper The Evening Standard, but drew angry reactions from Evangelical Christian communities when republished in the United States that July.

Lennon's comments incited protests and threats, particularly throughout the Bible Belt in the Southern United States. Some radio stations stopped playing Beatles songs, records were publicly burned, and press conferences were cancelled. The controversy coincided with the band's 1966 US tour and overshadowed press coverage of their newest album, Revolver. Lennon later repeatedly apologised and clarified at a series of press conferences that he was not comparing himself or the band to Christ.

In March 1966, London's Evening Standard ran a weekly series titled "How Does a Beatle Live?" that featured individual interviews with Beatles John Lennon, Ringo Starr, George Harrison and Paul McCartney. The articles were written by Maureen Cleave, who knew the group well and had interviewed them regularly since the start of Beatlemania in the United Kingdom. She had described them three years earlier as "the darlings of Merseyside", and in February 1964 had accompanied them on their first visit to the United States. She chose to interview the band members individually for the lifestyle series, rather than as a group.

Cleave carried out the interview with Lennon in February at Kenwood, his home in Weybridge, Surrey. Her article portrayed him as restless and searching for meaning in his life; he discussed his interest in Indian music and said he gleaned most of his knowledge from reading books. Among Lennon's many possessions, Cleave found a full-sized crucifix, a gorilla costume, a medieval suit of armour and a well-organised library with works by Alfred, Lord Tennyson, Jonathan Swift, Oscar Wilde, George Orwell and Aldous Huxley. Another book, Hugh J. Schonfield's The Passover Plot, had influenced Lennon's ideas about Christianity, although Cleave did not refer to it in the article. She mentioned that Lennon was "reading extensively about religion", and quoted him as saying:

Christianity will go. It will vanish and shrink. I needn't argue about that; I'm right and I'll be proved right. We're more popular than Jesus now; I don't know which will go first – rock 'n' roll or Christianity. Jesus was all right but his disciples were thick and ordinary. It's them twisting it that ruins it for me.

Cleave's interview with Lennon was published in The Evening Standard on 4 March under the secondary heading "On a hill in Surrey ... A young man, famous, loaded, and waiting for something". The article provoked no controversy in the UK, where Church attendance was in decline and Christian churches were attempting to transform their image to make themselves more "relevant to modern times". According to author Jonathan Gould: "The satire comedians had had a field day with the increasingly desperate attempts of the Church to make itself seem more relevant ('Don't call me vicar, call me Dick ...'). In 1963, Bishop of Woolwich John Robinson had published the book Honest to God, urging the nation to reject traditional church teachings on morality and the concept of God as an "old man in the sky" and instead embrace a universal ethic of love. Bryan R. Wilson's 1966 text Religion in Secular Society explained that increasing secularisation led to British churches being abandoned. However, traditional Christian faith was still strong and widespread in the United States at that time. The theme of religion's irrelevance in American society had nevertheless been featured in a cover article titled "Is God Dead?" in Time magazine, in an issue dated 8 April 1966.

Both McCartney and Harrison had been baptised in the Roman Catholic Church, but neither of them followed Christianity. In his interview with Cleave, Harrison was also outspoken about organised religion, as well as the Vietnam War and authority figures in general, whether "religious or secular". He said: "If Christianity's as good as they say it is, it should stand up to a bit of discussion." According to author Steve Turner, the British satirical magazine Private Eye responded to Lennon's comments by featuring a cartoon by Gerald Scarfe that showed him "dressed in heavenly robes and playing a cross-shaped guitar with a halo made out of a vinyl LP".

Newsweek made reference to Lennon's "more popular than Jesus" comments in an issue published in March, and the interview had appeared in Detroit magazine in May. On 3 July, Cleave's four Beatles interviews were published together in a five-page article in The New York Times Magazine, titled "Old Beatles – A Study in Paradox". None of these provoked a strong reaction.

Beatles press officer Tony Barrow offered Cleave's four interviews to Datebook, an American teen magazine. He believed that the pieces were important to show fans that the Beatles were progressing beyond simple pop music and producing more intellectually challenging work. Datebook was a liberal magazine that addressed subjects such as interracial relationships and the legalisation of marijuana, so it seemed an appropriate publication for the interviews. Managing editor Danny Fields played a role in highlighting Lennon's comments.

Datebook published the Lennon and McCartney interviews on 29 July, in its September "Shout-Out" issue dedicated to controversial youth-orientated themes including recreational drugs, sex, long hair and the Vietnam War. Art Unger, the magazine's editor, put a quote from Lennon's interview on the cover: "I don't know which will go first – rock 'n' roll or Christianity!" Only McCartney's image was featured on the front cover, as Unger expected that his statement would spark the most controversy. The same Lennon quote appeared as the headline above the feature article. Beside the text, Unger included a photo of Lennon on a yacht, gazing across the ocean with his hand shielding his eyes, accompanied by the caption: "John Lennon sights controversy and sets sail directly towards it. That's the way he likes to live!"

In late July, Unger sent copies of the interviews to radio stations in the Southern United States. WAQY disc jockey Tommy Charles in Birmingham, Alabama, heard about Lennon's remarks from his co-presenter Doug Layton and said, "That does it for me. I am not going to play the Beatles any more." During their 29 July breakfast show, Charles and Layton asked for listeners' views on Lennon's comment, and the response was overwhelmingly negative. The pair set about destroying Beatles vinyl LPs on-air. Charles later stated, "We just felt it was so absurd and sacrilegious that something ought to be done to show them that they can't get away with this sort of thing." United Press International bureau manager Al Benn heard the WAQY show and filed a news report in New York City, culminating in a major story in The New York Times on 5 August. Sales of Datebook, which had never been a leading title in the youth magazine market beforehand, reached a million copies.

Lennon's remarks were deemed blasphemous by some Christian conservative groups. More than 30 radio stations, including some in New York and Boston, followed WAQY's lead by refusing to play the Beatles' music. WAQY hired a tree-grinding machine and invited listeners to deliver their Beatles merchandise for destruction. KCBN in Reno, Nevada, broadcast hourly editorials condemning the Beatles and announced a public bonfire for 6 August where the band's albums would be burned. Several Southern stations organised demonstrations with bonfires, drawing crowds of teenagers to publicly burn their Beatles records, effigies of the band, and other memorabilia. Photos of teenagers eagerly participating in the bonfires were widely distributed throughout the US, and the controversy received blanket media coverage through television reports. McCartney later compared the burnings to Nazi book burnings, citing the controversy as an example of "hysterical low-grade American thinking."

The furore came to be known as the "'More popular than Jesus' controversy" or the "Jesus controversy". It followed soon after the negative reaction from American disc jockeys and retailers to the "butcher" sleeve photo used on the Beatles' US-only LP Yesterday and Today. Withdrawn and replaced within days of release in June, this LP cover showed the band members dressed as butchers and covered in dismembered plastic dolls and pieces of raw meat. For some conservatives in the American South, according to Rodriguez, Lennon's comments on Christ now allowed them an opportunity to act on their grievances against the Beatles: namely, their long hair and championing of African-American musicians.

According to Unger, Beatles manager Brian Epstein was initially unperturbed about the reaction from the Birmingham disc jockeys, telling him: "Arthur, if they burn Beatles records, they've got to buy them first." Within days, however, Epstein became so concerned by the controversy that he considered cancelling the group's upcoming US tour, fearing that they would be seriously harmed in some way. He flew to New York on 4 August and held a press conference the following day in which he claimed that Datebook had taken Lennon's words out of context, and expressed regret on behalf of the group that "people with certain religious beliefs should have been offended in any way". Epstein's efforts had little effect, as the controversy quickly spread beyond the United States. In Mexico City, there were demonstrations against the Beatles, and a number of countries banned the Beatles' music on national radio stations, including South Africa and Spain. The Vatican issued a denouncement of Lennon's comments, saying that "Some subjects must not be dealt with profanely, not even in the world of beatniks." This disapproval was reflected in the share price of the Beatles' Northern Songs publishing company, which dropped by the equivalent of 28 cents on the London Stock Exchange.

In response to the furore in the US, a Melody Maker editorial stated that the "fantastically unreasoned reaction" supported Lennon's statement regarding Christ's disciples being "thick and ordinary". Daily Express columnist Robert Pitman wrote, "It seems a nerve for Americans to hold up shocked hands, when week in, week out, America is exporting to us [in Britain] a subculture that makes the Beatles seem like four stern old churchwardens." The reaction was also criticised by some within the US; a Kentucky radio station announced that it would give the Beatles music airplay to show its "contempt for hypocrisy personified", and the Jesuit magazine America wrote that "Lennon was simply stating what many a Christian educator would readily admit."

Epstein proposed that Lennon record an apology at EMI Studios, with Beatles producer George Martin taping. Because Lennon was away on holiday, this would have required him to record it by phone. According to EMI recording engineer Geoff Emerick, engineers spent several days designing a dummy plaster head to amplify a phone recording to make it sound more realistic. This plan was abandoned when Lennon decided against recording the apology.

The Beatles left London on 11 August for their US tour. Lennon's wife Cynthia said that he was nervous and upset because he had made people angry simply by expressing his opinion. The Beatles held a press conference in Barrow's suite at the Astor Tower Hotel in Chicago. Lennon did not want to apologise but was advised by Epstein and Barrow that he should. Lennon was also distressed that he had potentially endangered the lives of his bandmates by speaking his mind. While preparing to meet the reporters, he broke down in tears in front of Epstein and Barrow. To present a more conservative image for the cameras, the Beatles eschewed their London fashions for dark suits, plain shirts, and neckties.

At the press conference, Lennon said: "I suppose if I had said television was more popular than Jesus, I would have got away with it. I'm sorry I opened my mouth. I'm not anti-God, anti-Christ, or anti-religion. I was not knocking it. I was not saying we are greater or better." He stressed that he had been remarking on how other people viewed and popularised the Beatles. He described his own view of God by quoting the Bishop of Woolwich, "not as an old man in the sky. I believe that what people call God is something in all of us." He was adamant that he was not comparing himself with Christ, but attempting to explain the decline of Christianity in the UK. "If you want me to apologise," he concluded, "if that will make you happy, then OK, I'm sorry."

Journalists gave a sympathetic response and told Lennon that people in the Bible Belt were "quite notorious for their Christian attitude". Placated by Lennon's gesture, Tommy Charles cancelled WAQY's Beatles bonfire, which had been planned for 19 August, when the Beatles were due to perform in the South. The Vatican's newspaper L'Osservatore Romano announced that the apology was sufficient, while a New York Times editorial similarly stated that the matter was over, but added, "The wonder is that such an articulate young man could have expressed himself imprecisely in the first place."

Wikipedia