John Lennon (guitar, keyboards, vocals), Ringo Starr (drums, percussion, vocals) ,Paul McCartney (bass, guitar, keyboards, vocals), George Harrison (guitar, sitar, vocals)
The impact of the Beatles has often been noted but cannot be overstated. The “Fab Four” from Liverpool, England, startled the ears and energized the lives of virtually all who heard them. Their arrival triggered the musical revolution of the Sixties, introducing a modern sound and viewpoint that parted ways with the world of the previous decade. The pleasurable jolt at hearing “She Loves You” and “I Want to Hold Your Hand” - given the doldrums into which rock and roll had fallen in recent years - was comparable to the collective fever induced by Presley’s “That’s All Right (Mama)” and “Heartbreak Hotel” nearly ten years earlier.
The Beatles’ music - with its simultaneous refinement (crisp harmonies, solid musicianship, canny pop instincts) and abandon (energetic singing and playing, much screaming and shaking of mop-topped locks) – ignited the latent energy of youth on both sides of the Atlantic. They helped confer self-identity upon a youthful, music-based culture that flexed its muscle in myriad ways - not just as music consumers but also as a force for political expression, social commentary and contemporary lifestyles.
Landing on these shores on February 7, 1964, they literally stood the world of pop culture on its head, setting the musical agenda for the remainder of the decade. The Beatles’ buoyant melodies, playful personalities and mop-topped charisma were just the tonic needed by a nation left reeling by the senseless assassination of its young president, John F. Kennedy, two months earlier. Even adults typically given to dismissing rock and roll conceded that there was substance in their music and cleverness in their quick-witted repartee. Between the lines, and without obvious disrespect, the Beatles announced the ascendancy of youth - and the inevitable coming of a generation gap as a result.
The long journey resulting in the mob scene that greeted the Beatles’ arrival at Kennedy Airport began in Liverpool. In 1958, John Lennon formed a skiffle group called the Quarrymen. Lennon was raised on Fifties rockabilly and was especially partial to Elvis Presley and Gene Vincent. He met a similarly rock-smitten schoolkid named Paul McCartney. Impressed by McCartney’s knowledge of song lyrics and ability to tune a guitar, Lennon recruited him into the Quarrymen. A schoolmate of McCartney’s, George Harrison, came next. The youthful Harrison’s mastery of guitar licks by Duane Eddy impressed the skeptical Lennon.
With a rhythm section consisting of bassist Stu Sutcliffe (a sharp-looking art student with negligible musical ability) and drummer Pete Best, the group eventually settled on the Beatles as their name. They became a fixture on the rough-and-tumble club scene in Hamburg, Germany, where their five-set-a-night marathons helped mold them into a tight performing unit. Their repertoire comprised well-chosen rock and roll and rhythm & blues covers by such trailblazers as Chuck Berry and Little Richard. In April 1961, Sutcliffe left and McCartney switched from guitar to bass. On the local scene in their hometown of Liverpool, the group landed a lunchtime residency at a club called The Cavern, where they were discovered by a local record merchant and entrepreneur, Brian Epstein, who became their manager in December 1961. In January 1962, a fan poll in Mersey Beat declared them the top group in Liverpool.
Epstein helped polish the group’s appearance. He attired them in dapper collarless gray suits, which made them appear more accessible than the menacing leathers they’d worn in Hamburg. The Beatles signed with EMI-Parlophone in April 1962 after impressing producer George Martin. In August, fellow Liverpudlian Ringo Starr (born Richard Starkey), then a member of Rory Storm and the Hurricanes, replaced Pete Best. The group’s first single, “Love Me Do”/”P.S. I Love You,” briefly dented the U.K. Top Twenty in October 1962, but their next 45, “Please Please Me,” formally ignited Beatlemania in their homeland, reaching the Number Two spot. It was followed in 1963 by four consecutive chart-topping British singles: “From Me to You,” “She Loves You,” “I Want to Hold Your Hand,” “Can’t Buy Me Love.”
They conquered the U.K., even inducing a classical music critic from the London Sunday Times to declare them “the greatest composers since Beethoven.” Moreover, they were the greatest rockers since the composer of “Roll Over, Beethoven” - i.e., Chuck Berry. The freshness and immediacy of the Beatles’ sound stemmed from the fact they assimilated and synthesized the most vital sources for rock and roll that preceded them.
Writing in the Rolling Stone Illustrated History of Rock and Roll, Greil Marcus observed that “the form of the Beatles contained the forms of rock and roll itself. The Beatles combined the harmonic range and implicit equality of the Fifties vocal groups with the flash of a rockabilly band (the Crickets or Gene Vincent’s Blue Caps) with the aggressive and unique personalities of the classic rock stars (Elvis, Little Richard) with the homey, this-could-be-you manner of later rock stars (Everly Brothers, Buddy Holly, Eddie Cochran) with the endlessly inventive songwriting touch of the Brill Building, and they delivered it all with the grace of the Miracles, the physicality of ‘Louie, Louie,’ and the absurd enthusiasm of Gary ‘U.S.’ Bonds.”
The Beatles’ success can be attributed to a combination of factors, including Lennon and McCartney’s songwriting genius, Harrison’s guitar-playing prowess, Starr’s artful simplicity as a drummer, and the solid group harmonies that were a hallmark of their recordings. Personally, they had youthful high spirits, good looks, quick wit and refreshingly down-to-earth dispositions to commend them. George Martin’s production and Brian Epstein’s management were important elements as well.
The Beatles’ conquest of America early in 1964 launched “the British Invasion,” a torrent of rock & roll bands from Britain that overtook the pop charts. The Fab Four’s first #1 single in the U.S. was “I Want to Hold Your Hand,” released on Capitol Records, EMI’s American counterpart. This exuberant track was followed by 45 more Top Forty hits over the next half-dozen years. During the week of April 4, 1964, the Beatles set a record that is likely never to be broken when they occupied all five of the top positions on Billboard’s Top Forty, with “Can’t Buy Me Love” ensconced at #1. Their popularity soared still further with the release of their anarchic Marx Brothers-as-rock-stars documentary film, A Hard Day’s Night (1964) and its equally playful followup, Help! (1965).
When all was said and done,
the Beatles charted twenty #1 singles in the States – three more than
runner-up Elvis Presley. It is estimated by EMI, their British record
company, that the Beatles have sold more than 600 million units worldwide.
For feats of sales and airplay alone, the Beatles are unquestionably the
top group in rock and roll history. Yet their significance extends well
beyond numbers to encompass their innovations in the recording studio. The
Beatles’ legacy as a concert attraction, during their harried passage from
nightclubs to baseball stadiums, is distinguished primarily by the
deafening screams of female fans more overcome by their appearance than
the music they played.
The Beatles retired from touring for good after a San Francisco concert on August 29, 1966. Like Brian Wilson of the Beach Boys, who abandoned touring to focus on his music, the Beatles thereafter became creatures of the studio. Ten months later, they released Sgt. Pepper’s Lonely Hearts Club Band, an album that has almost universally been cited as the creative apotheosis of rock and roll, a watershed event in which rock became “serious art” without losing its sense of humor - or, in Lennon’s case, sense of the absurd. Realizing the band members’ collective ambitions took four months and all the technical wiles of producer George Martin could muster. A completely self-contained album meant to be played and experienced from start to finish, Sgt. Pepper broke the mold in that no singles were released.
The album’s artistic reach further cemented the notion of a viable counterculture in the minds of youthful dropouts everywhere. Anyone who was alive in the summer of 1967 can remember the pleasant shock of hearing it and the reverberations it sent outward into the world of rock and roll and beyond. As writer Langdon Winner observed, “For a brief moment, the irreparably fractured consciousness of the West was unified, at least in the minds of the young.” Sgt. Pepper was preceded by perhaps the greatest two-sided single in rock history, “Strawberry Fields Forever” and “Penny Lane,” which exhibited the creative sensibilities of John Lennon and Paul McCartney, respectively, at their zenith.
In the wake of Sgt. Pepper, the Beatles began to splinter in ways that were initially subtle but gradually grew more pronounced. Subsequent events included the death of manager Epstein due to an overdose of sleeping pills; the release of the TV film Magical Mystery Tour, which earned the Beatles some of their first negative reviews; a trip to India to meditate with Maharishi Mahesh Yogi, about whom Lennon wrote “Sexy Sadie”; and the launching in January 1968 of Apple Corps, Ltd., a well-intentioned but ultimately mismanaged entertainment empire that helped bring down the Beatles.
Through all the chaotic events of the late Sixties, however, the Beatles retained their ingenuity and focus as recording artists. Released in August 1968, the single “Hey Jude"/"Revolution" became their most popular single. The Beatles (1968), a double-LP popularly referred to as the White Album, found the group refracting into four estimably talented individuals. This 30-song tour de force included such Beatles classics as “Back in the U.S.S.R,” “”While My Guitar Gently Weeps,” “Blackbird,” “Birthday,” “Helter Skelter” and “Revolution.”
The album and film Let It Be, recorded in 1969 but shelved until 1970, documented the Beatles’ dissolution. Internal squabbles and the discomfiting presence of John Lennon’s new soulmate, Yoko Ono, revealed widening cracks within the group. Even in this tense atmosphere, the Beatles playfully harked back to their origins with impromptu performances of early rock and R&B classics in the studio.
The Beatles exited on a high note, coming together in the summer of 1969 to record a fitting swan song, Abbey Road. That album included numerous highlights: a playful pastiche of short songs, with Paul McCartney as chief instigator, on the second side; a pair of John Lennon’s most emotionally unguarded songs ("Come Together,” “I Want You [She's So Heavy]"); and impressive contributions from George Harrison ("Here Comes the Sun,” “Something").
On April 10, 1970, Paul McCartney announced his departure from the Beatles, and the group quietly came to an end. Throughout the Seventies, fans hoped for an eventual reunion, while the group members pursued solo careers with varying degrees of artistic and commercial success. Those hopes were dashed by the senseless murder of John Lennon in New York City on December 8, 1980.
George Martin, Beatles musical director, born January 3, in London
Brian Samuel Epstein, Beatles manager, born September 19 (in Rodney Street, in Liverpool)
Anthony Esmond Sheridan McGinnity (a.k.a. "Tony Sheridan"), born May 21, 1940 (in Norwich)
John was born to Julia and Fred Lennon.
George Harrison, born February 25 (10 minutes past midnight in their family's terraced home, 12 Arnold Grove, in Liverpool)
John Lennon moves in to stay with his Aunt Mimi Smith who raises him.
George Martin, after working three months for the BBC, leaves and takes job at Parlophone Records as a result of being paid £7, four shillings and three pence, £1 more than the BBC was paying at the time. George Martin becomes an assistant to chief producer/owner of the label, Oscar Preuss. George is immediately given the task of handling the classical repertoire which included baroque, orchestral and choral music.
The Cavern is located in Liverpool's market district.
Eric Clague: "Mrs Lennon just ran straight out in front of me. I just couldn't avoid her. I was not speeding, I swear it. It was just one of those terrible things that happen."
Tony Sheridan teams up with Vince Taylor and the Playboys
In early 1959, Tony Sheridan joins Vince Taylor and the Playboys where they would play a residency in Hamburg, Germany. The band would eventually morph into the Beat Brothers with a line-up consisting of Tony Sheridan (vocals/guitar), Ken Packwood (drums), Rick Richards (guitar), Colin Melander (bass), Ian Hines (keyboards) and Jimmy Doyle (drums). Over the years the band's line-up would continue to see many personnel changes. Some of the most notable inclusions were: Ringo Starr, Roy Young, Rikky Barnes, John Lennon, Paul McCartney, George Harrison and Pete Best.
"Sheridan often backed many other singers and musicians," writes author Joe Sunseri in his 269-page manuscript entitled Nobody's Child: The Tony Sheridan Story. "One such singer was an American by the name of Vince Taylor. Taylor was a combination of Elvis Presley and Gene Vincent. Visually, he emulated Vincent with his leather and chains, while vocally and aerobically he was a junior Elvis. Sheridan got his first pair of American blue jeans and a silver imitation leather belt from Taylor by bothering him until he gave Sheridan the clothes just so he would be left alone. Tony went on many tours with Taylor and performed on some of his records."
During this year Vince Taylor and the Playboys would appear on the BBC's Saturday Club program on April 11 and May 16 with host Brian Matthew.
The group becomes the Casbah's house band when the Quarry Men weren't performing. According to author Pete Frame, who wrote "The Beatles & Some Other Guys", The Blackjacks "knocked out the rock 'n' roll classics which became the foundation of the Mersey Beat. Whole Lotta Shakin' Going On, Sweet Little Sixteen, Honey Don't, Tutti Frutti, Long Tall Sally..." The Blackjacks would continue to play together until August of 1960.
On this date, the band travels to Hamburg, Germany.
June 22 & 23
John Lennon would give the publisher an interview on how the name "Beatles" came about: "Many people ask what are Beatles? Why Beatles? Ugh, Beatles? How did the name arrive? So we will tell you. It came in a vision - a man appeared on a flaming pie and said unto them, 'From this day on you are Beatles with an "A"'. 'Thank you Mister Man', they said, thanking him. And so they were Beatles."
Hal Fein, an associate of Bert Kaempfert and owner of Roosevelt Music publishing company recalls that the single did reasonably well. "When the record was released, the initials sales were about 180,000 copies, a fair-sized hit for Germany," said Fein. "Due to its success in Germany, it was played on Radio Luxembourg -- one of the most powerful stations in Europe, beaming in all directions - into Germany, into England, and south into the continent."
Contrary to Epstein's accounting in "A Cellarful of Noise", young Raymond Jones who supposedly requested the record, remains more fiction than actual fact to this very day. Alistair Taylor, Epstein's assistant explains: "I got fed up with youngsters coming in asking for The Beatles record. So I put a name, Raymond Jones, in the order book. I just made it up. Otherwise Brian wouldn't have paid any attention."
Paul: "Please wire £10,000 advance royalties."
George: "Please order four new guitars."
John: "When are we going to be millionaires?"
Beatles go in and re-record the backing vocals and instrumentals for "Sweet Georgia Brown" and "Swanee River"
At the Cavern, The Beatles perform a belated "Welcome Home Show" from 7:00 p.m. until midnight. For the next 12 days the Beatles under contract would perform at the Cavern. At this "Welcome Home Show," the Cavern broke an attendance record as 900 fans crowded themselves into the cellar to see the group. Featured on the bill this night were The Red River Jazzmen; Ken Dallas and The Silhouettes; and the Four Jays.
Brian Epstein informs Pete Best of bad news: Ringo Starr is to become the band's new drummer. Neil Aspinall would later recall how it came about: "...so I drove him (Pete Best) into town to see him. I was in the record store looking at records, and he came down and said he had been fired. He was in a state of shock, really. We went over to the Grapes pub in Matthew Street, had a pint."
"Some Other Guy" as performed by the Beatles is captured on film by Leslie Woodhead for Granada TV marking it as the first film to be recorded on the Beatles intended for a public television broadcast. The song was written by Jerry Leiber, Mike Stroller and Richard Barrett. The soundtrack for this video, according to Eric Krasker, author of "The Beatles Fact and Fiction 1960 - 1962", was recorded on September 5, 1962 "in which in can be heard very distinctly at the end of the song somebody shouting "We want Pete!", the fact remains that indeed they have officially acknowledged Pete Best's extreme popularity."
Featured on this song is John Lennon's harmonica playing which became an integral part of the Beatles early recordings. According to Beatle author Ray Coleman, Lennon's harmonica playing was influenced by the American hit "Hey Baby" by Bruce Channel.
Pre-filmed in the Cavern on August 22, the show's producer, Johnny Hamp had this to say: "I first saw the Beatles in a club in Hamburg. They were very scruffy characters - but they had a beat in their music which I liked...I got into a lot of trouble over it. Everyone said they were too rough, too untidy. But I liked them. I put them on again and again."
Historical significance: The first true Beatles single is released in North America.
Paul White, then Capitol Canada record executive, had this to say on why he decided to release the Beatles first single: "I used to listen to about fifty new records a week. Then one day I put on "Love Me Do" by a group called the Beatles. I immediately sat up and took notice. The sound was so different, so completely fresh.
"I'm certainly not going to claim that I could read the future and already knew how big the Beatles were going to be, but I did like them a lot and wanted Capitol of Canada to get in on the ground floor. I decided to release Beatles' records in Canada".
This single peaked at No. 116 on the Billboard music chart in August.
On this date, Cohburn & Company print up 6,000 album cover slicks for Vee-Jay's "Introducing the Beatles" LP but Vee-Jay's manufacturing plans for pressing the actual vinyl are quickly scuttled. Two reasons that delayed this album release are: 1) On August 8, Transglobal in America who was a subsidiary of EMI in England, was told by EMI to legally inform Vee-Jay to "cease production and distribution of all Frank Ifield and Beatles records" until such times as the royalties were paid up. 2) By September, Cohburn and Company sued Vee-Jay for over $50,000 owed on the account for various album cover slicks they had manufactured for Vee-Jay. The end result of this delay meant that the next issue of either a Beatle album or single on the Vee-Jay label would not occur until January 1964, just in time to capitalize on "Beatlemania".
Track listing, Side One:
1) It Won't Be Long 2) All I've Got To Do 3) All My Loving 4) Don't
Bother Me 5) Little Child 6)Till There Was You 7) Please Mister Postman
Historical significance: The first true Beatles album is released in North America that contained same track listing as "With the Beatles" which was released only a three days earlier in Britain.
A London Times music critic names them "outstanding English composers of 1963." The Sunday Times critic declares them "greatest composers since Beethoven."
CBS news anchor Walter Cronkite airs a film about the Beatles phenomenon in England that was filed by their U.K. correspondent, Alexander Kendrick. The film contained a clip of the band performing "She Loves You" along with some interviews. The sounds of this British rock and roll combo performing "She Loves You" had created a strong and favorable impression on Marsha Albert, a 15-year-old girl from Silver Spring, Maryland. She would later be acknowledged by the Washington Post as the first Beatle fan who kick started the whole "Beatlemania" craze on USA radio.
However, while teenagers eventually went crazy over Beatles and their music, Walter Cronkite recalls his viewpoints as being a little less than favorable with regards to the English quartet: "In the wake of the [John F. Kennedy] assassination story, nothing else was happening in the world, at least in the United States -- stuff that was important, that is. So we actually had an opportunity to use it.
"I was not entirely thrilled with it myself, to tell you the truth. It was not a musical phenomenon to me. The phenomenon was a social one, of these rather tawdry-looking guys, we thought at the time, with their long hair and this crazy singing of theirs, this meaningless 'wah-wah-wah, wee-wee-wee' stuff they were doing."
The importance of Beatles music came to Carrol James's attention through Marsha Albert. She remembered being impressed with the Beatles performance of "She Loves You" from the CBS news broadcast. Said Marsha: "It wasn't so much what I had seen, it's what I had heard. They had a scene where they played a clip of 'She Loves You' and I thought it was a great song. I wrote that I thought [the Beatles] would be really popular here, and if [James] could get one of their records, that would really be great."
According to the Washington Post, Carrol James "thought maybe the girl was onto something, and he got the station's promotion director to contact a local agent for BOAC (now British Airways)" to procure a copy of the band's latest record, "I Want To Hold Your Hand" which was currently unavailable in the USA marketplace.
James eventually obtains a copy from the local BOAC agent. Said Marsha: "Carroll James called me up the day he got the record and said 'If you can get down here by 5 o'clock, we'll let you introduce it.' " Which Marsha did: "Ladies and gentlemen, for the first time on the air in the United States, here are the Beatles singing 'I Want to Hold Your Hand.' "
A few days later, Capitol Records threatened WWDC radio by suggesting they would consider using a legal injunction to block airplay of "I Want To Hold Your Hand", because technically, the song wasn't supposed to be released until January 13 in the new year. However, both Carrol James and the radio station ignored the threat and continued to spin the disc over the airwaves. In the end, Capitol never sued WWDC and decided on more positive course of action.
Though scheduled for a January 13 release date, momentum in the airplay of "I Want To Hold Your Hand" continued. By now Carrol James had already sent out copies of the Beatle single to a fellow DJ in Chicago and also to a DJ in St. Louis. Sensing the single is gaining momentum both in terms of airplay and interest from teenagers, Capitol Records decided to financially capitalize on the opportunity: on this date they rush-release copies of "I Want To Hold Your Hand/I Saw Her Standing There" into the marketplace. "I Want To Hold Your Hand" becomes the fastest selling British single in America.
According to Bruce Spizer, author of Songs, Pictures and Stories of the Fabulous Beatles on Vee-Jay, that Vee-Jay's "invoice summary sheets indicate that 79,169 mono and 2,202 stereo copies of Introducing the Beatles were shipped to distributors during the first fifteen days of the year before sales were halted by the temporary injunction prohibiting Vee-Jay from issuing Beatles product."
On this album, "Love Me Do" and "P.S. I Love You" are listed in this track listing. However, due to a copyright disagreement with the music publisher Beechwood, these two songs were later removed and substituted with "Please Please Me" and "Ask Me Why" in version #2 album of Introducing the Beatles.
Track Listing, Side One:
1) I Saw Her Standing There 2) Misery 3) Anna 4) Chains 5) Boys 6) Love
Also released on Vee-Jay to distributors during first fifteen days of the new year was the single: "Please Please Me / From Me To You".
Paul McCartney: "Specific memory of Ed Sullivan: FEAR, FEAR, FEAR! 'Cause you know, if somebody made the mistake of saying, 'Oh, you know how many people are watching this?' If someone had mentioned 73 million - Ohhhhhhh! So it was very very nerve racking. But you know, by then we had so much practice, that the nerves didn't show. I can see them when I watch it. I can remember it."
Ringo Starr: "We had no idea what the 'Ed Sullivan Show' meant, we didn't know how huge it was. I don't think we were nervous because we were doing songs that we knew how to play, we'd done them before and we'd done plenty of TV. But the idea of just coming to America was the mind-blower -- no one can imagine these days what an incredible feat it was to conquer America. No British act had done it before. We were just coming over to do our stuff, hopefully get recognized and to sell some records. But it turned into something huge."
Opening spot: 1) ALL MY
LOVING; 2) TILL THERE WAS YOU; 3) SHE LOVES YOU
See what the reviewers said and a cartoon. For photos, click here.
Version #2 of this album is released on this date but this time with "Ask Me Why" and "Please Please Me" replacing "Love Me Do" and "P.S. I Love You". Later, on February 29, Vee-Jay's Introducing the Beatles ran nine consecutive weeks at the #2 spot only to be shut out by Capitol's release of Meet the Beatles.
Track Listing, Side One:
1) I Saw Her Standing There 2) Misery 3) Anna 4) Chains 5) Boys 6) Ask
TWIST AND SHOUT / THERE'S A PLACE (single) is released (Tollie Records)
"CAN'T BUY ME LOVE" their next single, has advanced order sales of 1,700,000 copies in the USA (Britain would have, by March 17th, advanced sales of 1,000,000 copies)
"In His Own Write" - Lennon's first humorous off-beat book is published by Jonathan Cape. The book would sell 100,000 copies during its first printing. The Times Literary Supplement declared his book being "Worth the attention of anyone who fears for the impoverishment of the English language and the British imagination." John's jabberwocky style of penmanship was largely influenced from the literary works of Lewis Carroll.
AIN'T SHE SWEET / NOBODY'S CHILD (single) is released (Atco Records)
According to Bruce Spizer, distribution of this album began in late July but "did not chart until the following October. Royalty statements indicate that 123,635 mono copies were sold prior to September 30, 1964. Aggressive marketing resulted in additional reported sales of 216,328 mono and 773 stereo copies during the last quarter of 1964."
Historical Footnote for Guitar Players: Ever wonder why you can't faithfully reproduce on your guitar the same sound the Beatles used for the opening chord on A Hard Day's Night? It is because three instruments are used together at the same time. In 2001, Walter Everett, professor of music for Michigan University, published on page 236 from his book - The Beatles As Musicians: The Quarry Men through Rubber Soul - the following: "The striking ametrical opening chord, with Martin's piano doubling Harrison's twelve-string above McCartney's bass, is given as example 3.10a." Professor Everett then notated the guitar, piano, and bass parts in Example 3.10a on the next page of his book.
Played in 500 cinemas
across the United States, the movie earns 1.3 million in the first week.
A movie review appeared a month later in Canada's national magazine, Maclean's, which was written by Wendy Michener. Please click here for her review.
News Item #1:
News Item #2
GRAMMY AWARDS (1964):
(AUGUST/SEPTEMBER 1964) BEATLES TOUR:
Tour Fact: Because of the "mania", the Beatles seldom ventured outside of their hotels. One of the band's favorite pastimes during this tour was playing the game of "Monopoly" in their hotel rooms. Art Schreiber, who was one of five reporters (two American, three British) designated to follow the Beatles on this North American tour, recalls how it unfolded: "When we'd arrive at a hotel, I'd no more sooner get in my room and the phone would ring and it would be John Lennon. He'd say, 'Art, where are you, we're waiting.' So I'd go to his room and he and George would be sitting there at the Monopoly board. John always stood up to shake the dice and roll. He wanted so badly to get Park Place and Boardwalk. He could stand to lose the game, as long as when he lost he had Park Place and Boardwalk."
During the game of "Monopoly", Schreiber recalls Harrison as being very aloof with a preoccupation to acquire the B&O Railroad deed. Said Schreiber: "I asked him why he wanted the B&O so badly and he never did tell me. He never did tell me much of anything. We'd play until sunrise, and I'd be falling asleep at the table and John would poke me and say 'one more game, Art.' During this whole time, George would say practically nothing."
Two rock 'n' roll cover versions recorded by George Martin and the Beatles are not intended for the British marketplace but instead are slated specifically for Capitol's "Beatles VI" album: "Recording especially for the North American market, John Lennon steered the group through raucous renditions of two of his favourite songs...'Dizzy Miss Lizzy' and 'Bad Boy'", wrote historian Mark Lewisohn regarding the May 10th recording session at EMI's Studio Two. "Minutes after the final recording, mono and stereo remixes were made of both, to be dispatched the next day by air freight to Capitol Records in Los Angeles." The song 'Dizzy Miss Lizzy' would later appear on Parlophone's "Help!" LP while 'Bad Boy' would make its debut in 1966 on a Beatles' album from the same label entitled "A Collection of Oldies."
Richard Lester: "They (the Beatles) said about Help! 'It wasn't our film. We felt like guest stars and extras in our film.' I think that was true. But it had to be true, because not wanting to repeat this film...you had to make a film which didn't deal with their work, which is concerts, television, theatre, and all that....We had to create this huge baroque fantasy through which they passed....I'm very proud of Help because I think Help is as successful as A Hard Day's Night in terms of making four people enormously attractive to the audience. I think that a lot of the things that they did and the way they did them, the feeling of it - they were so bloody endearing..."
Beatles TV Cartoon Series aired in the USA by King Features Syndicate for the American Broadcasting Corporation (ABC). Production highlights: Artist Peter Sander, drew the Beatle characters on "templates" for other animators to follow; Episodes were made in London, Canada and Australia; American actor Paul Frees did the voices of John and George while British comic actor, Lance Percival did the voices of Ringo and Paul. The last Beatle cartoon aired on a US network was April 20, 1969.
Beatles receive MBE (Member of the Order of British Empire) medals at Buckingham Palace. Former British Prime Minister Harold Wilson (Member of Parliament for Liverpool), in 1982 interview with author Ray Coleman, had this to say: "I saw the Beatles, as having a transforming effect on the minds of youth, mostly for the good. It kept a lot of kids off the streets. They introduced many many young people to music, which in itself was a good thing. A lot of old stagers might have regarded it as idiosyncratic music, but the Mersey sound was a new important thing. That's why they deserved such recognition."
Author Nicholas Schaffner of "The Boys From Liverpool - John, Paul, George, Ringo" wrote the following regarding the political fallout over the Beatles receiving their MBE awards: "About a dozen of the queen's most distinguished subjects sent back their own medals in a huff as soon as they heard about the Beatles' getting them. Paul Pearson, a former Royal Air Force squadron leader, claimed he did so "because it had become debased." A Canadian politician said he no longer wanted his MBE because it "put him on the same level with vulgar nincompoops." John replied that most of the complainers had earned their medals "for killing people. I'd say we deserved ours more. Wouldn't you?""
WE CAN WORK IT OUT / DAY TRIPPER (single) is released (Capitol)
Brian Wilson of the Beach Boys becomes inspired to out-do the new Beatles album and composes Pet Sounds, which later inspires Paul McCartney to come up with Sgt. Pepper. Brian Wilson: "...the Beatles had cut Rubber Soul, and I really wasn't quite ready for the unity; Rubber Soul was a collection of songs - of folk songs; it was like a folk album by the Beatles that somehow went together like no other album made before, and I was very impressed. It really blew me out. I had to go in there (the studio) and experiment with sounds. I really felt challenged to do it good, and I followed through with it. And I actually did it."
John Lennon: "We were just getting better, technically, and musically, that's all. Finally we took over the studio. In the early days, we had to take what we were given, we didn't know how you can get more bass. We were learning the technique on Rubber Soul. We were more precise about making the album, that's all, and (we) took over the cover and everything."
NORTH AMERICAN (AUGUST 1965) BEATLES TOUR: New York (August 15); Toronto (August 17); Atlanta (August 18); Houston (August 19); Chicago (August 20); Minneapolis (August 21); Portland (August 22); San Diego (August 28); Los Angeles (August 29-30); San Francisco (August 31)
Tour Fact: Larry Kane, author of "Ticket to Ride" and who was one of the reporters designated to accompany the Beatles during these tour dates, states in his book that when the Beatles landed in Houston Texas by plane, the fans managed to swarm the tarmac while the propellers on the plane were still running. This was a dangerous scene not only for the fans but also for the Beatles. Not only did they swarm the tarmac but when the engines of the planes were finally turned off, some of the older fans managed to climb onto the wings of the plane with lit cigarettes in their hands waving to the entourage inside. Fortunately for all concerned, the situation did not end in a tragic explosion!
On this date, Lennon's interview with Maureen Cleave makes its appearance in the American teenage magazine, "Datebook". Within days of publication, anti-Beatle sentiment builds up and American disc jockeys in the southern States encourages a God-fearing youth to destroy their Beatle records and memorabilia at bonfire rallies. Also enforced was a radio ban on Beatle records that was started by a Birmingham, Alabama D.J. The ban picked up momentum by other radio stations in the southern Bible belt. By August 6, thirty US radio stations have banned all Beatles records from airplay.
World reaction to John's remarks:
South Africa: Piet Myer of the South African Broadcasting Corporation temporarily banned Beatles records from being played and noted that "The Beatles arrogance has passed the ultimate limit of decency. It is clowning no longer."
Spain: Three radio stations immediately bans the airing Beatle records.
Holland: One radio station bans the airing of Beatle records.
The Vatican had a somewhat different view on Lennon's remarks: John's remarks were made "off-handedly and not impiously...the protest the remark raised showed that some subjects must not be dealt with lightly and in a profane way, not even in the world of beatniks."
Before the band would commence with a third American tour on August 12, at the Chicago International Amphitheatre, Brian Epstein holds an evening press conference in New York's Manhattan's Sheraton Hotel, to effect damage control over John Lennon's "anti-Christ" remarks. The following statement was made by Brian Epstein with approval from John: "The quote which John Lennon made to a London columnist nearly three months ago [sic] has been quoted and misrepresented entirely out of context of the article, which was in fact highly complimentary to Lennon as a person and was understood by him to be exclusive to the Evening Standard. It was not anticipated that it would be displayed out of context and in such a manner as it was in an American teenage magazine." Epstein also commented: "Lennon didn't mean to boast about the Beatles' fame. He meant to point out that the Beatles' effect appeared to be a more immediate one upon, certainly, the younger generation. John is deeply concerned and regrets that people with certain religious beliefs should have been offended."
In a hotel room on the 27th floor of the Astor Towers Hotel in Chicago where unrelenting pressure from the American press was seeking out a public apology from John Lennon, the Beatle is recorded on film as saying: "If I had said that television is more popular than Jesus, I might have got away with it. It's a fact, in reference to England, we meant more to kids than Jesus did, or religion at that time. I wasn't knocking it or putting it down. I was just saying it, as a fact and it's true, more for England than here. I'm not saying we're better or greater or comparing us with Jesus Christ as a person or God as a thing, or whatever it is, you know, I just said what I said and it was wrong, or was taken wrong, and now it's all this!"
Interestingly, the questions fielded by the press on this very subject alone lasted between 5-10 minutes before moving onto other topics. Tony Barrow, the Beatles personal publicist who had witnessed the event, recalls how John Lennon had reacted to the situation: "The arrival in Chicago was auspicious from John's personal point of view because, that night in the hotel, for the first time perhaps, he personally faced the press....He was taking great responsibility for something he felt terribly bad about and was greatly concerned that this thing, taken completely out of context, should rebound. He did not blame, for instance, Maureen Cleave in the least because of the way he had told it to her. He was concerned that this whole thing could rebound on The Beatles. He was more frightened, really scared stiff, that night, more than at any other time I've seen him, because the whole thing fell on his shoulders."
Tony Barrow's comments are supported by Cynthia Lennon in her book, "A Twist of Lennon": "[I]n an interview John likened the Beatles to Jesus Christ. His truly honest assessment of their popularity offended the God-fearing, clean living Americans who lived in the Bible belt of America. His views were totally misconstrued. John was very bewildered and frightened by the reaction that his words created in the States. Beatle albums were burnt in a mass orgy of self-righteousness indignation. Letters arrived at the house full of threats, hate and venom."
GRAMMY AWARDS (1966):
NORTH AMERICAN (AUGUST 1966) BEATLES TOUR: Chicago (August 12); Detroit (August 13); Cleveland (August 14); Washington (August 15); Philadelphia (August 16); Toronto (August 17); Boston (August 18); Memphis (August 19); Cincinnati (August 20); St. Louis (August 21); New York (August 23); Seattle (August 25); Los Angeles (August 28); San Francisco (August 29)
Tour Fact: "We'd done about 1,400 live shows and I certainly felt this was it," said George Harrison commenting on their last American concert at Candlestick Park. "It was nice to be popular, but when you saw the size of it, it was ridiculous, and it felt dangerous because everybody was out of hand. Even the cops were out of line....It was a very strange feeling. For a year or so I'd been saying, "Let's not do this anymore.' And then it played itself out, so that by 1966 everybody was feeling, 'We've got to stop this.' I don't know exactly where in 1966, but obviously after the Philippines we thought, 'Hey, we've got to pack this in.'"
Noted Atlanta psychiatrist Tom Leland would lament upon this single and the subsequent album, Sgt. Pepper, by describing Beatles new compositions as "speaking in an existential way about the meaninglessness of actuality."
Sunday Times reporter
Derek Jewel hails Pepper as "a tremendous advance even in the
increasingly progress of the Beatles. Some of the words are splendid
urban poetry - almost metaphysical..."
The Beatles comment about
Ringo Starr: "The original concept of Sgt. Pepper was that it was going to be stage show - you know, we start with clapping and people shouting and then I come on - and we were going to do it like theater; we'd do it in the studio and simulate it. We didn't in the end. We did it for the first couple of tracks and then it faded into an album - but it still made it a whole concept."
Paul McCartney: "...it doesn't have to be us, it doesn't have to be the kind of song you want to write, it could be the kind of song they might want to write...you could write a song about Lovely Rita, meter maid...Paul McCartney might not have...but these people could, so it was very liberating and that's how we looked at the whole thing."
George Harrison: "Klaus Voorman had a harmonium in his house, which I hadn't played before. I was doodling on it, just playing to amuse myself, when "Within You" started to come. The tune came first, then I got the first sentence. It came out of what we'd been discussing that evening."
John Lennon: "People just have this dream about Sgt. Pepper. It was good for then, but it wasn't that spectacular when you look back on it. I prefer some tracks off the double album and some tracks off Abbey Road. When you think back on Pepper, what do you remember? Just "A Day in the Life." You know, I go for individual songs, not for whole albums."
Beatles record producer, Sir George Martin (excerpt prologue from his book "Summer of Love"): "With Sgt. Pepper the Beatles held up a mirror to the world. And in this looking-class the world saw a brilliant reflection of its kaleidoscopic 1967 self. It saw not the shambolic and often absurd cavortings of the hippie movement, but its perfect image - an elegant ideal; not the sordid gutter land of drug addiction, but the intriguing possibility of creative substance abuse."
With Parlophone in England issuing a two disc EP package of Magical Mystery Tour listing all of the tracks especially recorded for the movie, the Capitol release in America not only contained those songs but also the additional hit singles from the band that made up the B-side of the album: "Hello Goodbye," "Strawberry Fields Forever," "Penny Lane," "Baby You're A Rich Man," and "All You Need Is Love." Those additional tracks made for a more complete album. It turned out to be a successful marketing strategy in the USA selling 2 million copies of the LP. The success would eventually make Parlophone release the American version in England. Said American Beatle researcher Bruce Spizer: "Nine years after the release of Capitol's Magical Mystery Tour LP, Parlophone issued the same album, even using the same Capitol master tapes, which included duophonic mixes of three of the songs! (When the album was issued on CD, true stereo mixes were used for all of the songs.)" The Capitol LP version was finally issued by Parlophone on November 19, 1976. The CD version was digitally re-mastered and released by Parlophone in 1987.
A London newspaper slams film in their review as "blatant rubbish" and other pundits viewed it as "chaotic", "appalling", and "a colossal conceit." As a result, the American million dollar deal for broadcast rights was pulled.
GRAMMY AWARDS (1967):
To commence on this day, the recording of "Back In the U.S.S.R." However, before the sessions would start, Ringo Starr decides to walk out on the band leaving John, Paul and George to record the track. Said Ringo: "I left because I felt two things: I felt I wasn't playing great, and I also felt the other three were really happy and I was an outsider." Ringo would rejoin the group on September 3rd. As a welcome back gesture from Mal Evans, flowers were decked out all around Ringo's drum kit before he arrived at the studio. Ironically, when he did return, there was nothing scheduled for him to do. On September 4th, Ringo and the other three Beatles are filmed by director Michael Lindsay-Hogg to promote their forthcoming single, "Hey Jude" b/w "Revolution". But Starr's actual studio performance at EMI did not occur until September 5th, adding drums and maracas for George Harrison's "While My Guitar Gently Weeps."
Paul McCartney explains the origins of Hey Jude: "I'd known Cynthia for a long time, she was a good friend. When people like that are getting divorced you can't just blank the wife...I'd got this little thing of "Hey Jules". I was thinking of a nickname for Julian. 'Hey Jules, don't make it bad, take a sad song and make it better.' You Know, don't be too brought down by this divorce, lad, it'll be all right, kind of style."
Cynthia Lennon: "Paul was
devastated by the break-up. He brought me a rose and offered marriage,
as a joke. 'We'll show 'em, won't we, Cyn?' It was very touching, and on
the way to the house he had written Hey Jude. It always brings tears to
my eyes, that song."
October 6 & 13
A United Artist Release
Based on a suggestion from John Lennon in a 3:00 a.m. phone call conversation with Al Brodax: "Wouldn't it be great if Ringo was followed down the street by a yellow submarine?"
Paul McCartney: "The
White Album. That was the tension album. We were all in the midst of the
psychedelic thing, or just coming out of it. In any case, it was weird.
Never before had we recorded with beds in the studio and people writing
for hours on end; business meetings and all that. There was a lot of
friction during that album...we were about to break up. And that was
just tense in itself."
Some interesting facts about the White Album:
• The album's cover
design was thought up by Richard Hamilton with the name The Beatles
embossed on the original releases. Later editions of the White Album saw
the groups name appearing in light grey.
• Paul McCartney states
in The Beatles Anthology book that the idea of having each album
individually numbered was Richard Hamilton's idea. "...he had the idea
to number each album, which I thought was brilliant for collectors.
You'd have 000001, 000002, 000003, and so on. If you got, for example,
000200 then that would be an early copy -- it was a great idea for
sales." The Beatles Anthology reports that Ringo Star owns the first
copy of the White Album.
George Harrison: "Joe Massot, the director, asked me would I do the music for his film...I decided to do it as a mini-anthology of Indian music because I wanted to help turn the public on to Indian music."
While it remains true in the film that Paul McCartney seemed to have gotten to George Harrison over a dispute in how to play chords on a number ("I'll play what you want me to play. Whatever it is that will please you, I'll do it," said Harrison) the real reason why George left (according to an October 2000 edition of Mojo magazine) was because of "John's obsession with Yoko deeply insulted Harrison. Lennon repeatedly refused to participate in group planning; on January 10, Harrison told Lennon he was leaving the band immediately." George would reconcile their differences a week later on the condition that they don't do a live concert abroad and to stop filming at the dreary Twickenham studios.
Excerpt from Apple's Deluxe "The Beatles Get Back" book describes atmosphere on the roof: "With the wind sweeping the roof and blowing through the Beatles' hair, it seemed as if the roof concert were occurring on ship deck, Paul stomping the wooden planks, middle aged men and women on an adjoining roof waiting for the boat to arrive, boys and girls on nearby buildings lying against the roof slopes and waving, the Beatles smiling and singing to each other in the wind: 'You can syndicate any boat you row.'" The Beatles performance ran about 40 minutes before the police arrived to stop the noisy noon disturbance.
George & Pattie Harrison's home is raided and they are charged with possession of cannabis.
Paul McCartney marries Linda Eastman at St. John's Wood Church in London. Reverend Noel Perry-Gore presides.
March 25 - 31
John Lennon: "Our life is our art. That's what the bed-ins were. When we got married, we knew our honeymoon was going to be public anyway, so we decided to make a statement. We sat in bed and talked to reporters for seven days. It was hilarious."
Playboy (1980 interview):
"What about the reports of you making love in a bag?"
George Harrison would later produce his first two albums on Apple: "That's The Way God Planned It" and "Encouraging Words". Billy would be used on the LET IT BE and ABBEY ROAD albums. George Martin would later acknowledge that Billy's musical contribution to those albums would act as "emollient" to buffer the on-going friction between band members.
George Harrison: "It's interesting to see how people behave nicely when you bring a guest in because they don't really want anybody to know that they are so bitchy...and told him [Billy] to come into Savile Row which he did. Straight away it just became 100 percent improvement in the vibe in the room."
Billy Preston (reflecting on how it all happened): "I was with Ray Charles in London and George was in the audience and he recognized me and called me the next day and invited me over to see the guys. When I went over, they were in the studio, you know, recording and filming and they asked me to sit in with them. It was a thrill enough just being there and playing with them. And I really didn't know about the label credit until the record was out," said Billy. "The record was a big surprise. I was at the Beatles' office, and John said, 'Look, Willy,' and he showed me the record. I looked, and it was great. Wow! It was really something to do that for me."
At about 5:30 p.m., John and Yoko convenes for a peace seminar at the Ottawa University Arts Building organized by Allan Rock, who today is now an Ambassador to the United Nations (previously he held several Canadian cabinet positions including Minister of Health, Minister of Justice and Minister of Industry.) A lively discussion on peace was held including panelist Prof. Colin Wells, vice-dean of the university of arts faculty along with Canadian actor Bruno Gerussi and Martin Loney, president of the Canadian Union of Students.
John and Yoko's visit to the city would only last several hours. The couple boards a train at 11:30 p.m. on this evening at the Ottawa Train station. They arrive the next morning at 6:30 a.m. at the Union Station in Toronto where the couple stayed at the Windsor Arms Hotel.
On this date, John Lennon and Yoko Ono check out of the Windsor Arms Hotel in Toronto to catch a 9 p.m. flight to London, via Frankfurt. "We are very happy with the results of our visit and the Montreal bed-in," said John Lennon to reporter Ritichie Yorke for the Globe and Mail. "You can't change things overnight, but I believe we've made a lot of people think about peace. We're going to keep plugging away."
saw the Lennons head down to Niagara Falls to do a "film documentary
footage on his visit to North America," wrote Yorke. Meanwhile, Allan
Klein reported that The Ballad of John and Yoko had already sold 900,000
copies in the United States and was Number 10 on the English charts in
John & Yoko's second visit to Canada. At the Varsity Stadium in Toronto, the couple perform live with Eric Clapton, Klaus Voorman, and Alan White. Together, at this performance, the band records an Apple album later released as "The Plastic Ono Band -- Live Peace in Toronto 1969"
Mal Evans, the Beatles roadie recalls the event in an interview with Beat Publications in 1969: "It was the first show I had roadied for three years and I was really loving every minute of plugging the amps in and setting them up on stage, making sure that everything was right. Everyone wanted the show to go particularly well because Allan Klein, who had flown over, had organised for the whole of John's performance to be filmed. This was on top of it being video-taped by Dan Richter.
"Finally, at midnight, the compare, Kim Fowley, who is a well-known singer, producer and songwriter in his own right, went on stage to announce the Plastic Ono Band. He did a really great thing. He had all the lights in the stadium turned right down and then asked everyone to strike a match. It was a really unbelievable sight when thousands of little flickering lights suddenly shone all over the huge arena, " said Evens.
"Then John, Yoko, Eric, Allan and Klaus were on stage, and lined up just like the old Beatles set-up. Bass on the left, lead guitar next, then John on the right with the drummer behind. Each guitarist had two big speakers, one on either side of the stage, and the sound was really fantastic right from the moment they began. But just before they launched into their first number, John said quickly into the mike "We're just goin’ to do numbers we know, as we've never played together before". That was all. Just a brief word to put everyone in the picture.
"The whole show was recorded for a special album...and you will hear all this on the LP. After that, the boys gave a ten minute Press conference."
Mal Evans noted in the interview to Beat Publications that after they left Varsity stadium, the band piled into four cars and drove two hours until they reached the estate of Mr. Eaton, a wealthy Canadian businessman whose son had picked the band up after the show. The next day, for fun they got into golf-carts exploring the huge landscape that surrounded the estate. Ritchie Yorke, pop reporter for Toronto's Globe and Mail later wrote that John and Yoko spent a total of 36 hours in Canada before flying back to England.
Originating from Des Moines Iowa when Tim Harper, a college editor, writes an article for the schools "Drake Times-Delphic" entitled: "Is Beatle Paul McCartney Dead?" On October 12, WKNR-FM picks up on the story from a phone caller revealing "hidden clues" in Beatle songs. The Chicago Sun-Times later covers the story on October 21. Paul would later appear on the front cover of LIFE Magazine (November 7) with an interview by John Neary entitled "The Case of the 'Missing Beatle': Paul is still with us."
Author Barry Miles in his book "The Beatles: A Diary" explains that as Paul attempted to discuss Beatle matters, John Lennon kept saying "No, no, no" to everything Paul suggested. Paul asked John what he meant by "no". John replied: "I mean the group is over. I’m leaving. Allen was saying don't tell. He didn't want me to tell Paul even. So I said 'It’s out.' I couldn’t stop it, it came out. Paul and Allen both said that they were glad that I wasn't going to announce it, that I wasn’t going to make an event out of it." Lennon's announcement never made it to the press because of their newly negotiated royalty contract they signed with EMI.
Contrary to the popular belief that Something was released as a money-maker, the real reason for giving George Harrison his first A-side to this single was to inspire him on as a composer. For in 1990, Beatle historian Mark Lewisohn received a letter from Allen Klein which reads as follows: "It was done on purpose, not to make money but to help the guy," wrote Klein. "Lennon wanted to help him. He knew that for all intents and purposes for a period of time they weren't going to be working together anymore. Something was a great song. But to make money? Not a chance. It was really to point out George as a writer, and give him courage to go in and do his own LP. Which he did."
For the next 6 days, John and Yoko become houseguests with pop rock star Ronnie Hawkins. "Ah'm friends with the people promoting this peace festival," said Hawkins in his Arkansas accent. "And John and Yoko don't like hotels, so they phoned me from London an' asked if they could stay here while it was being organized. They were wonderful, great. Ah was very honored."
Hawkins would refer here to the proposed Mosport Peace Festival that was to be held from July 3-5. The event was being organized by rock promoter John Brower, the same person who had John and Yoko perform at Varsity Stadium in Toronto.
Also on this date, John Lennon and Yoko Ono decide to put up on eleven billboards in major cities from around the world, the following slogan:
Pop journalist Ritchie Yorke lamented on the historical importance of the peace campaign: "John totally believed that love could save us. He thought that if one person really stood up, things could be changed. I've never seen anyone so committed to a cause, regardless of the cost. If he thought his actions would serve a purpose, he didn't give a damn if they cost a lot of money or if they offended anyone's sensibilities. The guy was amazingly open-minded; we used to sit around thinking of things to do in the peace campaign, and he never ruled out anything. At one point, somebody decided that the way dates were broken up into B.C. and A.D. was ridiculous, that we should start all over with YEAR ONE A.P., which was AFTER PEACE. John didn't think that was too far fetched; he threw himself into the campaign."
And although not known to the Montreal press at the time, probably the real reason for John and Yoko arriving in Montreal was to hold talks with two representatives from the Le Dain Commission of Inquiry into the Non-Medical Use of Drugs: Ian L. Campbell and Dr. Heinz Lehmann.
The Le Dain Commission of Inquiry was the Canadian government's response to the concern over the use of illicit drugs and the need to obtain more information about some of them, in particular cannabus, LSD, and prescription drugs such as tranquillizers and amphetamines. The inquiry was officially announced in the House of Commons on May 1, 1969, by John Munro, Minister for Health and Welfare. (see also: January 19 and May 17, 2003, entry in this timeline for John Lennon's official testimony.)
Both John and Yoko on this date would later fly back to Toronto from Ottawa and while on board the plane, they accidentally meet Lester B. Pearson, a former Canadian Prime Minister and Nobel Peace Prize recipient for his diplomatic achievement: the proposal of sending United Nations peacekeeping force to the Suez Canal area. Shortly after arriving in Toronto, the couple head back to England by plane.
GRAMMY AWARD (1969):
"After an argument over whether or not a charge should be made for admission, John and Yoko disassociate themselves from the planned Toronto Peace Festival, due to take place 3-5 July. It doesn't," wrote Mark Lewisohn in his book "The Beatles Day by Day."
Interestingly enough, printed on March 25 for newsstand sales until April 16, 1970, RollingStone Magazine gives John Lennon's response about the cancellation after a query was made to him from the publisher. "In the early stages we weren't sure whether the show would be free or not," said Lennon. "There was a lot of talk about the Stones' disaster and we were swayed into thinking maybe if it's free, people would have less respect or some such bullshit. However, Brower and Yorke persuaded us to come to Canada and 'announce the peace festival,' which we did in our usual way.
"Later, when we were in retreat in Denmark, we began thinking, 'Why shouldn't it all be free? Surely they can hustle some big firms or something to put up the money," exclaimed Lennon. "And anyway, it looked like the national and local government were interested. Wouldn't it be a great plug for 'Young Canada' -- and the tourist trade?"
However, promoter John Brower on at least on particular point disagrees about the two levels of government cooperating together for the Mosport Peace Festival: "We had tremendous problems with the Ontario government at the time," he said to William Ruhlmann of Goldmine Magazine, "which was a Conservative [Party] government, as opposed to the federal government, which was Liberal [Party]. And since the prime minister of Canada was Liberal and had met with Lennon, therefore the Conservative government was against the festival, because they felt that if it was staged in Ontario it would make the Liberal prime minister look good, and they didn't want to do that."
Brower also went on to say that Lennon "gave us every opportunity to 'Get it together, man,' so to speak, and when we were not able to get a site together and we were not able to consummate financing that would allow us to put the festival on in a way that John felt was most appropriate, he walked away from it."
The orchestral score for "The Long and Winding Road" was conducted and arranged by Richard Hewson and not scored by Phil Spector as some Beatle fans would assume. Hewson also did the orchestral score for Mary Hopkin's "Those Were The Days", "Goodbye" and her album "Postcard". He would later do the same for McCartney's "Thrillington" album.
"The Long and Winding Road" single sells 1,200,000 copies within two days.
An Apple production
released through United Artists
GRAMMY AWARD (1970):
Note: By February, the nastiness would peak. According to "Apple to the Core", a book by Peter McCabe & Robert D.Schonfeld, headlines would start "exploding across...the British papers: "BEATLE'S FIRM IN GRAVE STATE!" , "PAUL IS A SPOILED CHILD -- RINGO!" "BEATLES AND THE SPONGERS -- BY LENNON."
On this date the Academy of Motion Picture Arts and Sciences gives the nod to the Beatles and awards them with an Oscar for "Best Film Music-Original Film Score". This is the only time the Beatles ever won an Oscar and this feat has never been duplicated during their individual solo careers. The award was presented at the Dorothy Chandler Pavilion in Los Angeles
Credit: The Rock and Roll Hall Of Fame, The Beatles