On December 10, 1965, The Beatles performed two concerts at the Odeon Cinema in Hammersmith, London, as part of their final UK tour. The concerts marked the first two of four shows they played in London over two days.
During these performances, The Beatles treated fans to an energetic set comprising 11 songs, including hits such as "I Feel Fine," "Help!," "Yesterday," and "Day Tripper." The setlist also featured lesser-known tracks like "If I Needed Someone" and "Act Naturally."
In addition to their electrifying performances, the day also saw The Beatles receiving accolades from the New Musical Express Readers Poll. The band was honored with awards for Best British Group and Best World Group, while John Lennon was recognized as British Vocal Personality, further cementing their status as musical icons.
On September 1, 1963, The Beatles made an appearance on ABC Television's "Big Night Out" at Didsbury Studio Centre in Manchester. The day began with rehearsals, and in the evening, the band was filmed miming to three songs: "From Me To You," "She Loves You," and "Twist And Shout."
Hosted by Mike and Bernie Winters, the show featured additional guests such as Billy Dainty, Patsy Ann Noble, and Lionel Blair. Filmed in front of a studio audience of 600 people, the episode aired from 7:40 to 8:30 pm on September 7, 1963, across most of the ITV network.
Didsbury Studios, located in the former Capitol Cinema building, served as the filming location for the show from 1956 to 1969. After the closure of Didsbury Studios due to ABC's merger with Rediffusion, the building was later utilized by Yorkshire Television and Manchester Polytechnic. However, it was eventually demolished and replaced with an apartment block in the 1990s. This appearance on "Big Night Out" added to The Beatles' growing television presence during the height of Beatlemania.
On the afternoon of April 30, 1964 The Beatles made their way onto the set of Scottish
Television's Roundup. Hosts Morag Hood and Paul Young eagerly welcomed
the Fab Four, engaging them in lively conversation that resonated with
the charm and wit characteristic of the band. The episode aired on May 5, 1964, at 5 p.m. on Scottish Television.
The Beatles recorded a session for the BBC radio show Side by Side at the BBC's Paris Studio in London. The recording took place between 11 am and 2 pm and featured performances of several songs, including "Too Much Monkey Business," "Love Me Do," "Boys," "I'll Be On My Way," and "From Me To You." The episode aired later that day at 5 pm on the BBC Light Programme. Although "I'll Be On My Way" wasn't initially released, it eventually appeared on the 1994 Live At The BBC collection.
During the recording session, Dezo Hoffmann and his assistant David Magnus captured some photos outside the studio. Some of these photos were later used on Apple's Live At The BBC album cover, albeit with significant alterations. Additionally, an 8mm color film was shot during the photo session outside the studio, which was later featured in the 1994 Baby It's You promo video.
The Beatles also performed at Stowe School in Buckinghamshire, an event organized by a pupil who contacted their manager, Brian Epstein. The concert took place in the school's Roxburgh Hall, where the audience, consisting of boys from the school, notably remained composed without the typical hysteria associated with Beatles performances.
A recording of the event surfaced in 2023, thanks to John Bloomfield, then a 15-year-old schoolboy who served as the show's stage manager. The recording, almost complete, was made by Bloomfield using his own equipment, capturing 22 tracks of the performance before running out during a reprise of "I Saw Her Standing There." The setlist includes well-known Beatles songs such as "Love Me Do," "Twist And Shout," and "Please Please Me."
BBC Radio 4's Front Row covered the discovery of this recording, with journalist Samira Ahmed leading the investigation. Ahmed's report, aired in April 2023, shed light on the significance of the recording and efforts to preserve it in a national cultural institution, rather than allowing it to remain in private hands. Discussions were underway to clean up the recording, buoyed by the success of Peter Jackson's audio restoration work on The Beatles' "Get Back" series.
The story offers a glimpse into a lesser-known Beatles performance and underscores the ongoing efforts to preserve and celebrate their musical legacy.
Upon their return from Rishikesh, India, Paul McCartney, accompanied by Jane Asher and Neil Aspinall, arrived at London Airport on the morning of March 27, 1968. They had spent over a month studying meditation with Maharishi Mahesh Yogi. McCartney and Asher briefly engaged with reporters, shedding light on their transformative experience:
Reporter: "Well, you look very happy. Do you feel better after five weeks of meditation?"
Paul McCartney: "Yes, yes, I feel a lot better, except for the flight, you know. That’s quite long. I’m a bit shattered, but the meditation is great! You sit down, you relax, and then you repeat a sound to yourself. It sounds daft, but it’s just a system of relaxation, and that’s all it is. There’s nothing more to it. We meditated for about five hours a day in all. Two hours in the morning and maybe three hours in the evening, and then, for the rest of the time, we slept, ate, sunbathed and had fun."
Reporter: "One Indian MP accused the camp where you stayed as being an espionage centre, and you, in fact, as being a spy for the West."
Paul McCartney: "Yes, it’s true. Yes, we are spies. The four of us are spies. Actually, I’m a reporter and I joined The Beatles for that very reason. The story is out next week in a paper which shall be nameless."
Reporter: "Jane, did you go for a holiday or did you go to meditate as well?"
Jane Asher: "Oh, to meditate."
Reporter: "And what effect did it have on you? This, I presume, is your first big meditation experience?"
Jane Asher: "Yes. I think it calms you down. It’s hard to tell because it was so different, you know, the life out there. It’d be easy to tell now that I’m back, or when we’re doing ordinary things, to see just what it does."
Reporter: "We’ve heard about the extreme poverty that exists in India. Presumably you saw some of that?"
Paul McCartney: "Yes, oh yes. I don’t equate it, you know, because it’s nothing to do with it, you know. The idea is to stop poverty at its root. You see, if we just give handouts to people, it’ll just stop the problems for a day, or a week, you know. But, in India, there’s so many people, you really need all of America’s money to pour into India to solve it, you know. So, you’ve got to get to the cause of it and persuade all the Indians to start working and, you know, start doing things. Their religions, it’s very fatalistic, and they just sit down and think, ‘God said, this is it, so it’s too bad to do anything about it.’ The Maharishi’s trying to persuade them that they can do something about it."
McCartney and Asher's insightful reflections offered glimpses into the profound impact of their meditation experience and the broader societal issues they encountered during their time in India.
On March 25, 1963, The Beatles took a break from their busy schedule on the Montez/Roe tour to spend a day in Liverpool. It wasn't exactly a day off, as they were accompanied by photographer Dezo Hoffmann, capturing moments throughout the day.
They kicked off the day at the iconic Cavern Club, likely reminiscing about their early days performing there. Afterwards, they visited Horne Brothers hairdressers on Lord Street, where they all got haircuts and Ringo had his hair styled into the famous Beatle cut.
Next, they piled into Paul's Ford Consul 315 and headed to Allerton Golf Course, where they filmed some footage with Dezo's movie camera, capturing playful moments of them leaping into the air.
The day concluded at Paul McCartney's family home at 20 Forthlin Road, where they likely relaxed and spent time together.
Interestingly, the chairs from the barbershop they visited that day were later auctioned by Bonhams in June 2009, a testament to the enduring fascination with all things related to The Beatles.
The recording session for "Hey Bulldog" on Sunday, February 11, 1968, at Studio Three, EMI Studios, Abbey Road, stands as a testament to The Beatles' creative spontaneity and innovative spirit. Led by producer George Martin and engineer Geoff Emerick, the band embarked on a journey to capture the essence of John Lennon's latest composition amidst the hustle and bustle of filming a promotional clip for "Lady Madonna."
The day began at 4 pm in Abbey Road's Studio Three, where The Beatles, accompanied by NEMS employee Tony Bramwell filming the session, decided to seize the opportunity to record "Hey Bulldog." Lennon took to the piano, McCartney shook a tambourine, Harrison strummed rhythm guitar, and Starr kept the beat on drums as they laid down the foundation of the track in 10 takes.
McCartney later overdubbed a bass guitar part onto take 10, enhancing the song's rhythmic drive, while Harrison added the main riff on a distorted guitar and Starr contributed additional off-beat snare drum accents. Lennon and McCartney then shared a single microphone to deliver the vocals, infusing the recording with their signature harmonies and playful banter.
The session was marked by a collaborative spirit and creative experimentation, with the band exploring various sonic textures and effects to enhance the song's impact. Emerick applied artificial double tracking (ADT) to certain sections of the track, adding depth and dimension to the sound.
After Bramwell concluded filming, final overdubs were added, including a lead guitar solo performed on Harrison's Gibson SG Standard, though the identity of the player remains uncertain. Two mono mixes of "Hey Bulldog" were then created, with the second mix being provided to King Features for an animated sequence in the Yellow Submarine film.
The recording session for "Hey Bulldog" encapsulates The Beatles' boundless creativity and collaborative synergy, resulting in a timeless and dynamic rock track that continues to captivate listeners to this day.
Headlining the "beat session," alongside support act The Zeroes, The Beatles embarked on what would be a transformative journey, both for themselves and for the world of music.
Four shillings secured entry to this event, which took place from 7:30 to 11:00 pm. Little did the attendees know that they were witnessing the early steps of a band destined for global acclaim.
Fortunately, fragments of this momentous occasion were captured on cine camera, preserving a glimpse into the past for future generations to marvel at. The footage, acquired by Roag Best, brother of original Beatles drummer Pete Best, resurfaced in Peter Jackson’s music video accompanying The Beatles' 2023 single, ‘Now And Then’.
The recording session for George Harrison's soundtrack album "Wonderwall Music" on Wednesday, January 10, 1968, at EMI Recording Studio in Bombay, India, was a momentous occasion that captured the essence of Harrison's creative journey in the heart of India.
Having arrived in Bombay on January 7, 1968, Harrison was immersed in the vibrant atmosphere of the city as he embarked on recording the soundtrack for the film "Wonderwall." This particular session marked the second day of recording, following the commencement of sessions on January 9.
The studio was alive with energy as Harrison and a talented ensemble of Indian musicians came together to bring his vision to life. Among them were Ashish Khan on sarod, Ahapurush Misra on tabla and pakavaj, Sharad Jadev and Hanuman Jadev on shanhais, Shambu-Das, Indril Bhattacharya, and Shankar Ghosh on sitar, Chandra Shakher on sur-bahar, Shiv Kumar Sharma on santorr, SR Kenkare and Hari Prasad Chaurasia on flute, Vinayak Vohra on taar shehnai, and Rijram Desad on dholak, harmonium, and tabla-tarang.
The studio buzzed with activity as Harrison took on the dual role of producer and creative visionary, guiding the musicians through the intricacies of each composition. Camera crews from Reuters and BBC News were invited to capture the magic of the session, providing a rare glimpse into the creative process behind the album. Though the footage was silent, it offered a visual testament to the collaborative spirit and cultural fusion that defined the recording sessions.
The EMI Recording Studios, located at the Universal Insurance Building in Bombay, provided the perfect backdrop for this musical exploration. As the musicians worked tirelessly to bring Harrison's compositions to life, the studio reverberated with the sounds of traditional Indian instruments blending seamlessly with Harrison's distinctive musical style.
The recording session for "Wonderwall Music" in Bombay stands as a testament to Harrison's adventurous spirit and his deep appreciation for Indian music and culture. It was a pivotal moment in his artistic journey, paving the way for future explorations and collaborations that would leave an indelible mark on the world of music.
John Lennon's activism and outspokenness against the Vietnam War and other political issues during the 1960s and 1970s drew the attention of the FBI, particularly under the leadership of J. Edgar Hoover. Lennon's anti-war activities, involvement with left-wing groups, and popularity made him a target for surveillance by the Nixon administration.
The FBI's surveillance of Lennon primarily focused on monitoring his activities, associations, and travels. This included wiretaps, physical surveillance, and compiling extensive files on him and his acquaintances. The FBI was particularly concerned about Lennon's potential influence on public opinion, especially among young people.
The surveillance of Lennon became public knowledge through the Freedom of Information Act (FOIA) requests and legal actions. In 1972, journalist Jon Wiener filed a FOIA request for Lennon's FBI files, which initiated a legal battle to obtain the documents. After years of litigation, Wiener finally succeeded in obtaining a significant portion of the FBI's Lennon files, revealing the extent of the government's surveillance of the former Beatle.
The FBI's surveillance of John Lennon underscores the agency's historical tendency to monitor and sometimes target individuals perceived as threats to the political status quo, regardless of their fame or influence.
24 Hours: The World Of John And Yoko offers an intimate glimpse into the lives of John Lennon and Yoko Ono during a five-day period, captured by the British Broadcasting Corporation (BBC). Filmed at their estate, Tittenhurst Park in Ascot, Berkshire, the documentary provides extensive access to the couple's daily activities and thoughts.
The filming coincided with Lennon and Ono's participation in another documentary titled Man Of The Decade for rival broadcaster ATV. Remarkably, the BBC crew also captured behind-the-scenes moments of this concurrent project, showcasing a unique perspective on the filming process.
Desmond Morris, who selected Lennon for the ATV documentary, is seen walking with the couple around the estate, engaging in conversation and posing thought-provoking questions. Candid moments unfold as Lennon and Ono share their views on politics in the comfort of their mansion's kitchen.
The documentary unfolds over the course of five days, culminating in a 35-minute portrayal of Lennon and Ono's world. First aired on BBC 1 on December 15, 1969, 24 Hours offers viewers an immersive experience into the lives of two iconic figures of the era. Selected excerpts from the documentary later found their way into the 1988 production Imagine: John Lennon, further cementing its significance in documenting Lennon and Ono's legacy.
Hosted by Lloyd Robertson, the show delved into the couple's efforts to promote peace, particularly in the context of their recent encounter with Marshall McLuhan at the University of Toronto.
Lennon introduced the episode as "Peace Weekend," setting the tone for a discussion centered around their peace campaign. Joining them on the show was Rabbi Abhraham Feinberg, who had participated in the chorus of "Give Peace A Chance."
Broadcasting live from the CBC Studio in Toronto, the interview touched on various aspects of Lennon and Ono's activism. A notable moment occurred when legislator Russell Doern, linked up from Winnipeg, read a letter from Manitoba's premier inviting Lennon and Ono to promote peace in the province. Lennon's enthusiastic response showcased his genuine commitment to the cause.
During the interview, Lennon explained his choice of Canada for their peace campaign, expressing a desire to avoid being labeled as "Mr. and Mrs. Dead Saint of 1970." Rabbi Feinberg echoed the sentiment, emphasizing the campaign's aim to transcend political boundaries and resonate with people on a grassroots level.
Despite some skepticism, particularly regarding the effectiveness of their efforts, Lennon and Ono remained steadfast in their belief that their campaign had value in fostering dialogue and spreading the message of peace.
The Plastic Ono Band's live performance at the Lyceum Ballroom in London on Monday, December 15, 1969, was a momentous event that pushed boundaries and challenged expectations. The concert was part of a benefit event for the charity UNICEF, titled "Peace For Christmas," and featured an eclectic lineup of acts including the Young Rascals, Desmond Dekker and the Aces, Blue Mink, and Black Velvet, among others.
This particular performance by the Plastic Ono Band, however, stood out as a historic moment in music history. With just 48 hours' notice, the lineup for the Plastic Ono Band's debut European concert included an impressive array of talent: John Lennon, George Harrison, Eric Clapton, Klaus Voormann, Alan White, Billy Preston, Bobby Keys, Jim Price, and others.
The stage was set for an unforgettable night as Lennon, Harrison, Clapton, and the rest of the band took to the stage amidst a backdrop declaring "War Is Over." The atmosphere crackled with anticipation as the audience eagerly awaited what would unfold.
The performance itself was a revelation, with the band launching into a set that included the current single "Cold Turkey" and its B-side, "Don't Worry Kyoko (Mummy's Only Looking For Her Hand In The Snow)." "Cold Turkey" kicked off the set with raw intensity, showcasing Lennon's powerful vocals and the band's tight instrumentation.
However, it was the performance of "Don't Worry Kyoko" that truly captivated the audience. Clocking in at around 40 minutes, the song stretched the boundaries of conventional rock music, with Ono's primal wails soaring over the band's hypnotic grooves. The performance was described as "the most fantastic music" by Lennon himself, pushing the boundaries of what was expected from a live concert.
While some audience members may have been taken aback by the unconventional nature of the performance, those who stayed were treated to an immersive and transformative experience. As drummer Alan White recalled, the performance reached a frenetic climax as the band played faster and faster until they could go on no more.
In hindsight, the concert at the Lyceum Ballroom remains a landmark moment in music history, showcasing the innovative spirit and boundary-pushing ethos of the Plastic Ono Band. It was a night that defied expectations, challenged conventions, and left a lasting impression on all who were lucky enough to witness it.
In 1969, John Lennon and Yoko Ono became deeply involved in the case of James Hanratty, a convicted murderer who had been executed seven years prior for a notorious crime in Britain. The case involved the rape of Valerie Storie and the murder of Michael John Gregsten on the A6 highway in Bedfordshire in 1961. Despite Hanratty's execution, doubts persisted about his guilt, with many suspecting another individual, Peter Alphon, as the likely perpetrator.
The trial, marked by extensive media coverage and public interest, resulted in Hanratty's conviction, although the evidence against him was somewhat circumstantial. His family continued to advocate for his innocence, and in late 1969, they met with John Lennon and Yoko Ono through a mutual acquaintance, John Cunningham. Lennon and Ono, in their characteristic style of activism, announced plans to make a film supporting Hanratty's case, aligning it with their broader protest against capital punishment.
The film, titled Did Britain Murder Hanratty?, was released by Apple Films, although Lennon's exact involvement remains unclear. Despite this, the film became associated with Lennon, and its only public screening occurred in 1972. The case sparked discussions about capital punishment and the fairness of the legal system, especially considering Hanratty's criminal record and the later DNA tests that seemingly confirmed his guilt.
On Wednesday, December 10, 1969, George Harrison made a surprise appearance during two concerts by the American musical duo Delaney & Bonnie at the Falkoner Theatre in Copenhagen, Denmark.
This marked a significant moment as it was Harrison's first stage appearance since The Beatles' final concert in August 1966. Having joined Delaney & Bonnie's UK tour earlier in Bristol on December 2, 1969, Harrison's presence added a layer of excitement and anticipation to the evening's performances.
The concerts, held at 7:30 p.m. and 10:00 p.m. CET, were not only memorable for Harrison's participation but also for being videotaped for broadcast on DR-TV's Beat '70: "The Original Delaney & Bonnie & Friends." This recording ensured that fans around the world could experience the magic of these historic performances.
On December 3, 1976, George Harrison appeared on Granada Reports for an interview. Following this, footage was captured of Harrison watching a clip of the Beatles performing "This Boy" from 1963.
Man Of The Decade presents an insightful and thought-provoking exploration of the life and impact of John Lennon, one of three nominees for the prestigious title. Commissioned by Associated TeleVision (ATV), the documentary features segments dedicated to each nominee, with Lennon's segment culminating the program.
Anthropologist Desmond Morris, Lennon's nominator, offers a compelling perspective on the musician's influence, accompanied by carefully selected archival footage and newsreels that trace Lennon's journey from his early days with The Beatles to his more recent endeavors with Yoko Ono.
The segment delves into Lennon's unconventional approach to education, his views on success and mainstream values, and his optimistic outlook on the future. Lennon reflects on the transformative power of music, from the early days of rock 'n' roll to the psychedelic era and beyond.
Throughout the interview, Lennon candidly discusses his experiences with drugs and meditation, portraying them as coping mechanisms in the face of life's pressures. He also emphasizes the importance of nurturing relationships, particularly his bond with Yoko Ono, as a pathway to achieving harmony in the world.
As the interview concludes, Lennon offers a glimpse into his vision for the future, expressing excitement for the possibilities ahead and reassuring viewers, including the skeptics, that the coming decade holds promise and potential for positive change.
The documentary provides a multifaceted portrait of Lennon's life and legacy, offering viewers a deeper understanding of his beliefs, values, and aspirations. It serves as a testament to Lennon's enduring impact as a cultural icon and a champion of peace and love.
In the midst of a swirling storm of rumors and speculation, Paul McCartney found himself at the center of an extraordinary media frenzy. The infamous "Paul is Dead" myth, which had been spreading like wildfire across continents, had reached a fever pitch, prompting McCartney to take action.
Retreating to his Scottish farm in Campbeltown, McCartney decided to confront the rumors head-on. On this fateful day, he agreed to an interview with the BBC's Chris Drake, providing a rare glimpse into his secluded life amidst the chaos.
With steadfast determination, McCartney addressed the allegations with a calm resolve, denying emphatically the absurd notion of his demise. Drawing inspiration from Mark Twain, he quipped, "Rumors of my death have been greatly exaggerated," in an effort to dispel the growing hysteria.
Joined by his wife Linda, McCartney expressed frustration at the relentless media scrutiny, lamenting the intrusion on their peaceful holiday. Despite their protestations, the press persisted in perpetuating the outlandish claims, forcing McCartney to assert his vitality unequivocally.
Amidst discussions about his rustic Scottish abode and his desire for privacy, McCartney offered insights into his evolving priorities, emphasizing his newfound joy in family life over the relentless pursuit of fame. With candor and sincerity, he hinted at a desire to retreat further from the public eye, suggesting that The Beatles had no immediate plans for a reunion and hinting at a prolonged absence from London until the dawn of the new decade.
Television has always been a powerful medium for showcasing talent, capturing moments in time, and shaping cultural phenomena. On October 17, 1962, a momentous occasion unfolded on the small screen as four young lads from Liverpool made their television debut on the local programme "People And Places" produced by Granada Television. Yes, you guessed it right; it was none other than The Beatles!
Broadcast only in the north and north-west of England, "People And Places" may not have had the global reach of today's television, but its significance cannot be understated. The Beatles, still on the cusp of their meteoric rise to worldwide fame, took to the stage at Studio Four of Granada TV Centre in Manchester, marking the beginning of their television journey.
The Beatles, known for their electrifying performances and infectious energy, spent hours rehearsing before the cameras, fine-tuning their act for the live broadcast from 6:35 to 7:00 pm. With a setlist comprising "Some Other Guy" and their then-new single "Love Me Do," the Fab Four captivated audiences with their raw talent and undeniable charisma.
Fast forward twelve days, and The Beatles found themselves back at Granada TV Centre for another appearance on "People And Places," this time for a pre-recorded performance. On October 29, 1962, from 6:30 to 7:00 pm, viewers in the north and north-west of England were treated to another dose of Beatlemania.
The setting for this second appearance was notably different, adding a unique twist to The Beatles' stage presence. John Lennon, usually at the forefront alongside Paul McCartney, took a seat as if he were a solo performer, while the rest of the group stood behind him. Despite the unconventional setup, their performance of "Love Me Do" and "A Taste Of Honey" showcased their musical prowess and versatility.
However, what makes this particular episode of "People And Places" stand out is the fact that it wasn't broadcast live. Instead, it was aired on November 2, 1962, giving audiences a chance to witness The Beatles in action even after the band had already ventured off to Hamburg.
Reflecting on these early television appearances, it's clear that they served as crucial milestones in The Beatles' journey to global superstardom. From their humble beginnings in Liverpool to conquering stages around the world, television played a pivotal role in introducing The Beatles to audiences far and wide, setting the stage for their legendary career.
In October 1976, John Lennon and Yoko Ono made a brief appearance on the TV show "The Ugly George Hour Of Truth, Sex & Violence" hosted by Manhattan Cable TV Host "Ugly George." The interview took place at Andy Warhol's Copacabana disco reopening in New York. The discussion revolved around the topic of sex on TV. While the complete interview reportedly lasted around 3 minutes, available audio copies are incomplete, lasting around 2:30 minutes.
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