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The Beatles held a press conference on August 17, 1965, in Canada. It took place between their first and second concerts of the day in the press room at Maple Leaf Gardens, Toronto.
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| Photo:John Rowlands |
Q: "Ringo, how did you propose to your wife."
RINGO: "Same as anybody else, you know. Are you married? If you're not married, you'll find out."
Q: "I want to be married but I want to do it right."
RINGO: "You want to do it right?"
JOHN: "Use both hands."
Q: "How come you were not booked into Montreal for a show?"
RINGO: "Ask our manager, you know. We don't know why. We just go where we're told."
GEORGE "You can't go everywhere, you know. We've just got to take a pick."
Q: "Ringo, would you still like to be a disc jockey?"
RINGO: (long silence) "Umm. Oh! Yeah. Yeah."
(laughter)
Q: "I'd like to ask Mr. Lennon why he took up writing and who is his biggest influence in the writing field."
JOHN: "Uhh, I don't know why I took it up... and I haven't got a biggest. I suppose Lewis Carroll."
Q: "George, which film did you like making most... 'Help' or 'A Hard Day's Night'?"
GEORGE: "Umm, we enjoyed both of them, actually. I think the new one we enjoyed a little bit more, because we knew more about what the film business was about, you see... if that makes sense."
JOHN: "What was it about?"
Q: "John, is it true that you and Bob Dylan are the same person?"
(laughter)
JOHN: "I didn't read that article, but I think it's quite funny. No, we're not."
Q: "Are you expecting any further honors after the Queen and the MBE?"
JOHN: "No, thanks."
(laughter)
Q: "What are some of your immediate plans as far as filming, writing books, etcetera?"
JOHN: "We make a new film sometime in spring, I think... in Spain. And that's all I know. I don't know what else we're doing."
Q: "Do you like the shorter tour this year, as opposed to last year? Does it give you more time to rest?"
JOHN: "Yep."
GEORGE: "Yeah."
RINGO: "Yes."
JOHN: "Yes."
PAUL: "Yes."
JOHN: "Yes."
Q: "What kind of shampoo do you use?"
JOHN: "Anything we can borrow."
(laughter)
Q: I'd like to know what happened to the color of John Lennon's hair?"
RINGO: "So would we."
JOHN: "Well, it's covered in sweat, you see, so it looks darker than it is. It's wet. (comic voice) That's why it looks different."
(laughter)
PAUL: "He hasn't got his 'toup' on."
Q: "Recently on the Musical Express Poll Winner's concert, and at Shea Stadium, you wore military type uniforms. Did you design them yourselves?"
PAUL: "No, we just... uhh... We were in the Bahamas and I had nothing to wear. So I borrowed a soldier's outfit off the film. And somebody said, 'Wow, that's okay.' So I said, 'Right.'
JOHN: "That's how it happened."
PAUL: "That's the story of 'em made. This is one of 'em."
Q: "Would you like to do a complete tour with all English acts?"
JOHN: "Yeah."
RINGO: "We usually do in Britain. There's alot of them over there."
(laughter)
Q: "Ringo-- over here, I mean."
RINGO: "It wouldn't bother us, you know. Any of them could come on a show."
Q: "Do you think that traveling with women companions hurts your image?"
GEORGE: "No."
PAUL: "We're not traveling with women companions, you know. We haven't got an image."
(laughter)
PAUL: "Have we?"
Q: "Of all the countries you've been in, which audience has been the most responsive?"
JOHN: "Grabbel-veebeh."
PAUL: "Yeah, that's right. Gravel-rehhh. No, America because there's more people. It's the biggest place."
RINGO: "Canada too, you know."
PAUL: "I mean, and Canada. It's a wonderful place anyway, isn't it?"
Q: "Paul, are you planning to marry Jane Asher?"
PAUL: "Uhh, I haven't got any plans, you know. That's all. But everyone keeps saying I have. So maybe they know more than me."
Q: "Would you ever like to visit Niagra Falls?"
GEORGE: "We've seen the photographs of it."
(laughter)
Q: "What was your reaction to your greeting in Rome?"
JOHN: "We had a good greeting in Rome... contrary to rumors over here. There was nobody at the airport, 'cuz we arrived in Rome at five in the morning. But the show was a sell out. (deep voice) So, sit down!!"
(laughter)
Q: "Did any of the boys have any difficult moments during the filming of 'Help!'"
GEORGE: "Trying to get up, and to the studio in time."
Q: "Are you bored with this life, or do you still find it exciting?"
JOHN: "We still like it, or we wouldn't be touring."
Q: "Are you going to have any more Beatles Christmas shows?"
JOHN: "Ask Mr. Christmas Epstein."
(laughter)
GEORGE: "Mr. Epstein may have a Mr. Epstein Christmas show."
(laughter)
Q: "Question for John Lennon. Do you plan to continue writing, and if so do you have a medium mind?"
JOHN: "Yes, 'cuz I think I'm under contract now... but I've got nothing in mind. It'll be the same stuff only backwards."
RINGO: "Nothing in his mind... did you get that?"
JOHN: "Thank you, Ringo."
Q: "Individually, how do you like being the Beatles?"
RINGO: "It's wonderful. Wonderful."
JOHN: "It's simply wonderful to be here."
PAUL: "Simply wonderful."
JOHN: "We like it... or we'd be the Rolling Stones."
(laughter)
Q: "How much longer do you plan to continue on concert tours?"
JOHN: "It's up to Brian, again."
PAUL: "And it's up to the people who buy the tickets, too, you know."
JOHN: "Till people stop coming to see us."
Q: "Will Paul tell us a little about his marriage plans?"
PAUL: "You just asked me, someone just asked me. The thing is, you see-- everyone keeps saying I'm married or I'm divorced or I've got fifty children."
RINGO: "You've only got forty."
PAUL: "I haven't said anything, but people keep making it up. So if you'd like to make it up... I'll sue ya."
(laughter)
Q: "Have any of the boys had a mental block-out on stage?"
JOHN: "You mean-- when you forget the tune, or something?"
Q: "Yeah."
GEORGE: "Yes, sometimes."
JOHN: "It happens, yes. Not very often, though."
RINGO: "I think we've all had that."
JOHN: (giggling) "I didn't know what key I was in last night!"
Q: "Ringo, you mentioned to a photographer, who questioned you as to whether or not you were still taking pictures-- and you said, 'No.' because they're bored and what you take is pictures of hotel rooms. Do you feel that you boys stay in too much? Is it boring to stay in the hotel room, and that sort of thing?"
RINGO: "It's not boring staying in a hotel room. It's boring taking photos in a hotel room."
Q: "We realize that both John and Paul are both prolific songwriters, and we get the impression that the songs are written very quickly. How far in advance do you write the songs?"
PAUL: "It depends, you know. If we feel like writing alot then we'll get ahead of what we've got to do."
JOHN: (jokingly) "...ahead of what we've got to do."
PAUL: "Mainly..."
JOHN: "Mainly..."
PAUL: "He's translating! Mainly we've just got to write to order, you know, if we're doing a new film or a new LP, or something. But it makes us work, you know."
Q: "Do you not think it frustrating that you can't hear yourselves think while your singing?"
JOHN: "How do you know we can't hear ourselves think? You weren't in our minds, were you. We can hear ourselves think or we'd forget what we were doing."
PAUL: "But the thing about singing-- it doesn't matter, you know. 'Cuz the people pay to come in and do what they want. They don't pay to come in and do what other people want them to do. They're having a good time, you know. (exaggerated British accent) 'So leave them alone, and up with the workers!!'"
(laughter)
PAUL: "They're having a great time."
JOHN: "If they weren't they wouldn't come again and again. If they were having a bad time like you were having, they wouldn't come again."
Q: "Do you think the new English groups are stealing alot of your limelight?"
JOHN: (jokingly) "Yeah, it's terrible!!"
Q: "Ringo, are you Jewish?"
RINGO: (to the reporter) "Stand up-- that man-- or woman."
JOHN: "He's having BarMitzvahs tomorrow."
(laughter)
RINGO: "No, I'm not Jewish."
Q: "If there had been National Service in England would the Beatles have existed?"
JOHN AND RINGO: "No!"
RINGO: "'Cuz we would've been in the Army."
PAUL: "We would've all been in the Army, you know. Unless we'd go in the same hut."
Q: "Would Ringo consider changing his hairxstyle?"
RINGO: "For what? No, I'm quite happy, you know."
Q: "What do you think of the news media keeping you in front of the public?"
JOHN: "They're doing very well... and without them people wouldn't get to know what we're doing. So that's it."
Q: "What do you think of the questions?"
JOHN: "Some of them are good. Some of them are bad and some of them are good."
Q: "What questions would you ask yourselves if you were in our position?"
JOHN: "I couldn't think of anything, you know. That's why we simplify so much."
PAUL: "Who is bootier!"
M.C: "We've got the last question coming up here."
Q: "Beatles, I was talking to Bill Haley of 'Bill Haley and the Comets' who got this whole show going as far as rock and roll. He was mentioning getting a Telstar show with the English groups and the American groups. Who do you think would win?"
M.C: "A Telstar contest between American and English groups-- who do you think would win?"
JOHN: "By the fans, at the moment, the English would win. But if other people watch it... if we judged it, the Americans would probably win."
M.C: "I'm sorry, that has to be the end because of the timing for the next show."
PAUL: "Thank you very much."
GEORGE: "Thank you."
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October 21
1963
Studio 1 (control room only). 10.00am-1.00pm. Mono mixing: 'I Want To Hold Your Hand' (from take 17); 'This Boy' (remixes 1, 2, from take 15). Editing: 'This Boy' (of mono remixes 1, 2). Stereo mixing: 'I Want To Hold Your Hand' (remix 1, from take 17). Producer: George Martin; Engineer: Norman Smith; 2nd Engineer: not assigned.
End of sessions for 'I Want To Hold Your Hand'/'This Boy'.
1964
Abbey Road, Room 65. 2.30-5.45pm. Mono mixing: 'I Feel Fine' (remixes 1-4, from take 9); 'I'll Follow The Sun' (from take 8); 'She's A Woman' (remix 2, from take 6); 'Everybody's Trying To Be My Baby' (from take 1). Producer: George Martin; Engineer: Norman Smith; 2nd Engineer: Ron Pender. 18.40 and 21.00.
Concerts at the Odeon Cinema, Glasgow.
1965
Studio 2. 2.30-7.00pm. Recording: 'Norwegian Wood (This Bird Has Flown)' [re-make] (takes 2-4). Studio 2. 7.00-12.00pm. Recording: 'Nowhere Man' (takes 1-2). Producer: George Martin; Engineer: Norman Smith; 2nd Engineer: Ken Scott.
1968
Harry Moss cuts the stereo version of 'The Beatles' at Abbey Road.
1974
John returns to Record Plant Studios, to record tracks for the LP 'Rock'n'Roll', this time produced by himself.
1977
US LP release: 'Love Songs'. (Capitol SKBL 11711).
1983
Yoko receives £120,000 in compensation from a neighbor who accidentally flooded her apartment when she left the bathtub open and went shopping.
1985
Recording of the TV special 'Blue Suede Shoes: A Rockabilly Session With Carl Perkins And Friends'. Appearance of George, Ringo, Carl Perkins and Eric Clapton.
1987
George and Ringo visit Paul at his London home in St. John's Wood. They discuss plans for the future, including The Beatles' long-awaited official story "The Long And Winding Road," which will later become The Beatles' Anthology.
In the UK, ITV’s After Nine program broadcasts the second part of their performance, where George is “The Person of the Week.”
In the US, the second part of George's recorded interview with Rona Elliot is broadcast on NBC's Today program.
The City of the Beatles are held at the West End Market in Dallas, Texas.
1989
Paul performs a concert in Olympiahall, Munich, West Germany (Get Back tour).
1991
In London, part of the John's "Bag One" collection is exhibited at the Smiths Gallery in Covent Garden.
1991: In the UK, Paul's concert film "Get Back" is released on a home PMI video.
1992
In the United States, Ringo reappears in the talk show Arsenio. He performs the songs "Don't Go Where The Road Don't Go" and "Act Naturally."
1994
In the UK, George Martin appears on the BBC1's "Pebble Mill" program, promoting his book, "The Making Of Sgt. Pepper." The program also features Victor Spinetti and Alf Bicknell, the Beatles chauffeur advertising his book "Baby, You Can Drive My Car."
1996
In the UK, the album "Archeology" (Virgin VUS119) by The Rutles.
The Beatles are better than The Beatles! This claim is based on sales since the beginning of the year: 6,000,000 albums from their past catalog were sold and a total of 13,000,000 copies of The Beatles Anthology 1 and [/i]The Beatles Anthology 2[/i]. With the release of The Beatles Anthology 3, which was due to take place in a week, it was assumed that the total sales of The Beatles albums in 1996 would exceed 20 million. The survey found that 41% of sales came from teenagers who were not yet born at the time of the official collapse of The Beatles in 1970.
1998
In the United States, Ringo appears in the morning show ABC "Live With Regis & Kathie Lee." He performs the song "Back Off Boogaloo."
1999
George Martin, who produced most of the Beatles' albums, invests his reputation and forty years of experience in the music business in a start-up internet company serving unsigned contracts with bands. Martin announces he will serve as chairman of Garageband.com's advisory board.
2009
Alexander Autographs in Stumford, Connecticut, presented a selection of Beatles memorabilia at his Rock the Auction auction. The first in the state (original), sealed Beatles album with covers of "Yesterday and Today" was sold for $ 25, 095.
2011: Paul McCartney and Nancy Shevell hold wedding party in New York
2014: Ringo Starr speaks at Broward Center for the Performing Arts, Fort Lauderdale, Florida
2015: Ringo Starr performed in Théâtre St-Denis Hall, Montreal, Canada
2015: Paul McCartney performs at Joe Louis Arena, Detroit
2017: Ringo Starr and his All-Starr Band perform live: Planet Hollywood Resort, Las Vegas
2020: Paul McCartney announces new album McCartney III
2023: Paul McCartney live: Marvel Stadium, Melbourne
2024: CEO of Apple Corp. Jeff Jones to resign
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October 18
- 1957
- Evening: Performance of the Quarrymen in a ball held by the Conservative Club, at the New Clubmoor Hall, Broadway, Liverpool. Paul's debut.
Paul plays for John a couple of tunes he had composed, one of them being 'I Lost My Little Girl'. -
- 1961
- Performance at the Cavern, with Ian and the Zodiacs and the Four Jays.
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- 1963
- Concert at the Shrewsbury Music Hall.
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- 1964
- Studio 2. 2.30-11.30pm.
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- Recording:
- 'Eight Days A Week' (takes 14-15); 'Kansas City/'Hey-Hey-Hey-Hey!' (takes 1-2);
- 'Mr Moonlight' [re-make] (takes 5-8);
- 'I Feel Fine' (takes 1-9);
- 'I'll Follow The Sun' (takes 1-8); 'Everybody's Trying To Be My Baby' (take 1);
- 'Rock And Roll Music' (take 1);
- 'Words Of Love' (takes 1-3).
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- Producer: George Martin; Engineer: Norman Smith; 2nd Engineer: Geoff Emerick.
Visit at the studio: Carl Perkins. -
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- 1965
- Studio 2. 2.30-5.45pm. Recording: 'If I Needed Someone' (overdub onto take 1); 'In My Life' (takes 1-3). Producer: George Martin; Engineer: Norman Smith; 2nd Engineer: Ken Scott.
Brian returns from the USA.
Evening. Brian attends a Joan Baez concert, at the Royal Albert Hall, London.
- 1967
- Premiere of 'How I Won The War' at the London Pavilion. All 4 Beatles attend.
After, they attend a party at Cilla Black's flat (9 b Portland Place, London). -
John and Cynthia see the annual Motor Show at the Earl's Court Exhibition Building, London.
- 1968
- 11.30. The police registers John and Yoko's flat, at Montague Square, and arrests them for possession of drugs. They are taken to theMarylebone Lane Police Station. For a short while they stay at lawyer Nicholas Cowan's house (35 Redcliffe Road, West Brompton, London).
Studio 1. 12.00-1.00pm. Tape copying: 'Yer Blues' (of edit of remix mono 3 and edit piece take 1); 'Don't Pass Me By' (of remix mono 1). Producer: not assigned; Engineer: not assigned; 2nd Engineer: John Smith.
Copies made to correct some imperfections of the master tape. End of sessions for 'The Beatles'.
Harry Moss cuts the mono version of 'The Beatles' at Abbey Road.
1974: UK single release: ‘Walking In The Park With Eloise’ was a single credited to The Country Hams, featuring Paul McCartney and Wings drummer Geoff Britton, and other musicians including guitarist Chet Atkins.
1979: Mixing: Cold Cuts by Paul McCartney
- 1982: UK LP release: '20 Greatest Hits'.
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- 1988
- LP release: 'Traveling Wilburys Vol. 1'.
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1999: UK album release: Working Classical by Paul McCartney
2002: Paul McCartney live: Rose Garden, Portland
2005: Paul McCartney live: United Center, Chicago
2010: Remastered Red and Blue albums and Harrison/Shankar Collaborations are released
2013: Paul McCartney live: Covent Garden, London
2014: Ringo Starr and his All-Starr Band live: Times-Union Center for the Performing Arts, Jacksonville
2015: Ringo Starr and his All-Starr Band live: Fox Theatre, Detroit
2016: Ringo Starr and his All-Starr Band live: Keller Auditorium, Portland
2023: Paul McCartney live: Adelaide Entertainment Centre, Adelaide
2024: Ringo Starr announces country album Look Up
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Daily Sketch columnist Anne Nightingale interviewed John Lennon in 1967. The interview was published on October 9th.
Q: "Are you deliberately using the power of the Beatles to spread the word about transcendental meditation?"
JOHN: "Yes, because we've never felt like this about anything else. We want the younger generation, especially, to know about it.
It's for everyone. For 'householders' as the Maharishi calls them. Just for ordinary people. You don't have to be some sort of freak to meditate.
We've got to convince people we are not mystic... get through our million images to show people that what we can do, anyone can do."
Q: "Are you convinced that meditation will last your life, that it won't be just a phase?"
JOHN: "I've got some reservations, of course, but I'm convinced it works in the way they say it works. There's a lot more to learn yet. But I'm willing to find out. You don't have to have a great faith or anything. The whole thing is so simple - as though it's
too marvelous to be true. You think: 'Why haven't I heard about it before?' But in fact, it's been around for a long, long time."
Q: "The Beatles must have been the target for every cult imaginable. What made this so different for you?"
JOHN: "It was always the same package before - Billy Graham stuff. Of course everyone's trying to reach the same thing ultimately.
But the Maharishi's way is natural, not unnatural. You can make it with meditation if you're a Christian, a Mohammedan or a Jew. You just add meditation to whatever religion you've got. It runs alongside Christianity amazingly. Re-read it now, you know, what it's about. The kingdom of heaven within you. It IS within you."
Q: "People have been a bit doubtful about the moral issues with transcendental meditation..."
JOHN: "Obviously you put your own code of ethics into it. No one really wants to go around killing and having orgi*s."
Q: "People like Malcolm Muggeridge have questioned the validity of the Maharishi's meditation..."
JOHN: "And where is Malcolm Muggeridge at? The Maharishi is a completely happy man. Malcolm Muggeridge isn't."
Q: "Would you have found meditation so acceptable if you hadn't taken LSD?"
JOHN: "It's all been misconstrued. We dropp*d LSDweeks before we met the Maharishi. We were looking for something more natural. But all that has been said about us building gold palaces in India is rubbish. Everyone thinks we are going to freak out into the hills
forever! All meditation means to us is that we have more output in our work. More energy for things like recording and filming. It would have
worked just the same if we hadn't taken LSD."
Q: "Do you think that flower power is just a commercial craze, or do you think there is some worth to it?"
JOHN: "There will be a sort of core of things that will come out of it which will be worthwhile. Just the love and peace thing is worth it, whatever commercial muck goes on. At least it's about something nicer than normal. Good things came out of the beats, like (Allen) Ginsberg and all those things."
Q: "What if everyone drops out?"
JOHN: "I don't think they go for that over here (Britain). The slant doesn't seem to be 'drop-out,' but just do better or just change it. Not drop-out like they do in the States, but try to change what's going on, be different yourself in these surroundings."
Q: "What do you feel about the religious aspect of the flower movement?"
JOHN: "I can understand religion now. I might have come to that conclusion anyway at 25 or 26. But now I understand it - realizing that The Church Of England and all those things, they're government. We all rejected that. I'm not against organized religion if it's organized by religious people and not just by politicians disguised. But they've got themselves into the position of any big company - they lose touch.
I've realized religion is personal. It's 'Do as you would be done by' really."
Q: "Does it involve a superior force, a God?"
JOHN: "It's an energy. I don't and never did imagine God as one thing. But now I can see God as a power source - or as an energy. But you can't see any kind of energy... only track it on radar or things like that. You can be aware of your own energy and all the energy that's around you. All the energy is God. Your own energy and their energy, whether doing god-like things or ungodly things. It's all like one big jelly. We're all in the big jelly."
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October 14
1960: The Beatles live: Kaiserkeller, Hamburg
1963
Photographs of the London Palladium performance are published on the front pages of every London newspaper.
1964
18.30 and 20.45. Performances at the Apollo, Manchester. Filmed by ABC-TV. Brian sends a cable to Harold Wilson on the eve of the General Election: 'Hope your group is as much a success.' Live: ABC Cinema, Manchester. Television: Scene At 6.30
1966
It is stated that Northern Songs Limited made a profit of 614,000 pounds in 1965.
1968
Morning: Ringo and his family fly to Sardinia, taking 2-week vacations.
Studio 2. 7.00pm-7.30am. Stereo mixing: 'I Will' (remix 1, from take 68); 'Birthday' (remix 1, from take 22). Recording: 'Savoy Truffle' (overdub onto take 1). Mono mixing: 'Savoy Truffle' (remixes 1-6, from take 1); 'While My Guitar Gently Weeps' (remixes 10, 11, from take 25); 'Long Long Long' (remixes 2, 3, from take 67). Stereo mixing: 'Savoy Truffle' (remixes 1, 2, from take 1); 'While My Guitar Gently Weeps' (remixes 10-12, from take 25); 'Yer Blues' (remixes 1-5, from takes 16, 17 and edit piece take 1); 'Sexy Sadie' (remixes 1-3, from take 117); 'What's The New Mary Jane' (remixes 1, 2, from take 4). Producer: George Martin; Engineer: Ken Scott; 2nd Engineer: John Smith.
End of recordings for 'The Beatles'.
1970: Mixing: All Things Must Pass by George Harrison
Recording: Get On The Right Thing by Wings
1971: TV: John Lennon and Yoko Ono on Free Time. The show was filmed in the WNET studios in New York City, and involved Ono staging versions of her art and instructional works ‘Hide Piece’, ‘Sweep Piece’, and ‘Promise Piece’.
1972: Recording, mixing: C Moon by Wings
1973: Paul McCartney and Tony Visconti discuss the Band On The Run orchestration
1974: John Lennon discusses Roots album with Maurice Levy
Mixing: Be My Baby by John Lennon
1975: Recording: The Note You Never Wrote by Wings
1978: Cover photoshoot: Wings Greatest by Wings. Paul and Linda McCartney had recently bought ‘Semiramis’, a sculpture by the Romanian artist Demétre Chiparus. The photographer Linda McCartney acquired this chryselephantine statuette (made of cold-painted bronze and carved ivory) at an auction in early 1978, and they wanted to feature it on the cover. The photoshoot took place on the Rothorn mountain, where a helicopter couldn't land, but could hover at a 45-degree angle, allowing them to open the door and place the statue on the mountain peak.
1979: Editing: Wonderful Christmastime by Paul McCartney
1993: Paul McCartney live: Palais Omnisports de Paris-Bercy, Paris
2005: Paul McCartney at The Palace, Auburn Hills
2009: Liverpool considers Beatles Trail of iconic locations
The Beatles’ Box Of Vision gets UK and European release
2011: Paul McCartney and Nancy Shevell honeymoon in Mustique
2013: UK album release: New by Paul McCartney
2015: Ringo Starr and his All-Starr Band live: Brandt Centre, Regina
2017: Ringo Starr and his All-Starr Band live: Planet Hollywood Resort, Las Vegas
2024: Beatles ’64 documentary to stream on Disney+ in November
2025: Paul McCartney live: Casey’s Center, Des Moines
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The Beatles' album "Rubber Soul" currently holds the No. 4 position on the Billboard 200 chart (for the week dated October 17, 2026).
The iconic album made a strong re-entry into the US Top 10 following the recent release of its Super Deluxe expanded edition, logging approximately 58,000 equivalent album units in its first week back on the chart.
This marks the legendary LP's first appearance in the top 10 of the Billboard 200 since 1966, when it originally spent six weeks at No. 1 starting that February.
The album’s re-entry also creates a rare historical milestone on the chart:
The Beatles, Taylor Swift, and Drake simultaneously share positions within the Top 5.
This brings together the three artists with the most No. 1 albums in the history of the Billboard 200 chart—The Beatles leading all acts with 19 No. 1s, followed by Swift and Drake tied with 15 each.
The album re-entered at the No. 1 position on Billboard's Vinyl Albums chart for the week dated October 17.
Impact on the Billboard 200: In addition to leading vinyl format sales, Rubber Soul returned to the Top 5 of the Billboard 200, reaching the No. 4 spot.
What is driving this resurgence?
This massive return to the charts is due to the release of an expanded and remastered special edition (Rubber Soul: Special Edition), released by Apple Records.
New Stereo Mixes: Advanced de-mixing technology developed by the WingNut Films team was used to separate and remaster the original four-track recordings.
Collector's Formats: The release featured various vinyl collections, such as a 5-LP Super Deluxe box set, limited edition zoetrope picture discs, and standard 180-gram LP editions.
Here are the links in case you'd like to buy Rubber Soul in different formats:
Place your order securely on Amazon HERE:
USA:
UK: JAPAN: GERMANY: FRANCE: SPAIN:
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A souvenir card signed by all four Beatles is projected to command thousands of pounds after remaining in the care of a Birmingham school dinner lady for 63 years.
Rose Moulder was employed by Birmingham City Council’s catering service, where her role involved hosting performers appearing at the city’s Town Hall from October 1961 to March 1969. Among these were legendary acts like The Beatles, The Rolling Stones, Jerry Lee Lewis, The Kinks, and Bob Dylan. Rose gathered signatures from each of them and kept the items safely stored at home. Following her passing several years ago, her cherished assortment of memorabilia is now heading to auction at Auctioneum Ltd in Bristol, where the full lot could surpass £4,000.
In total, the collection features seven autograph books filled with stars of that era, alongside numerous event programs and signed pictures. The standout piece—the postcard featuring signatures from John Lennon, Paul McCartney, George Harrison, and Ringo Starr—is anticipated to fetch over £3,000 on its own.
The Fab Four performed at Birmingham Town Hall on June 4, 1963, right as Beatlemania was breaking out. The tour initially launched with Roy Orbison headline-billed and The Beatles opening for him; however, by the time they hit Birmingham, The Beatles had taken top billing. Securing such a clean and distinct set of autographs from this precise moment is extraordinary—a true "holy grail" for Beatles enthusiasts.
Bidding will take place through an online-only auction hosted by Auctioneum, closing on October 22.
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The September 29th, 1980 issue of Newsweek featured an exclusive interview with John Lennon. "The Real John Lennon" was the title of the interview conducted by Barbara Graustark.
In the nine years since the Beatles broke up, John Lennon, their most brilliant and controversial member, has had a turbulent coming of age. After a flurry of post-Beatle albums of wildly uneven quality, a four-year fight with the Immigration Service to stay in the United States, a fifteen-month separation from his wife Yoko Ono, and the birth of their son Sean, Lennon disappeared from public view in 1975. Now on the eve of his 40th birthday, he is reemerging with the most eagerly awaited album of the year. Called 'Double Fantasy,' it is a 'Scenes From A Marriage' in fourteen songs - seven by Lennon, seven by Ono. Wide-ranging in xstyle - from the rockin' boogie of Lennon's '(Just Like) Starting Over,' to Ono's gospel-tinged 'Hard Times Are Over,' from his starry-eyed 'Beautiful Boy' to her acid-tongued rock-disco 'Kiss, Kiss, Kiss' - the forthcoming album is full of unaffected gusto and is likely to appeal to the broadest tastes.
A few years ago, the couple switched roles: Lennon became a househusband - babysitting and baking bread, while Ono became the family's business manager. Their real-estate holdings are extensive - five cooperatives in Manhatten's legendary Dakota apartment house, half a dozen residences scattered from Palm Beach, Fla., to a mountain retreat in upstate New York, and four dairy farms.
Recently Lennon and Ono sat down with Newsweek's Barbara Graystark for his first major interview in five years. Whippet-thin in Levis and work shirt, smoking French cigarettes and nibbling sushi, the ex-Beatle talked expansively about himself, showing no sign of the inner demons that once haunted his songs.
Q: "Why did you go underground in 1975? Were you tired of making music, or of the business itself?"
JOHN: "It was a bit of both. I'd been under contract since I was 22 and I was always 'supposed to.' I was supposed to write a hundred songs by Friday, supposed to have a single out by Saturday, supposed to do this or that. I became an artist because I cherished freedom - I couldn't fit into a xclassroom or office. Freedom was the plus for all the minuses of being an oddball! But suddenly I was obliged to the media, obilged to the public. It wasn't free at all!
I've withdrawn many times. Part of me is a monk, and part a performing flea! The fear in the music business is that you don't exist if you're not at Xenon with Andy Warhol. As I found out, life doesn't end when you stop subscribing to Billboard."
Q: "Why five years?"
JOHN: "If you know your history, it took us a long time to have a live baby. And I wanted to give five solid years to Sean. I hadn't seen Julian, my first son (by ex-wife Cynthia), grow up at all. And now there's a 17-year-old man on the phone talkin' about motorbikes.
I'm an avid reader, mainly history, archeology and anthropology. In other cultures, children don't leave the mother's back until 2. I think most schools are prisons - A child's thing is wide open and to narrow it down and make him compete in the xclassroom is a joke. I sent Sean to kindergarten. When I realized I was sending him there to get rid of him, I let him come home... If I don't give him attention at 5, then I'm gonna have to give him double doses of it in his teenage years. It's owed."
Q: "Paul McCartney's theory is that you became a recluse because you'd done everything - but be yourself."
JOHN: "What the hell does that mean? Paul didn't know what I was doing - he was as curious as everyone else. It's ten years since I really communicated with him. I know as much about him as he does about me, which is zilch. About two years ago, he turned up at the door. I said, 'Look, do you mind ringin' first? I've just had a hard day with the baby. I'm worn out and you're walkin' in with a damn guitar!"
Q: "Give me a typical day in the life of John and Yoko."
JOHN: "Yoko became the breadwinner, taking care of the bankers and deals. And I became the housewife. It was like one of those reversal comedies! I'd say (mincingly), 'Well, how was it at the office today, dear? Do you want a cocktail? I didn't get your slippers and your shirts aren't back from the laundry.' To all housewives, I say I now understand what you're screaming about. My life was built around Sean's meals. 'Am I limiting his diet too much?' (The Lennons maintain a macrobiotic lifexstyle, eschewing dairy products, liquor and meat.) 'Is SHE gonna talk business when she comes home from work?' I'm a rich housewife - but it still involves caring."
Q: "Yoko, why did you decide to take over as business manager?"
YOKO: "There's a song by John on the album called 'Clean-up Time' - and it really was that for us. Being connected to Apple (the Beatles' corporation) and all the lawyers and managers who had a piece of us, we weren't financially independent - we didn't even know how much money we had. We still don't! Now we are selling our shares (25 percent) of Apple stock to free our energy for other things. People advised us to invest in stocks and oil but we didn't believe in it. You have to invest in things you love. Like cows, which are sacred animals in India. Buying houses was a practical decision - John was starting to feel stuck in the Dakota and we get bothered in hotels. Each house that we've bought was chosen because it was a landmark that needed restoring."
Q: "John, how hard was it not to be doing something musical?"
JOHN: "At first, it was very hard. But musically my mind was just a clutter. It was apparent in 'Walls And Bridges' (his 1974 solo album), which was the work of a semisick craftsman. There was no inspiration, and it gave off an aura of misery. I couldn't hear the music for the noise in my own head. By turning away, I began to hear it again. It's like Newton, who never would have conceived of what the apple falling meant had he not been daydreaming under a tree. That's what I'm living for... the joy of having the apple fall on my head once every five years."
Q: "Did you just stop listening to music?"
JOHN: "I listened mostly to xclassical or Muzak. I'm not interested in other people's work - only so much as it affects me. I have the great honor of never having been to Studio 54 and I've never been to any rock clubs. It's like asking Picasso, has he been to the museum lately."
Q: "Why did you decide to record again?"
JOHN: "Because this housewife would like to have a career for a bit! On Oct. 9, I'll be 40 and Sean will be 5 and I can afford to say 'Daddy does something else as well.' He's not accustomed to it - in five years I hardly picked up a guitar. Last Christmas our neighbors showed him 'Yellow Submarine' and he came running in, saying, 'Daddy, you were singing... were you a Beatle?' I said, 'Well, yes. Right.'"
Q: "Why did you collaborate with Yoko on this LP?"
JOHN: "It's like a play and we're acting in it. It's John and Yoko - you can take it or leave it. Otherwise (laughing) it's cows and cheese, my dear! Being with Yoko makes me whole. I don't want to sing if she's not there. We're like spitiual advisors. When I first got out of the Beatles, I thought, 'Oh great. I don't have to listen to Paul and Ringo and George.' But it's boring yodeling by yourself in a studio. I don't need all that space anymore."
Q: "You've come a long way from the man who wrote, at 23, 'Women should be obscene rather than heard.' How did this happen?"
JOHN: "I was a working-xclass macho guy who was used to being served and Yoko didn't buy that. From the day I met her, she demanded equal time, equal space, equal rights. I said, 'Don't expect me to change in any way. Don't impinge on my space.' She answered, 'Then I can't be here. Because there is no space where you are. Everything revolves around you and I can't breathe in that atmosphere.' I'm thankful to her for the education."
Q: "People have blamed Yoko for wrenching you away from the band and destroying the Beatles. How did it really end?"
JOHN: "I was always waiting for a reason to get out of the Beatles from the day I filmed 'How I Won The War' (in 1966). I just didn't have the guts to do it. The seed was planted when the Beatles stopped touring and I couldn't deal with not being onstage. But I was too frightened to step out of the palace. That's what killed (Elvis) Presley. The king is always killed by his courtiers. He is overfed, overindulged, overdrunk to keep him tied to his throne. Most people in the position never wake up. Yoko showed me what it was to be Elvis Beatle, and to be surrounded by sycophant slaves only interested in keeping the situation as it was - a kind of death. And that's how the Beatles ended - not because she 'split' the Beatles, but because she said to me, 'You've got no clothes on.'"
Q: "How do you look back on your political radicalism in the early '70's?"
JOHN: "That radicalism was phony, really, because it was out of guilt. I'd always felt guilty that I made money, so I had to give it away or lose it. I don't mean I was a hypocrite. When I believe, I believe right down to the roots. But being a chameleon, I became whoever I was with. When you stop and think, what the hell was I doing fighting the American Government just because Jerry Rubin couldn't get what he always wanted - a nice cushy job."
Q: "Do you ever yearn for the good old days?"
JOHN: "Nah! Whatever made the Beatles the Beatles also made the 60's the 60's. And anybody who thinks that if John and Paul got together with George and Ringo, the Beatles would exist, is out of their skulls. The Beatles gave everything they had to give, and more. The four guys who used to be that group can never ever be that group again even if they wanted to be. What if Paul and I got together? It would be boring. Whether George or Ringo joined in is irrelevant because Paul and I created the music. OK? There are many Beatle tracks that I would redo - they were never the way I wanted them to be. But going back to the Beatles would be like going back to school... I was never one for reunions. It's all over."
Q: "Of all the new songs, only 'I'm Losing You' seems to harbor the famous Lennon demons. How did you come to write it?"
JOHN: "It came out of an overwhelming feeling of loss that went right back to the womb. One night, I couldn't get through to Yoko on the telephone and I felt completely disconnected... I think that's what the last five years were all about - to reestablish me for meself. The actual moment of awareness when I remembered who I was came in a room in Hong Kong because Yoko had sent me around the world to be by meself. I hadn't done anything by meself since I was 20. I didn't know how to check into a hotel... if someone reads this they'll think, 'These bloody popstars!' They don't understand the pain of being a freak. Whenever I got nervous about it I took a bath, and in Hong Kong I'd had about 40 baths. I was looking out over the bay when something rang a bell. It was the recognition - 'My God! This relaxed person is me from way back. HE knew how to do things. It doesn't rely on any adulation or hit record. Wow!' So I called Yoko and said, 'Guess who. It's me!'
I wandered around Hong Kong at dawn, alone, and it was a thrill. It was rediscovering a feeling that I once had as a younster walking the mountains of Scotland with an Auntie. The heather, the mist... I thought - aha! THIS is the feeling that makes you write or paint... It was with me all my life! And that's why I'm free of the Beatles, because I took time to discover that I was John Lennon before the Beatles, and will be after the Beatles. And so be it."
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George Harrison gave an interview to Crawdaddy magazine while promoting his recent album '33 1/3'.
Q: "Were you nervous before the Beatles 1964 debut on the Ed Sullivan Show?"
GEORGE HARRISON: "The Sullivan Show was funny because I didn't attend the rehearsal. I was sick somehow on the flight over on the first trip to the States. The band did play alot of rehersal for the sound people, they kept going into the control room and checking out the sound. And finally when they got a balance between the instruments and the vocals, they marked on the boards by the control, and then everybody broke for lunch. Then we came back to tape the show and the cleaners had been 'round and polished all the marks off the board. It was sort of a bit tacky in those days with the sound. People would put amplifiers off to the side of the stage so it didn't spoil the shot, you know."
Q: "I just always wondered if you felt the pressure."
GEORGE: "Oh yeah, we did. But we knew we'd had sufficient success in Europe and Britain to have a bit of confidence. And we really needed a helluva lot of confidence for the States because it was such an important place. I mean, nobody'd ever made it, you know, British acts-- apart from the odd singer like Lonnie Donnegan."
"But Ed Sullivan was, you know-- Everybody had told us how he was really big. But again, we were pretty naive to certain things so that helped at the time. I remember them asking us did we know who Walter Cronkite was. And I said, 'I dunno, isn't he somebody on the television?' You know, things like that were good because they all had fun-- the people asking questions and the press-- us being naive and not seeming to care about that sort of thing."
Q: "Was there ever a tendency to still act naive after you wised up?"
GEORGE: "I dunno. But by that time we'd got into that whole sort of routine that we used to have, you know, at press conferences. Alot of it was just nervous energy, just for jokes and stuff which everybody seemed to like. That was one of the big helps for the Beatles at the time-- If anybody dried up in the press conferences there was always somebody else there with a smart answer. There was always a good balance, so nobody could ever really quite nail us."
"The Sullivan show was just the climax to the Beatles' whole America thing. In retrospect it probably wouldn't have mattered what we'd done on the Sullivan show, it was like already established by the previous press that had gone before. But that was a long time ago. We'll get over the question, 'Are the Beatles getting together again?'"
Q: "I won't even ask you."
GEORGE: "...because the answer is just like going back to school again, really. The four of us are so tied up with our own lives, and it's been eight years since we split. And time goes so fast. It's not beyond the bounds of possibility, but we'd have to want to do it for the music's sake first. We wouldn't stick together because somebody had put an ad in the paper putting us on the spot."
Q: "Somebody in New York is saying the Beatles are getting back together to wrestle a Great White Shark in Australia."
GEORGE: "That was the other guy-- He was gonna try and do the Beatles show, and then try and do the other one with somebody fighting a shark. I thought, 'If HE fights the shark, the winner can be the promoter!"
Q: "It seemed that all four of you were locked into something larger than its parts."
GEORGE: "It was. But none of us really thought about leaving until '67 or '68, which was after we stopped touring. I know the first time for me which was the most depressing was during 'The White Album.' It was a problem making a double album because it takes such a long time."
Q: "Why did you make a double?"
GEORGE: "I think it was because there were so many songs, but it was a period that had started a bit negative. It was a bit difficult and we got through it and it was fine. We finally got through the album and everybody was pleased because the track were good. Then I worked on an album with Jackie Lomax on an Apple record and I spent a long time in the States, and I had such a good time working with all these different musicians and different people. Then I hung out at Woodstock for Thanksgiving and, you know, I felt really good at that time. I got back to England for Christmas and then on January 1st we were to start on the thing which turned into 'Let It Be.' And straight away, again, it was just weird vibes. You know, I found I was starting to be able to enjoy being a musician, but the moment I got back with the Beatles it was just too difficult. There were just too many limitations based upon our being together for so long. Everybody was sort of pigeon-holed. It was frustrating."
"The problem was that John and Paul had written songs for so long it was difficult-- First of all because they had such alot of tunes and they automatically thought that theirs should be priority. So for me, I'd always have to wait through ten of their songs before they'd even listen to one of mine. That was why 'All Things Must Pass' had so many songs, because it was like I'd been constipated. I had a little encouragement from time to time, but it was very little. It was like they were doing me a favor. I didn't have much confidence in writing songs because of that. Because they never said, 'Yeah that's a good song.' When we got into things like "While My Guitar Gently Weeps,' we recorded it one night and there was such a lack of enthusiasm. So I went home really disappointed because I knew the song was good."
"The next day I brought Eric Clapton with me. He was really nervous. I was saying, 'Just come and play on the session, then I can sing and play acoustic guitar.' Because what happened when Eric was there on that day, and later on when Billy Preston... I pulled in Billy Preston on Let It Be... it helped, because the others would have to control themselves a bit more. John and Paul mainly because they had to, you know, act more handsomely. Eric was nervous saying, 'No, what will they say?' And I was saying, 'Fuck 'em, that's my song.' You know, he was the first non-Beatle person who'd ever played on anything."
Q: "It must have been terrifying..."
GEORGE: "And it was a good date. Paul would always help along when you'd done his ten songs-- then when he got 'round to doing one of my songs, he would help. It was silly. It was very selfish, actually. Sometimes Paul would make us do these really fruity songs. I mean, my god, 'Maxwell's Silver Hammer' was so fruity. After a while we did a good job on it, but when Paul got an idea or an arrangement in his head... But Paul's really writing for a 14-year-old audience now anyhow. I missed his last tour, unfortunately."
Q: "'While My Guitar Gently Weeps' was such a personal song, I'd always wondered why Eric was there."
GEORGE: "Well, I'd been through this sitar thing. I'd played sitar for three years. And I'd just listened to xclassical Indian music and practiced sitar-- except for when we played dates, studio dates-- and then I'd get the guitar out and just play, you know, learn a part for the record. But I'd really lost alot of interest in the guitar. I remember I came from California and I shot this piece of film for the film on Ravi Shankar's life called 'Raga' and I was carrying a sitar. And we stopped in New York and checked in a hotel, and Jimi Hendrix and Eric Clapton were both at the same hotel. And that was the last time I really played the sitar like that. We used to hang out such alot at that period, and Eric gave me a fantastic Les Paul guitar, which is the one he plays on that date. So it worked out well. I liked the idea of other musicians contributing."
"I helped Eric write 'Badge' you know. Each of them had to come up with a song for that 'Goodbye Cream' album and Eric didn't have his written. We were working across from each other and I was writing the lyrics down and we came to the middle part so I wrote 'Bridge.' Eric read it upside dwn and cracked up laughing-- 'What's BADGE?' he said. After that Ringo walked in drunk and gave us that line about the swans living in the park."
Q: "I always thought your contributions guided the band's direction. Beatles '65-- the country influence. Or the Indian influence."
GEORGE: "Well, Ringo as well, you know. We all gave as much as we could. The thing was, Paul and John wrote all the songs in the beginning. And they did write great songs, which made it more difficult to break in or get some action on the songwriting thing. But you know, we all did contribute such alot to the Beatles. There was a period of time when people thought, 'Ringo doesn't play the drums.' I don't know what they thought of me, but they tended to think it was John and Paul for a period of time."
"I helped out such alot in all the arrangements. There were alot of tracks though where I played bass. Paul played lead guitar on 'Taxman,' and he played guitar-- a good part-- on 'Drive My Car."
Q: "You played bass?"
GEORGE: "No, I didn't play-- We laid the track because what Paul would do, if he's written a song, he'd learn all the parts for Paul and then come in the studio and say, 'Do this.' He'd never give you the opportunity to come out with something. But on 'Drive My Car' I just played the line, which is really like a lick off 'Respect,' you know, the Otis Redding version-- and I played that line on guitar and Paul laid that with me on bass. We laid the track down like that. We played the lead part later on top of it. There were alot of things... like on a couple of dates Paul wasn't on it at all, or John wasn't on it at all, or I wasn't on it at all. Probably only about five tunes altogether where one of us might not have been on."
Q: "Which of the Beatles albums do you still listen to?"
GEORGE: "I liked when we got into 'Rubber Soul,' 'Revolver.' Each album had something good about it and progressed. There were albums which weren't any good as far as I was concerned, like 'Yellow Submarine.'"
"We put all the songs together into an album form-- I'm talking about English albums now, because in the states we found later that for every two albums we had, they (Capitol) would make three... because we put fourteen tracks on an album, and we'd also have singles that weren't included on albums in those days. They'd put the singles on, take off a bunch of tracks, change all the running order, and then they'd make new packages like 'Yesterday And Today,' just awful packages."
Q: "That entire era was so productive. Did it seem that way to you?"
GEORGE: "Yeah, it was good, it was enjoyable. We'd get into doing harmonies and this and that. Beacause in the early days we were only working on four-track tapes. So what we'd do would be work out most of the basic track on one track, get all the balance and everything set, all the instruments,. Then we'd do all the vocals, or overdub. If there was guitar, lines would come in on the second verse and piano in the middle eight with shakers and tambourines. We'd line up and get all the sounds right and do it in a take, and then do all the vocal harmonies over."
"Those old records weren't really stereo. They were mono records and they were rechanneled. Some of the stereo is terrible because you've got backing on one side. In fact, when we did the first two albums-- at least the first album which was 'Please Please Me,' we did it straight onto a two-track machine. So there wasn't any stereo as such, it was just the voices on one track and the backing on the other. Sgt Pepper was only a four-track."
Q: "It's hard to believe."
GEORGE: "Yup. Well, we had an orchestra on a separate four-track machine in 'Day In The Life.' We tried to sync them up. I remember-- they kept going out of sync in playback, so we had to remix it."
Q: "Was the rest of the band difficult when you started getting into Indian music?"
GEORGE: "Not really. They weren't really as interested. When I'd first met Ravi (Shankar) he played a private concert just at my house, and he came with Alla Rakha, and John and Ringo came to that. I know Ringo didn't want to know about tabla because it just seemed so far our to him."
Q: "He couldn't relate to it?"
GEORGE: "Well, he could relate to it as a percussion instrument, as drums. But how Rakha actually played it, he couldn't figure that out at all. But they liked it. They knew there was something great about it. But they weren't into it as I was. Then they all went to India and had those experiences in India, too... which, for anybody who goes to India, I think straight away you can relate much more to Indian music because it makes so much more sense having been there."
Q: "Was it intimidating to start out at age 17 or 18, and be younger than the others?"
GEORGE: "No. There are around nine months between me and Paul... Nine months between Paul and John. In the early days when I was still at school, I was really small. I sort of grew in height when we were away in Hamburg. A few years before that we did a few parties at night-- just silly things-- John, Paul, and I. And there were a couple of other people who kept coming and going. John was in school, the College of Art, which was adjoining our school. Paul and I would sneak out of our school and go into his place, which was a bit more free, you know. Ours was still in school uniforms, and we could smoke in his place and do all that. I think he did feel a bit embarrassed about that because I was so tiny. I only looked about ten years old."
"But in Hamburg, we were living right in the middle of St Paulie, which is right in the middle of the Reeperbahn district in Hamburg. All the club owners were like gangsters, and all the waiters had tear-gas guns, truncheons, knuckle-dusters. They were a heavy crew. Everybody around that district were homosexuals, pimps, hookers. You know, being in the middle of that when I was 17. (laughs) It was good fun. But when we moved into our second club we were becoming so popular with the crowd of regulars that we never got in any problems with all these gangster sort of people. They never tried to beat us up because they knew the Beatles. And you know, they'd say 'Pedels' (pronounced, Peedles), that's German for prick."
Q: The whole image of the Beatles got cleaned up and smoothed over, which is always attributed to Brian Epstein."
GEORGE: "In the Hamburg days we had to play so long and really rock it up and leap about and foam at the mouth and do whatever. We missed the whole period in England-- Cliff Richards and the Shadows became the big thing. They all had matching ties and handkerchiefs and gray suits, but we were still doing Gene Vincent, Bo Didley, you know, Ray Charles things. So when we got back to England that was the big thing. They didn't know us in Liverpool, and there was a big gig at the townhall or something, at a dance. There was an advertisement in the newspaper saying, 'Direct from Hamburg,' and so many people really dug the band, and they were coming up to us and saying, 'Oh, you speak good English!'"
"But a year or so after that, When Brian Epstein came on the scene, he said, 'You should smarten up because nobody wants to know you,' --TV producers or record producers or whatever. We just looked too scruffy. In Germany they had alot of leather stuff, like black leather trousers and jackets and boots."
Q: "Do you miss that Hamburg in your music?"
GEORGE: "I just had a good time just playing, you know. That's what I miss. Even when we sold records and started doing alot of tours, it was a bit of a drag because we'd go on the road and we'd play the same tunes to different people, and then we'd drop a few and add the new ones all the time. It got stale. I felt stale, you know, because you play the same riffs... da-da-ding-ding-dow, you know. 'Twist And Shout' and things. By the time you came off the road, touring the world, I'd just want to not particularly..."
Q: "...look at an instrument?"
GEORGE: "Yeah... for a while. And so we did get very stale, and that's a period when-- I was saying about after being into the sitar-- I got really friendly with Eric, and all the kids were playing guitars. I'd felt as though I'd missed so many years out."
Q: "You mean like Hendrix and Cream, and that whole era?"
GEORGE: "Yeah, and all the young kids coming up were all playing so good, and I hadn't been involved with it for so long, both being in the Beatles just playing the same old tunes, and playing Indian music. So I felt a long way behind. That was one reason why I had all the instruments. I suddenly realized, 'I don't like these guitars,' and Eric gave me this Les Paul which really got me back into it because it sounded so funky. That was one of the reasons I started playing slide, you know, because I felt so far behind in playing hot licks. With slide I didn't have any instruction, I just got one and started playing."
Q: "Do you feel self-conscious about your guitar playing?"
GEORGE: "I just had to force myself back. Alot of it was just confidence."
Q: "John said the best Beatle music happened before the group ever cut a record."
GEORGE: "Mmm, well yes. I think some of the best stuff we did was when we stopped touring and spent alot of time in the studio. You know, we lived in a studio, really. Alot of things which were innovations as far as recording went-- I think THAT was some of the best music. But as far as playing live, I agree with what John says about the old days. We were really rocking. We had fun, you know. We really had fun."
Q: "Since you've gone solo, your signiture musically is different from that now. Like when you did 'Wah-Wah.'"
GEORGE: "That was the song, when I left from the 'Let It Be' movie, there's a scene where Paul and I are having an argument, and we're trying to cover it up. Then the next scene I'm not there and Yoko's just screaming, doing her screeching number. Well, that's where I'd left, and I went home to write 'Wah-Wah.' It had given me a wah-wah, like I had such a headache with that whole argument. It was such a headache."
Q: "When did you meet Eric for the first time?"
GEORGE: "We were in the Hammersmith Odeon, and the Yardbirds were sort of supporting a group on the bill, and I just met him then, but really didn't get to know him. I met him again when the (Lovin) Spoonful were at the Marquee, and John and I went down and were just sort of hanging about backstage with them. We were going down to their hotel... I can remember just seeing Eric, 'I know him. I'm sure I know this guy, and he seems like, you know really lonely.' I remember we went out and got in a car and went off to Sebastian's Hotel and I remembered thinking, 'We should've invited that guy 'cuz I'm sure we know him from somewhere and he just seemed, like, lonely."
"And then a couple of years, maybe a year or so later, The Bee Gees, the Cream, were all involved with Brian Epstein originally, so I started meeing Eric and hanging out with him then at Brian Epstein's house. We sort of went out quite a bit with Brian for dinner and stuff, and then the whole Cream thing started happening. Through that period he played 'Guitar Gently Weeps,' and after that he just escaped out of London because some cop was after him. And he bought a house just a bit further out in the country from where I was, and we used to hang out."
"'Savoy Truffle' on The White Album was written for Eric. He's got this real sweet tooth and he'd just had his mouth worked on. His dentist said he was through with candy. So as a tribute I wrote, 'You'll have to have them all pulled out after the Savoy Truffle.' The truffle was some kind of sweet, just like all the rest-- cream tangerine, ginger sling-- just candy, to tease Eric."
Q: "I remember him saying he was dedicating 'Layla' to some mystery woman. Did you know what was happening?"
GEORGE: "Well yeah, sort of. The thing is, with Eric over the years, and you know we (George and Patti Harrison) both loved Eric. Still do. And there were a few funny things. I pulled his chick once. That's happened, and now you'd think he was trying to get his own back on me. (laughs) But much later, when all that thing was going on, when I split from Patti, you know... Patti and he got together after we'd really split. And actually we'd been splitting up for years. That was the funny thing, you know. I thought that was the best thing to do, for us to split, and we should've just done it much sooner. But I didn't have any problem about it-- Eric had the problem. Everytime I'd go and see him, and stuff, he'd be really hung up about it, and I was saying, 'Fuck it, man. Don't be apologizing,' and he didn't believe me. I was saying, 'I don't care.'"
Q: "You said 'All Things Must Pass' was like as explosion for you."
GEORGE: "Yeah. I had alot from during the Beatles time and I was writing all the time, and I wrote a few while making the album as well."
Q: "Which was your favorite? 'My Sweet Lord?'"
GEORGE: "No, not particularly. I liked different songs for different reasons. I liked the first song that was on the album, 'I'd Have You Anytime,' and particularly the recording of it, because Derek and the Dominoes played on most of the tracks and it was a really nice experience making that album-- because I was really a bit paranoid, musically. Having this whole thing with the Beatles had left me really paranoid. I remember having those people in the studio and thinking, 'God, these songs are so fruity! I can't think of which song to do.' Slowly I realized, 'We can do this one,' and I'd play it to them and they'd say, 'Wow, yeah! Great song!' And I'd say, 'Really? Do you really like it?' I realized that it was okay... that they were sick of playing all that other stuff. It's great to have a tune, and I liked that song, 'I'd Have You Anytime' because of Bob Dylan."
"I was with Bob and he'd gone through his broken neck period and was being very quiet, and he didn't have much confidence anyhow-- that's the feeling I got with him in Woodsock. He hardly said a word for a couple of days. Anyway, we finally got te guitars out and it loosened things up a bit. It was really a nice time with all his kids around, and we were just playing. It was near Thanksgiving. He sang me that song and he was, like, very nervous and shy and he said, 'What do you think about this song?' And I'd felt very strongly about Bob when I'd been in India years before-- the only record I took with me along with all my Indian records was 'Blonde On Blonde.' I felt somehow very close to him or something, you know, because he was so great, so heavy and so observant about everything. And yet, to find him later very nervous and with no confidence. But the thing that he said on 'Blonde On Blonde' about what price you have to pay to get out of going through all these things twice-- 'Oh mama, can this really be the end.' So I was thinking, 'There is a way out of it all, really, in the end.'"
"He sang for me, 'Love is all you need/ Makes the world go 'round/ Love and only love can't be denied/ No matter what you think about it/ You're not going to be able to live without it/ Take a tip from one who's tried.' And I thought, Isn't it great, because I know people are going to think, 'Shit, what's Dylan doing?' But as far as I was concerned, it was great for him to realize his own peace, and it meant something. You know, he'd always been so hard.. and I thought, 'Alot of people are not going to like this,' but I think it's fantastic because Bob has obviously had the experience. I was saying to him, You write incredible lyrics,' and he was saying, 'How do you write those tunes?' So I was just showing him chords like crazy. Chords, because he tended just to play alot of basic chords and move a capo up and down. And I was saying, 'Come on, write me some words,' and he was scribbling words down. And it just killed me because he'd been doing all these sensational lyrics. And he wrote, 'All I have is yours/ All you see is mine/ And I'm glad to hold you in my arms/ I'd have you anytime.' The idea of Dylan writing something, like, so very simple."
Q: "Did you get any feedback from John or Ringo or anybody, saying Congratulations?"
GEORGE: "I remember John was really negative at the time, but I was away and he came 'round to my house, and there was a friend of mine living there who was a friend of John's. He saw the album cover and said, 'He must be fucking bad, putting three records out. And look at the picture on the front, he looks like an asthmatic Leon Russell,' There was alot of negativity going down. You know... Ringo played on almost the whole album. I don't care about that. Fuck it-- we've been through the thing. I felt that whatever happened, whether it was a flop or a success, I was gonna go on my own just to have a bit of peace of mind."
Q: "So you weren't apprehensive about how it would go over?"
GEORGE: "No. Not at all. I felt it was good music, whether people bought it or not. I was concerned that the musicians who played on it were concerned. It was good."
Q: "By the time it was finished, you were confident it was good?"
GEORGE: "Even before I started I knew I was gonna make a good album because I had so many songs and I had so much energy. For me to do my own album after all that-- it was joyous. Dream of dreams."
Q: "Let's move ahead. On the new album I've never been able to figure out whether you're talking about Krishna or a woman."
GEORGE: "That's good-- I like that. I think individual love is just a little of universal love. The ultimate love, the universal love or love of God, is a basic goal. Each one of us must manifest our individual love, manfest the divinity which is in us. All individual love between one person loving another, or loving this that or the other, is all small parts or small examples of that one universal love. It's all God, I mean if you can handle the word 'God.'"
"Ultimately the love can become so big that we can love the whole of creation instead of 'I love this but I don't like that.' Singing to the Lord or an individual is, in way, the same. I've done that consciously in some songs."
"I've had alot of interest in different ways and one of the things I never liked was the whole bit in the late '60s when everybody started getting into it. One thing I really disliked was this, 'My guru's better than your guru.' It's like little kids on the street-- 'My dad's bigger than your dad.' The point is that there is only one God, he's got millions of names, but there's only, but there's only one God. All Maharishi ever gave me was good advice and he gave me the technique of meditation which is really wonderful."
Q: "They say he was a..."
GEORGE: "Well you know, John went through a negative thing moreso than I did with the Maharishi. I can see now much clearer what happened, and there was still just alot of ignorance that went down. Maharishi was fantastic and I admire him, like Prabhupada, for being able in spite of all the ridicule to just keep going. And there's more people now-- especially in the United States-- who are all doing it. And in the '60s they were laughing at us saying it was stupid. All of these people have influenced me and I've tried to the best out of all of them without getting spitiual indegestion."
Q: "What about your albums like, 'Living In The Material World,' the whole concept of maya. It's so ironic that you got caught up in it."
GEORGE: "Oh yeah. I'm living in it. But people interpret it to mean money, cars, that sort of thing-- although those are part of the material world. The material world is like the physical world, as opposed to the spiritual. For me, living in the material world just meant being in this physical body with all the things that go along with it."
Q: "The litigation involved in the Concert For Bangladesh, didn't that depress you?"
GEORGE: "Yeah, that is sure enough to make you go crazy and commit suicide. The whole thing of being Beatles-- it was very heavy on us four. It was like some people wrote saying, 'Well, the problem with the Beatles is that when we were all growing up they were just tooling 'round the world in limosines.' Actually it was the reverse. We were forced to grow up much faster. And what they call growing up was actually being stuck in a rut while we were transcending layer upon layer. So the heaviness of just the things we've been through, we either use it or rise above it or it pulls you down. For me, it's like it makes me have to call upon the inner me for the strength in order to rise above it, because that part is the maya. Whereas, if you just cop out, it doesn't do anybody any good."
"Is it a prioity to go 'round the world being a rock & roll star? That's what I'm saying. There's no time to lose, really, and there's gonna have to be a point where I've got to drag myself away and try and fulfill whatever I can."
"There are alot of people in the business that I love, friends, you know, who are really great but who don't have any desire for knowledge or realization. It's good to boogie once and a while, but when you boogie all your life away it's just a waste of life and of what we've been given. I can get high like the rest of them, but it's actually low. The more dope you take, the lower you get, really. Having done that, I can say that from experience. Whatever it is-- you just need more, and the more you take the worse you get."
"I used to have an experience when I was a kid, which used to frighten me. I realized (years later) in meditation that I had the same experience... I'd feel really tiny, and at the same time I'd feel I was a whole thing as well. It was feeling like two different things at the same time. And this little thing with this feeling would vibrate right through me... and it would start getting bigger and bigger and faster and faster until it was going so far and getting so fast that it was mind-boggling, and I'd come out of it really scared."
"I used to get that experience alot when we were doing 'Abbey Road' recording. I'd go into this big empty studio and get into a soundbox inside of it and do my meditation inside of there, and I had a couple of indications of that same experience, which I realized was what I had when I was a kid."
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September 29
- 1964
- Studio 2. 2.30-6.30pm. Recording: 'Every Little Thing' (takes 1-4); 'I Don't Want To Spoil The Party' (takes 1-7). Studio 2. 7.00-10.45pm. Recording: 'I Don't Want To Spoil The Party' (takes 8-19); 'What You're Doing' (takes 1-7). Producer: George Martin; Engineer: Norman Smith; 2nd Engineer: Ken Scott/Mike Stone.
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- 1965
- 'Help!' single, 10th and last week in the Top 30 (UK New Musical Express chart).
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- 1967
- Wembley TV Studios. John and George live appearance on 'The Frost Programme'.
Studio 2. 7.00pm-5.00am. Mono mixing: 'I Am The Walrus' (remixes 6-22, from take 17). Editing: 'I Am The Walrus' (of mono remixes 10, 22, called remix mono 23). -
- Recording: 'Your Mother Should Know' (tape reduction take 9 into takes 50-52, overdub onto take 52). Mono mixing: 'Your Mother Should Know' (remix 20, from take 52). Producer: George Martin; Engineer: Geoff Emerick; 2nd Engineer: Graham Kirkby.
The BBC live broadcast is included in 'I Am The Walrus'. The re-make of 'Your Mother Should Know' is ignored, and work returns to the original Chappell version.
7.30pm. Start of broadcast of 'The Tragedy Of King Lear', BBC Third Programme.-
1967: Television: The Frost Programme
1971: Yoko Ono loses custody battle for daughter Kyoko in Texas
1972: Recording: One More Kiss, Bridge Over The River Suite by Wings
1974: Mixing: Walls And Bridges by John Lennon
1974: Mixing: One Hand Clapping by Wings
1975: US single release: Letting Go by Wings
1978: Mixing: We’re Open Tonight, Cage, He Didn’t Mean It, Rockestra Theme, After The Ball, Million Miles, Love Awake by Wings
1980: Interview: John Lennon for New York Post .
1980: Recording, mixing: Watching The Wheels by John Lennon and Yoko Ono
1989: Paul McCartney live at Johanneshovs Isstadion, Stockholm
1997: UK album release: Standing Stone by Paul McCartney
2015: The Beatles’ contract with Brian Epstein sells for £365,000
2018: Ringo Starr and his All-Starr Band live at Greek Theatre, Los Angeles
2023: Ringo Starr and his All-Starr Band live at Murat Theatre, Indianapolis
2025: Paul McCartney live at Acrisure Arena, Palm Desert
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Abe Laboriel Jr. Debuts with Pearl Jam at the Ohana Festival and Clears Up Questions Regarding the Band's Percussion
The question that has kept the international rock scene in suspense since Matt Cameron's surprising departure in July 2025 has begun to be answered.
During their anticipated return to the stage at the Ohana Festival in Dana Point, California, Pearl Jam revealed who is occupying their drum kit: renowned musician Abe Laboriel Jr.
The premiere of Laboriel with the legendary Seattle band took place last Friday during a surprise set previously announced under the enigmatic title Eddie Vedder and Friends.
Although the drummer's presence caused immediate commotion among attendees and fans, Laboriel's official permanent membership in the group has not yet been fully confirmed. During the concert, frontman Eddie Vedder clarified to the crowd that the musician was filling in for the night. Expectations are now focused on Pearl Jam's upcoming performance scheduled for Sunday at the same festival, which constitutes their only announced show for this year.
Abe Laboriel Jr. is no stranger to Eddie Vedder's inner circle.
Both previously collaborated on the vocalist's 2022 solo album Earthling.
With an undeniable musical lineage as the son of legendary session bassist Abe Laboriel, the drummer boasts a solid reputation in the industry thanks to his prominent collaborations and tours alongside figures such as Paul McCartney, Sting, Eric Clapton, and Steve Winwood.
Matt Cameron's departure after 27 years marked the end of an extremely stable era for Pearl Jam's percussion. The temporary or definitive incorporation of a musician of Abe Laboriel Jr.'s caliber and versatility demonstrates the band's commitment to maintaining a standard of interpretive excellence in this new phase of their career.
This Sunday's performance at the Ohana Festival will be key to determining whether this collaboration marks the beginning of a long-term alliance or a transitional chapter in the group's history.
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September 22
- 1962
- Performance at the Majestic Ballroom, Birkenhead.
- 1965
- 'Help!' single, 9th week in the Top 30 (UK New Musical Express chart).
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- 1967
- The 'Time' magazine cover features a drawing by Gerard Scarfe titled 'The Beatles/Their new incarnation'.
Town Newsagency Limited. Filming for 'Magical Mystery Tour': Ringo buying tickets from John.
- 1969
Broadcast of WBCN 'Get Back' reference acetate. -
- 1970 Travel: Paul McCartney and Linda flew from Liverpool to Nice, France
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- 1973 John Lennon watches Neil Young perform in Los Angeles
- Travel: Wings – Lagos to London
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- 1974 Recording, mixing: Proud Mother, Tomorrow by Wings
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- 1975 Wings live: Capitol Theatre, Aberdeen
- US album release: Extra Texture (Read All About It) by George Harrison
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- 1978 UK single release: Sgt Pepper’s Lonely Hearts Club Band/With A Little Help From My Friends
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- 1980 Recording: Dear Yoko, I’m Losing You by John Lennon and Yoko Ono
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- 2005 Paul McCartney live: Wachovia Center, Philadelphia
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- 2009 The Beatles break chart records around the world in
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- 2009 McCartney’s former PR man to publish Beatles fan history
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- 2010 HP to digitise Paul McCartney’s personal archive
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- 2018 Ringo Starr and his All-Starr Band live: Chicago Theatre, Chicago
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- 2022 Ringo Starr and his All-Starr Band live: Providence Performing Arts Center, Providence
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| Photo: Ken Abrams |
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- 2023 Ringo Starr and his All-Starr Band live: Uptown Theater, Kansas City
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- 2024 Ringo Starr and his All-Starr Band live: OLG Stage, Niagara Falls
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George Harrison established Harrisongs Ltd. in late 1964 (initially registered as Mornyork Ltd.) at 27 Ovington Square in London, sharing real estate with Apple Corps.
Frustrated by low royalties and minor status under Northern Songs—the Lennon/McCartney-tied firm that published his early Beatles tracks and his 1968 solo soundtrack Wonderwall Music (alongside Maclen Music in the US)—Harrison parted ways when his contract expired in March 1968 (commemorated via "Only a Northern Song"). Ringo Starr similarly launched Startling Music.
Harrisongs debuted its publishing output in 1968 with "Sour Milk Sea" and Harrison's four tracks on the White Album (including "While My Guitar Gently Weeps"). On 1969's Abbey Road, "Here Comes the Sun" and "Something" achieved massive syndication; "Something" alone generated enduring royalties via over 150 cover versions. Full ownership shifted from 80% to 100% by 1970, shielding Harrison from the revenue loss Lennon and McCartney suffered amid corporate disputes.
Post-Beatles, Harrisongs handled All Things Must Pass, while 1973's Living in the Material World rights went to Harrison's Material World Charitable Foundation. Later material (from Dark Horse onward) moved through Ganga, Oops, Umlaut Corporation (which is controlled by the composer's widow, Olivia Harrison), and worldwide administration via Bicycle Music Company (Concord) starting in 2016.
The catalog also covers Dhani Harrison’s band thenewno2 (managed via BMG).
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September 18
1963
Epstein affirms he has no intention of selling, after rumors that he has received bids for the agency side of NEMS Enterprises
'She Loves You' number 1, 3rd week (UK New Musical Express chart)
'Please Please Me' LP, 26th week in the Top 10 (UK New Musical Express chart)
1964
Concert at the Memorial Coliseum, Dallas
An anonymous call to the police announces there is a bomb on the Beatles' plane
False alarm
1965
The Beatles take a rest in a rented mansion at Bel Air
'Help!' single number 1, 3rd and last week (Billboard)
1967
Shooting of striptease scene of 'Magical Mystery Tour' at Raymond Revuebar, 11 Walker's Court, London
John and Neil Aspinall leave from Paris to Spain.
1968
Studio 2, 500pm-430am
Recording: 'Birthday' (takes 1-20)
Tape copying: 'Birthday' (of take 20 into takes 21, 22)
Recording: 'Birthday' (overdub onto take 22)
Mono mixing: 'Birthday' (remix 1, from take 22)
Producer: Chris Thomas, Engineer: Ken Scott, 2nd Engineer: Mike Sheady
By 830pm, the rythm track is ready
9:05-10:40pm, 'The Hollywood Musical' TV series: First broadcast on British TV of 'The Girl Can't Help It' (1956), xclassical rock and roll film
The Beatles take a break during the session to watch it
430-500am, Mono mixing: 'Birthday'
Visit at the studio: Pattie Harrison
1969: Listening party: Abbey Road
Paul McCartney performs on Badfinger’s Rock Of All Ages
1972: Recording: Hi, Hi, Hi by Wings
1973: Paul McCartney collapses in Lagos
Editing, compiling: Mind Games by John Lennon
Ringo Starr buys Tittenhurst Park from John Lennon and Yoko Ono
1974: Recording: (It’s All Down To) Goodnight Vienna, No No Song by Ringo Starr
1975: Wings live: Hammersmith Odeon, London
1978: Beginning of period extended until 17 October booked by Ringo at Compass Point Studios, Bahamas
1980: Recording: Every Man Has A Woman Who Loves Him, (Just Like) Starting Over, Give Me Something by John Lennon and Yoko Ono
Photography: John Lennon and Yoko Ono by Kishin Shinoyama
1991: Recording: Everybody Wins, Angel In Disguise by Ringo Starr
1993: Paul McCartney live: Westfalenhalle, Dortmund
2002: Paul McCartney live: Adopt-A-Minefield Gala, Los Angeles
2018: Ringo Starr and his All-Starr Band live: Floyd L Maines Veterans Memorial Arena, Binghamton
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This interview took place on May 14, 1968, conducted by Mitchell Krause (host/interviewer), videotaped and later broadcast on Newsfront. John Lennon and Paul McCartney were interviewed in New York City, at the studios of New York educational television station WNDT.
QUESTION: "We meet two of the famous Beatles quartet, John Lennon lyricist and Paul McCartney composer, in this country for a brief business visit. What do you think is the one single thing that most contributed to your phenomenal, unprecedented success? Any single thing?"
JOHN LENNON: "Umm, God?"
PAUL McCARTNEY: "I'll go along with that."
Q: "So much has been said that you started a trend, and that the trend that exists today - this whole psychedelic mixed-media world..."
PAUL & JOHN: (laugh)
Q: "...kind of goes back to the early days when you embarked on that, some have said, rock-strewn path."
JOHN: "We're just part of it, whatever it is."
PAUL: "We didn't set that one. We're just rolling along with it."
JOHN: "But we're part of it, you know."
Q: "But you were so much ahead, though, as so many have said."
JOHN: "To a degree. There's always somebody a bit ahead."
Q: "What led you down that road in the first place? What brought you into that medium?"
PAUL: "Progress. Just natural progress as things change. You know, they just keep changing. You can't help it. And we just (laughs) kept along with them as they kept changing... And here we are!"
Q: "The millions of young people that now are grown up, I suppose, had started out with you a few years ago. They've been affected, it's said, by what you've done, deeply and permanently. Do you think this is true?"
JOHN: "Yeah, in some cases that will be true."
PAUL: "Yeah, and it goes for us, too. We've been affected by them."
JOHN: "I tell ya, I'm permanently affected by Elvis Presley... Permanently affected by whoever it is you're affected by."
PAUL: (jokingly) "...scars to prove it."
Q: "Going back again to the early 1960's when you first achieved your outstanding success. Things were very different in the world then - the world of popular music and the world of youth, weren't they, than they are today."
JOHN: "It's gonna be... It's just change, you know. Everything changes. EVERYTHING was different then, so there's no sort of specifics about it. The whole thing's continually changing. So we can't really comment on why one particular man had better white trousers on in 1933. There's nothing to say about it, but it happened."
PAUL: (jokingly to John) "Wrap up adlib! Close to script!"
Q: "Yeah, we should go back to 'copy' now."
(laughter)
Q: "But changes that did occur in those years... How would you describe the kind of change? Was it the waking of a sleeping giant?
We talk about young people, and we talk about the fact that so much has awakened on the scene of life for young people."
PAUL: "You know I mean, none of us know what it is. I don't think anyone knows what it is. And it's just... it's life, you know. You appear to grow up, and we started off in leather jackets chinging away on guitars. And it went through a lot of phases until it got here. You know, and that's all we can say about it. I don't know what happened. (laughs) You can't say exactly what went on."
JOHN: "How can you say?"
Q: "Do you think that seven, eight, nine, ten years ago, that young people were less awake?"
JOHN: "I think they're becoming more aware each generation. I don't know whether it'll end at some point and go back to the start. But it seems to be going that way - more aware."
Q: "More new experiences all the time?"
JOHN: "Well of course."
PAUL: "More aware, but no one's quite sure what it is that they're aware of. But they're aware of it (laughing) whatever it is. (pause) You know, it's one of those things you can't talk about because it gets into things you can't put your finger on. (to himself) Wrap up adlib. Close to script."
Q: "A lot of older people seem to feel that the young people today, as I suppose older people always felt, are always rebelling against the older generation. But that this rebellion has gone so much further than other rebellions."
JOHN: "Yes."
PAUL: "Yeah."
JOHN: "What will the next one be like, you know."
Q: "They'll rebell against you."
JOHN: "Depending on what we turn into."
Q: "What are you going to turn into?"
JOHN: "Well, if we stay like we are now it mightn't be bad. But we should progress and be able to still communicate with kids if this change is as important as it might be. But if it isn't, it's just the same again. (comically, to the announcer) What's yours?"
Q: "That's a good question. (pause) But as you leave the 20's...
How soon will that be for both of you?"
JOHN: "I'm 27."
PAUL: "25."
Q: "You still have a ways to go, but you talk about yourselves as gray old men in a sense, compared to those years ago."
JOHN: (giggles) "It's only the way you're hearing it."
(laughter)
Q: "You've made so much money and you've achieved so much success so early. Does this worry you?"
JOHN: "It's not a worry, it's just... It saved us wasting our lives achieving it."
PAUL: "Yeah. Our thing just happens to be very condensed and speeded. It's speeded up..."
JOHN: "We chose a modern form of success."
PAUL: "...very quick, because one second we were just there doing 'that' with 'that much' money. The next second... people normally take a lifetime to do... it was just all there suddenly, just handed. And we didn't have to do anything for it."
JOHN: "Except for work, you know."
PAUL: "We had to work and do songs and make records, and that, but it didn't feel like anything to us. And so, that's incredible, that. 'Cuz it makes you think. (laughs) It also makes you rich."
JOHN: "It's a way of doing it. There's lots of careers to choose.
And you choose one... Everybody wants to get something, or make something one way or another. And we chose a modern way making it... because obviously we didn't want to spend out lives to get to nowhere."
PAUL: "It's like, if you could take a pill to just get famous and rich, a lot of people would. And ours was a bit like that."
Q: "Was this what you really wanted to do it for... you wanted to get rich?"
PAUL and JOHN: "Yeah."
JOHN: "You just want to 'make it' whatever you do. You all set out leaving school or whatever, and you want to make it. So you choose your field, and you make it or you don't. But Make it, that isn't it because there's nothing to Make. So we were in the position to find out it's not worth spending your life looking... trying to get cars and kid
gloves."
Q: "Has the fun gone out of your musical career now that you've made so much money?"
PAUL & JOHN: "No."
JOHN: "Nothing like that."
PAUL: "You see, you're asking questions which are quite serious... and you're not asking us, uhh you know, where we get our hair cut. You can't expect all these sort of happy answers when you're asking serious questions."
JOHN: "You want the answers. Well, we're giving you the answer, you know."
PAUL: "As we see it." .......
PAUL: (jokingly) "It isn't very clearly..."
Q: "Now that you have this tremendous influence, which you obviously have all over the world, do you have a particular feeling about what you want to do with this power?"
JOHN: "Just, whatever it is, to try and channel it for GOOD... if we can, you know. That's the only point of doing anything. So we've got this machine, and we'll try and make use of it, for good, and not just to have a machine."
PAUL: "You know, you've got your life and you're faced with choices in it. And for us being suddenly rich and famous, and in a position to do something, we've got a choice of doing what either most people do, which is just making more and more money, and getting
more and more rich and famous... or trying to do something which will help. And it sounds a bit like charity, but it's obviously the one we've chosen 'cuz it's just better. And it just might be in the long run..."
JOHN: "Might be good."
PAUL: "Might be good."
Q: "Let's stick with the young people and the areas that you think are most fruitful to try to help in. I asked before, where you thought young people were going, and you said well maybe there'll be a reaction to what they have now. How does this relate to the real
world as you see it... to issues of war and peace, family and country?
JOHN: "All issues are relative. So it relates like that. It's all just relative to each other. War (pause) and vegetables. 'Cuz there's relativity and absolute. And that's how it relates, you know."
PAUL: (chuckles) "Great, Johnny."
Q: "It's kind of hard though for some people to interpret you."
JOHN: "Well, if they can't interpret it, maybe they will later... or come to their own conclusions. But that's the way I think it is."
PAUL: (to John) "But what do you think about the young people?"
JOHN: "Well... I think they're young, you know, and trying to find out. That's all."
PAUL: "They seem to be trying to stop wars, and that. "
JOHN: "...which is beautiful."
PAUL: "It just looks as though everyone is trying to stop all that killing, and all that fighting."
JOHN: "It's a good idea."
PAUL: "It sounds good. It may be just silly to try, but it may be good!"
Q: "It may not work."
PAUL AND JOHN: (quiet chuckle)
Q: "The word 'anarchy' has been used to describe some of the..."
JOHN: "Well I mean, there always will be that element because, when they see it as how they see it to become an anarchist, it's 'What can we do about all that?' I mean, what can you do really but wear a badge or stand up and shout. So the choice is about shouting or 'let it roll.' But they're a group of people who will go on forever, but they don't actually do anything."
PAUL: "Everyone needs someone to say 'This is how you do it. This is what we want you to do,' you know. The thing is, it would be great if we knew how you do it. We make guesses, but they're not always right. They're often wrong, in fact. 'Cuz there's so many phoney institutions saying 'And this is how you do it!' Nobody can believe them anymore. So it would be nice for people, for someone to just come along and say..."
JOHN: "Well, it would have to be Jesus, or Buddha or something."
PAUL: "Yeah."
JOHN: "But they don't seem to be around at the moment."
Q: "The whole idea of whether you get involved or whether you stay out of it - Whether you're turned on or turned off. How do you feel about that?"
JOHN: "We believe you should turn on and stay in. Change it, you know."
PAUL: (jokingly) "Drop in... sometime."
Q: "When you get involved, do you mean getting involved in the establishment and institutions?"
JOHN: "Well, to change it... because unless you change it, it's going to be there forever. So the only thing to do is to try and change it... but not replace it with another set of Harris Tweed suits. And just change it completely. But how you do that, we don't know."
PAUL: "There's a lot of ways, but the one we've decided on at the moment is just to try and get into a business, so that we can go to 'them,' you know, all those big bosses in all those big companies, and talk to them as though we're..." (laughs)
PAUL & JOHN: "...one of them!"
JOHN: "Of course we're not, so we'll see what happens."
PAUL: "We're not really, but we've got people who are doing it for us. And it's a bit different from the hippie scene because people think "Oh, they haven't washed and they've got long hair. Oh that's naughty,' you know. And people don't communicate with them because they don't like the look of them, or something."
JOHN: "We're gonna package peace in a new box."
PAUL: "We're trying to get to, like, the people who are sort of in control, and say you know, 'Come on. Straighten it out. Don't mess it up.'"
Q: "You went to India and spent time with Maharishi who has had great impact, you feel, on your whole outlook. Could you decribe how he's changed things for you?"
JOHN: "We sort of feel that Maharishi for us was a mistake, really. Meditation we don't think was a mistake. But I think we had a false impression of Maharishi, like people do of us, you know. But what we do happens in public, so it's a different scene slightly."
Q: "What was your original impression?"
JOHN: "We thought he was something other than he was."
PAUL: "We thought he was magic, you know, because he's got that kind of thing. And he sort of, I dont know, the twinkle in the eye. And you just think he..."
JOHN: "We were looking for it, and probably superimposed it on him."
PAUL: "Yeah, it was just the right time anyway. There were we,
waiting for someone... the great magic man to come."
JOHN: "Waiting for a guru. He came."
PAUL: "And he came, you know. There he was and he was talking about it all. And he had great answers, 'cuz he said 'You can sort yourself out,' that you can calm yourself down just by doing this very simple thing. And it works, that bit of it. It really does do it, you know."
JOHN: "But the other bit - He's giving out recipes for something, then he's still creating the same kind of situations which he's giving out recipes to cure."
PAUL: "But it seems like the system is more important."
Q: "Sort of a touch of establishment in the Maharishi?"
JOHN: "Something, you know."
PAUL: "He's okay, but the system is more important. If people watch Maharishi, or watch us, they don't think about the system - don't think about what it's about, you know."
Q: "He got you to stop taking drugs."
JOHN: "No he didn't. We'd stopped taking drugs a couple of months before, when we met him. And that was just sort of... The newspapers said, 'Oh! Put it together, we got a title.' But it's just not true."
Q: "You feel that dr*gs are not necessary anymore for what you do?"
JOHN: "Uhh, I don't know. I'm not making any statements about what I'm going to do for the next 60 years or whatever it is, because I've no idea anymore. You can never really know, but just have a vague goal."
PAUL: "Not at the moment, anyway."
JOHN: "It's no use saying 'I will never take drugs' or 'I will take drugs,' because you don't know."
Q: "After the experiences that you've had, do you think that young people who are your fans, who idolize you, ought to try the same thing?"
JOHN: "No. We don't give instructions on how to live your life. The only thing we can do, because we're in the public eye, is to reflect what we do. And they can judge for hemselves what happens to us - with Maharishi, with drugs, with whatever we go on. If they're using us as a guideline. And we can only try and do what's right for us,
and therefore, we hope right for them."
PAUL: "Some fella said to me, 'Have you had LSD, Paul?' And I said 'Yes.' And it was only 'cuz I was going to just be honest with him. There's no other reason. I didn't want to spread it or anything, you know. I'm not trying to do anything except answer his question. But he happened to be a reporter, and I happened to be a Beatle. So it went into that, you know."
JOHN: "And it was his responsibility, or his paper's
responsibility and his TV station."
PAUL: "That's the thing - He immediately said 'Oh, it's this man's responsibility. He's just saying all the kids should take LSD.' And I didn't, you know. I just said, 'Yes I've taken it. Okay I own up,' you know."
Q: "Do you think the press distorts a great deal of what you say?"
PAUL & JOHN: Yes!"
JOHN: "I don't think there's anywhere, any truth coming over about what's happening at all."
(laughter)
Q: "Generally, all the way across the board?"
JOHN: "There is no truth coming out, at all. The only true thing about newspapers is the name of the newpaper. And I'm not saying that they are intentionally evil or anything, it's just they can't control it. And the system won't allow truth to come out."
PAUL: "Yeah."
JOHN: "So there's something wrong with the system."
PAUL: "You know I mean, this - It's a pretty sort of ordinary interview. It's pretty dull, you know. Except for one or two little things, which will have been headlines."
Q: "Of course, when someone watches television, they see it."
JOHN: "Television is a bit better, but it's still under the influence of the system that doesn't really allow truth to come out."
Q: "Well, now you're saying what you think and people are seeing what you say."
JOHN: "Just for this moment, maybe. If we are saying the truth as we know it. but in general, I mean... Are you saying that the truth is coming out all the time? I don't know. You think so? You try, yeah, you try but you've still got a system which restricts and inhibits people speaking their mind. I mean, we can speak our mind now about these subjects. But there will be limits imposed. And Rules."
PAUL: "Mmmm."
JOHN: "...which are to safeguard something or other. But safeguarding it prevents... it has a side effect. And the choice is, where to draw the line."
PAUL: "It's like, if you were to ask either of us a question that the answer would be obscene..."
JOHN: "There's a censor."
PAUL: "There's a limit, you know, to where you could go."
JOHN: "We couldn't describe making love to somebody, because the system doesn't allow that. You couldn't just describe it. That's where the system's at."
Q: "One of the big controversies in your country had been recently the whole question of racial integration and of cutting off immigration, and of asking some of your non-whites to go back home again. You've been asked about this, undoubtedly."
JOHN: "No."
Q: 'Do you think this is the kind of government policy that you want in your country?"
JOHN: "We sow what we reap, or whatever it is. And Britain is paying for what it did to all those countries. And to say, 'Keep out,' is just barking in the garden, you know. Because whatever is going to happen will happen like that."
PAUL: "It was just some fella who said in a speech one day..."
JOHN: "He said what a lot of them thought."
Q: "And a lot of people in Liverpool, and other places you know well, favor what he said, apparantly."
JOHN: "Sure."
PAUL: "Yeah."
JOHN: "Because those people are all over the place. That's why the governments are in power."
PAUL: "You know those people, they don't know a thing. They just hate."
JOHN: "Because they're not told anything, as well."
PAUL: "It's people like this - They say "I'm white and he's black.' Hate, hate, hate. They just hate him."
JOHN: "And he's not brought up any other way."
PAUL: "You know, they don't know anything else than that, so they've got to agree with this fella who says "We've got a dangerous situation here.'"
JOHN: "And they vote him in, and he just makes them feel alright. And he tells them that 'You're right! You know what's happening. You put me in power' But what they don't know is that he knows a bit more what's going on. That's why he's in power. But he's not going to tell them what's happening because he wants to stay in power. Because if they
knew, they wouldn't have put him in power, somebody else would be."
PAUL: "But it's not as bad in England as it is here."
JOHN: "It probably is, but it's just a different..."
PAUL: "I don't think it is."
Q: "You're talking about racism?"
JOHN: "Well, it will be then."
PAUL: "I don't think it's as bad, just from what I've seen. It might be. 'Cuz it's hidden more in England."
JOHN: "That might be worse."
PAUL: "That might be worse, yeah. But there's just not the numbers going on."
JOHN: "Well, it's just that. England is THAT big, and America is that big."
PAUL: (giggles, jokingly) "It's much worse in England, you know!" (laughter)
JOHN: (giggling) "Oh no, he was joking then."
JOHN: "He came 'round the circle."
Q: "This business of color, and young people, and people who follow you... This doesn't have any significance in the mind of many of your young people?"
PAUL: "No, it's good. Most people don't... It seems to be older people who really have got hang-ups."
JOHN: "Yes, and musicians and their vibrations don't usually have this about what street you live on. I mean, they get that scene sorted out as soon as they meet other musicians. Because it's the music that counts. There's no common denominator for society like music or whatever they're going for."
PAUL: "If someone can play guitar, it doesn't matter what colored hands he uses."
JOHN: "But it also doesn't matter for the carpenter and the bricklayer, and all that."
PAUL: "But I mean, everyone knows that anyway. There's only a few... I don't know who these people are who..."
JOHN: (giggling) "They're the ones who vote for those people."
PAUL: (giggles) "You know, there's just some funny people around who're messing it up."
JOHN: "Lots of them."
PAUL: "Let's find those people."
Q: "Of course, there's people who don't like the long hair..."
JOHN: "Well, we know those people are SICK! And we might all be sick. But their manifestations of sickness are pretty horrible, really. Frightening."
PAUL: "There was some thing in England where a kid went to the barbers and his Uncle said 'Go and get your hair cut.' And so he went and he just had a little bit off, 'cuz he had it quite long and he liked it. And he came back with just a bit off - So his Uncle, his guardian, got annoyed and dragged him back and had it all off. The kid just come
with a little crewcut, and he was really broken up about it. And the next morning they found him on the railway lines. The kid has just sort of laid down with his crewcut. *chop* You know, there's no need for that."
JOHN: "To make haircuts that important is insanity."
Q: "Some people probably say to you, 'Why don't you cut your hair short? Are you just wearing it that way to be different?'"
PAUL: "No it's just, 'Why don't you wear yours long,' you know."
JOHN: "We know what we like in that respect. We please ourselves. And what's it got to do with (pause) some man with one eye." (laughter)
JOHN: (giggling) "You know that man with one eye that's always sitting 'round the back!" (laughter)
JOHN: "...and asking ya why your hair is long!"
PAUL: (laughs) "Yeah, but all those things about hair and color... You know, all those things that hang people up. There's no need, 'cuz there's no worry. I mean, those are the least worrying things around."
JOHN: "But they're the causes, aren't they!"
Q: "What about the Queen and royalty in Britain? Is that a
hang up?"
JOHN: "It's not a hang up, but I mean - Imagine being brought up like that for two-thousand years. You must be pretty freaky. And they must have a hard time trying to be human beings. I don't know if any of them will ever make it, 'cuz I don't know much about them. But, you feel sorry for people like that. 'Cuz it's like us, only worse! And whether they know what's going on or not is another subject."
PAUL: "They've probably got their own thing, you know, inside the castle."
JOHN: "That is a very strange life, isn't it. I mean, that's another manifestation of craziness."
PAUL: "You don't really Talk to her 'cuz she's the Queen. It's like you don't really Talk to President Johnson ever. You just sort of shake hands and Appear to talk to him."
JOHN: "And if they Believe that they're royal, that's the joke. You know, if they believe it..."
PAUL: "It's crazy."
JOHN: "...well they can carry on, you know. Because it's just very strange to think that you are royal."
PAUL: "They're probably just great and human and have just got their own scene going, you know."
JOHN: "One or two of them, maybe... (giggles) over five-million."
PAUL: "And it's just a very difficult job."
Q: "Do you think it all should end?"
JOHN: "Well, I dont know about that. But it's very costly."
PAUL: (laughs)
JOHN: "It's priorities really, isn't it."
Q: "It's been said that you have such a tremendous amount of influence. You said yourself in that very controversial remark one time that you were more popular than Jesus, and you had to correct the interpretation of that."
JOHN: "Yeah."
PAUL: "'The Queen is freaky' isn't a bad one."
Q: "Yeah, that's not too bad, either."
PAUL: (jokingly) "Another headline taken out of context yet again!"
Q: "The United States has been plagued by the war in Vietnam, and the world has been concerned about it. What are your views about the war?"
JOHN: "It's another piece of insanity. It's all part of the same insane scene that's going on. There's nothing else for it... no reason, just insanity."
PAUL: "You know, whoever's right and whoever's wrong, it's still... the thing that's going on there isn't a good thing."
Q: "Since you're not diplomats, let me ask you to meddle in American politics as our concluding question. We have a lot of candidates..."
PAUL & JOHN: "We don't know much about it."
Q: "You know the names..."
JOHN: "No."
Q: "You've heard the names..."
JOHN: "Not really."
PAUL: (jokingly) Eisenhower?"
Q: (laughs)
JOHN: "We hear the sort of Kennedy, and we met a man called Green who sells plastic flowers to try and get people to vote for him, which is a good sign of what he is, anyway.
But we don't know much others."
PAUL: (peace symbols) "Doves."
JOHN: "Doves and olives."(laughter)
JOHN: "Anything about that, my choice would be a dove. But I mean, it might be an insane dove. That's the risk you gotta take."
Q: "You're not ready to make a commitment?"
PAUL: "Yeah sure. Go on, ask some."
Q: "Would you pick a McCarthy, or a Kennedy?"
JOHN: "A dove."
Q: "Humphrey, Nixon or Rockefeller?"
JOHN: "A dove."
PAUL: "Yeah. You know, it's just too hard 'cuz we don't know what they are, those people. We see all their pictures in the paper, but we don't know really what they're doing. Do you?"
Q: "What about Harold Wilson?" (Merseyside member of Parliament and then-current Prime Minister)
JOHN: "Yes! What's he doing?!"(laughter)
JOHN: "I mean, what are they all doing? That's the point."
Q: "Let me just ask this one final question. What do you do when you talk about the establishment, and you try to put something in it's place... when you're not satisfied with..."
JOHN: "We're all part of it as well. I mean, the establishment is abstract and all that bit. We're all part of it. So it's just to change it anyway you can, if you think you can. That's all you can do."
Q: "Gentlemen, Thank you very much."
JOHN: "Pleasure."
PAUL: "Thank you."
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SEPTEMBER 16....
1963
US single release: 'She Loves You'/'I'll Get You'. Start of Beatles' vacations.
1964
'A Hard Day's Night' single, 10th week in the Top 30 (UK New Musical Express chart).
Concert at the City Park Stadium, New Orleans.
1965
US Gold certification for 'Eight Days A Week'/'I Don't Want To Spoil The Party'.
1967
Studio 3. 7.00pm-3.45pm. Recording: 'Your Mother Should Know' [re-make] (takes 20-30). Mono mixing: 'Blue Jay Way' (remix 1, from take 3). Tape copying: 'I Am The Walrus' (of remix mono 4); 'Blue Jay Way' (of remix mono 1). Producer: George Martin; Engineer: Ken Scott; 2nd Engineer: Jeff Jarratt.
Remixes for Gavrik Losey. Visit at the studio: Gavrik Losey, assistant of 'Magical Mystery Tour' producer, Denis O'Dell. First session with Ken Scott as balance engineer. 1968
Studio 2. 7.00pm-3.00am. Recording: 'I Will' (takes 1-67). Tape copying: 'I Will' (of take 65 into take 68). Recording: 'Glass Onion' (overdub onto take 33). Producer: Chris Thomas; Engineer: Ken Scott; 2nd Engineer: Mike Sheady.
Between takes of 'I Will', recording of various ad-libs by Paul, among them 'Can you take me back. 1969 Maclen Music Limited begins legal proceedings against Northern Songs
1971 John Lennon and Yoko Ono attend custody hearing in St Thomas
1972 John Lennon and Yoko Ono attend memorial service for Ken Dewey
Recording Lazy Dynamite by Wings
1973 Editing compiling Mind Games by John Lennon
1975 Wings live City Hall Newcastle upon Tyne
1978 Travel John Lennon Tokyo to Johannesburg
1980 Recording Im Moving On Every Man Has A Woman Who Loves Him by John Lennon and Yoko Ono
Interview John Lennon for Newsweek
2005 Paul McCartney live American Airlines Arena Miami
2010 Paul McCartney to reissue Band On The Run
2020 The Beatles announce Get Back book
2022 Ringo Starr and his All Starr Band live Ruth Eckerd Hall Clearwater
2023 Ringo Starr and his All Starr Band live Fruit Yard Amphitheater Modesto
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On this day September 10 ...
September 10
- 1939: Cynthia Powell is born in Blackpool.
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1950
- Brian starts working at his family furniture store, I. Epstein & Sons, Walton Road, Liverpool.
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- 1962
- Performance at the Queen's Hall, Widnes, along with Rory Storm and the Hurricanes, Geoff Stacey and the Wanderers.
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- 1963
- Savoy Hotel. Luncheon hosted by the Variety Club Of Great Britain. The Beatles are awarded 'Best Vocal Disc Of The Year' ('From Me To You'), as voted by readers of 'Melody Maker'.
After the luncheon, the Beatles, Billy J. Kramer and Susan Maughan pose for photographers in Victoria Embankment Gardens, behind the Savoy.
Early afternoon. John and Paul go by taxi from the Savoy Hotel to their apartment (57 Green Street). While riding down Jermyn Street, they see Andrew Oldham, who invites them to see the Rolling Stones.
Afternoon. the rolling Stones rehearse at the Ken Colyer Club. John, Paul and Andrew Oldham attend. John and Paul offer 'I Wanna Be Your Man' to them.
The 'Daily Mirror' publishes the first long interview to the Beatles.
5.00-5.29pm. BBC's 'Pop Go The Beatles' broadcast (recorded 3 September 1963, 2.00-4.30pm).
- 1965
- It is reported that Brian is handling negotiations for the British screenings of 'The Beatles', US television cartoon series.
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- 1966
- 'Yellow Submarine', 5th week in the Top 30 (Billboard).
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''Yesterday'... And Today', 12th week in the Top 30 (Billboard). -
- 1968
- Studio 2. 7.00pm-3.00am. Recording: 'Helter Skelter' (overdub onto take 21). Producer: Chris Thomas; Engineer: Ken Scott; 2nd Engineer: John Smith
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- 1969
- Two films produced by John and Yoko are exhibited at the Institute of Contemporary Arts, London: 'Rape' and 'Self-Portrait'.
During the evening (7.00pm-about 12.00pm), two people sit on stage shrouded in a white bag. -
- 1970: Recording: All Things Must Pass by George Harrison (was the 36th recording session). Trident Studios, St Anne’s Court, London Producer by George. Engineers: Ken Scott, Dave Corlet.
- 1972: Paul McCartney writes Live And Let Die
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- 1973: Recording: Mrs Vandebilt by Wings
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- John Lennon and Yoko Ono put Tittenhurst Park up for sale
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- 1975: Wings live: Hippodrome, Bristol
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- 1991: Recording: Everybody Wins by Ringo Starr
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- 2010: Yoko Ono opens art installation in Berlin
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- 2014: New Paul McCartney song Hope For The Future unveiled
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- 2022: Ringo Starr and his All-Starr Band live: PPG Paints Arena, Pittsburgh
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- 2024: Ringo Starr and his All-Starr Band live: Amphitheater at Las Colonias Park, Grand Junction
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- 2025: Ringo Starr and his All-Starr Band live: Chicago Theatre, Chicago
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The Barnabeat Festival is a cultural event dedicated to the universe of The Beatles, founded in 2025 by Martin Grossman, Max Lemcke, and Pira Bastourre, held at the Centre Cívic Casinet d'Hostafrancs in Barcelona.
It took place yesterday, Saturday, and featured the participation of Julia Baird, John Lennon's maternal half-sister. In addition to tribute concerts, exclusive talks, and open-mic spaces (OpenBeat), Julia answered many questions about John, her books, and her personal opinions on various topics. Here is the transcript of the questions asked for La Vanguardia:
Q: Do you still listen to John's music?
JULIA BAIRD: Well, I just got back from International Beat Week in Liverpool and I've been listening to it for four days; I don't think anyone can ever get tired of his music. But if I put on a CD at home, I usually play the Rolling Stones or a xclassical music CD... Very rarely do I put on a Beatles CD.
Q: Was John, as a child or a teenager, very demanding of himself?
JULIA: As an adult, he wanted to have the biggest band in the world and, furthermore, achieve world peace...
-We all have a duty in life to aspire to the unattainable, it's just a step toward what could be achieved. Otherwise, nothing would happen. So yes, world peace seems unattainable, even more so now than when John was alive. Everything seems much worse than before, but if we think it's unattainable, we won't do anything at all, right? John gave everything for peace back then, and everything he did remains relevant today.
Q: In your books about your brother, you describe a very familiar, warm, and affectionate environment. That doesn't fit with the reading that John had a tormented childhood.
JULIA: John had a worse time than my sister and I did. He didn't live with his mother and no one understood why; my book Imagine This explains it. My mother had four sisters who outlived her. At the end of her life, in the mid-90s, the last survivor told me things I had never heard before, that I hadn't even suspected, which had been kept quiet for years.
I wrote the first book in defense of my mother, but John didn't live with his mother for any reason that any of us could understand. My sister and I lived with our mother and our father; John didn't. He had a harder time than we did.
[Repeatedly during the interview, Julia Baird expresses her disagreement with the outcome of Nowhere Boy, Sam Taylor-Johnson's 2009 film loosely based on her book Imagine This. Lennon's sister insisted at various points in the talk on the divergences between what her book tells and what the film displays. “A lot of people associate it with John Lennon because it says it's based on his sister's book. It's not. It's absolute rubbish.”]
Q:Despite everything, it gives the impression that John was a healthy, fun child and young man.
JULIA: He was very intelligent and perceptive. He was biting—you only have to watch his interviews. A lot of that was a defensive strategy to keep people from asking the wrong questions. It's a tactic we all use unconsciously. So yes, he was a lot of fun, very witty. He was very quick, very spontaneous, which made him fun and also very sarcastic.
Q: Politically incorrect?
JULIA: The definition of humor has changed now because we don't want to offend. The humor we grew up with did precisely that.
Q: You and John both lost your mother. Although John already knew a boy who had lost his mother: Paul McCartney.
JULIA: As children, we didn't know many people who had lost their mother. It's wonderful that Julia, my mother, and any other mother reached out and treated him like a son. My mother always tried to step up, get involved, and do things. When John used to tease Paul, she would remind him: “That poor boy has lost his mother.” John had lost our mother in a way [Lennon spent his childhood and adolescence living with Mimi, his aunt, his mother Julia's sister], but she was still there. When our mother died, a huge bond was created between Paul and John. I saw them almost as brothers.
Q: Speaking of Paul and Ringo, do you maintain any relationship with people linked to the beginning of The Beatles?
JULIA: No, well, I don't know. I could contact Paul if necessary, but we aren't friends, we aren't part of each other's lives. Ringo? I don't know, his life is in the United States.
Q: And what about the Beatles biopics that Sam Mendes is preparing? Has he contacted you?
JULIA: Sam Mendes doesn't want to talk to me. I might say, “that's not right, and that's not right either”... Maybe I wouldn't, but he doesn't want to take that risk. I know they've been going back and forth to Liverpool, they've been very active.
Q: I also wanted to ask you about your relationship with Julian and Sean, John's sons. In your book John Lennon, My Brother, you regretted that you didn't have much contact. Do you keep in touch with them?
JULIA: Yes...
Q: I'm glad to hear that.
JULIA: But it's a personal and private relationship. I will never talk about this. Never.
Q: Also in John Lennon, My Brother, you explain that in the second half of the 1970s, when John retired from public life, you would talk on the phone and he would ask you for cooking advice on how to make lamb and other dishes...
JULIA: He was exhausted from being a Beatle—I think they all were—and he just took a break. One of my favorite songs is Watching the Wheels; the lyrics explain perfectly what John was doing.
(The first stanza of Watching the Wheels says: “People say I'm crazy doing what I'm doing / Well, they give me all kinds of warnings to save me from ruin / When I say that I'm o.k. well they look at me kind of strange / 'Surely you're not happy now you've no up-to-date name.'")
Record companies tried by every means possible to get him out of his shell, to leave behind all that Dakota mess (the New York building where Lennon lived with Yoko Ono and his son Sean) and record an album. John's response was: “I'm just sitting here watching the wheels go round.” It's one of my favorite songs. And when they finally dived deep into the production of Double Fantasy in late 1980, he composed Starting Over... I think that's what was happening. He was starting over. He was still putting his life into his songs, so you can see what was happening at that moment.
Q: On that album, John seems more mature than ever. He was clearer than ever about what he wanted.
JULIA: Yes...
Q: Many people, had they been related to John Lennon, would have made a way of life out of it. But you didn't. You went to live in Belfast in 1968, right in the middle of Beatlemania, you made a living as a teacher and social educator...
JULIA: Making a living out of being John Lennon's sister was not the life I wanted. No way. I didn't tell anyone. Good thing nobody found out! Back then was when John and Yoko were going on stage inside garbage bags, and doing press conferences from bed (bed-ins) and silly things like that. Stupid and embarrassing things, very embarrassing. And I was glad nobody knew.
I only started talking about John after his death. Anyone would write about him without knowing him. John's public image was changing; the public image of my entire family was also changing. It was being created by people who had never known us, so that's when I decided to step up. I thought: “I have to do something, I'm next.”
Q: You approached it not as a matter of self-defense, but as a defense of John's memory.
JULIA: Yes. Whatever you say about someone who has passed away, they can no longer tell you: “I'm going to sue you for defamation.” If he had been alive, he would have defended himself: “That's a lie.” But if someone is gone... You have to keep telling what the truth is. It's not enough to say it's not true. You have to tell the truth.
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- In December 1975, Hit Parader published a one-on-one dialogue featuring journalist Lisa Robinson and John Lennon.
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Q: "What is the situation with your deportation case?"
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| Photo: Bob Gruen |
JOHN: "Well, It's hellish really. I don't know where to start. It's going on the same as before-- for me it's the same. They've taken the stance that I have to leave. They always say 'Thirty days' but that passed a month ago. They say that once a year. It's so complicated. It started out because I had a British conviction for possessing marijuana-- which was planted by Sgt Pilcher-- which everybody in England knows now because the guy's in jail... not for my case though, for somebody else's case. Also, at first they jumped on both Yoko and me, although they always kept insisting that they were treating us like normal citizens who had misdemeanor cases against them. Then they suddenly found out halfway through the case that there was no case against Yoko. She was never convicted because the guy said, 'I'll let Yoko off if you plead guilty-- if you cop a plea I'll let her go.' And we weren't married then. It was a bit weird in England. I won't even go into the whole story how we were busted. We were busted by about 20 people. There were dogs... it was a whole film. They busted us in the morning-- they wouldn't even let us get dressed. It took them hours, and there was a question in the Houses of Parliament as to why so many people were needed to arrest two people."
Q: "No one ever advised you to fight the thing initially?"
JOHN: "No. I was just panic stricken. I was a wreck. Aaahh! Cops! In jolly England! You know, I still half-believed about the good old bobby helping you down the street. And I was really nervous about Yoko 'cuz we'd just got living together, and it was all public. And I thought they'd deport her so I copped a plea thinking it would be a misdemeanor. I figured what the hell, it's just a hundred pounds... it's just crazy, and it's been going on since 1971. The first conviction came down in 1973-- they said I had to leave... couldn't be a permanant resident of the United States with a British conviction. Now all the people involved are gone-- the prosecution councel and the head of immigration. We've just received permission to interview them, to question them about papers. I also found out that Senator Strom Thurmond sent a letter to John Mitchell when he was Attorny General. Thurmond was the head of a congressional committee, and whether we'll get our hands on it I don't know. But it said in essence, this guy's looking to stay here and we suggest no. And our lawyers always said that the instructions for Lennon's case are coming from Washington. And the New York people kept insisting it was a local case. But we knew it wasn't just a local case, and this letter from Thurmond could prove it. Just like we knew when we were wiretapped. But how do you prove that? We knew we were being wiretapped on Bank Street. There was a helluva lot of guys coming in to fix the phones... and there were two guys outside who kept following me around in a car. I went on the Dick Cavett show and said it... this is long before Watergate... and people just thought, 'Oh crazy Lennon. Whose gonna bother following him? What an egomaniac.' But we had been associated with Jerry Rubin and John Sinclair and little rallies, and were seen around those people. It really was like a mini-Watergate."
"You know, incidentally, there was a CBS documentary I saw last week about Nazis in America. Allowed, known Nazis who are here. Famous Nazis who killed people from 15,000 up. And the guy who was prosecuting me got taken off my case and put onto this Nazi thing. On TV he said that someone in his office, in the immigration department, had stolen his file on Nazis from the file in his office. Meaning that someone in his own group is protecting these people. They're so busy protecting them, but they're attacking me. I mean, there was a list of Nazis as long as your arm, and one of them was holding a service in Congress at one time. It's just ludicrous. It's Kafka."
Q: "Why then, do you want to live here."
JOHN: "Because it's the same everywhere. Name somewhere where it's different. It's not as if it's a choice between living here or in England where it's different. It's the same in England on a different level, and the Americans and the English are hand in glove. Whatever the game is, it's the same game. It's really a choice between living in the West or the East, but I'm West and I don't want to live in the East. America and England to me are almost very similar places. Maybe you can't see it if you're living in England."
Q: "How frustrating is all of this to you emotionally?"
JOHN: "At one time it was getting to be a bug because I had to keep going to court, and it got to be a way of life as court cases do. It was hassling me, because that was when I was hanging out with Elephant's Memory, and I wanted to rock-- to go out on the road. But I couldn't do that because I always had to be in New York for something... and I was hassled. I guess it showed in me work. But whatever happens to you happens in your work. So while on the surface I tried to make it appear as if I were making a game out of it, trying not to take it seriously, there were periods of paranoia. Even my friends would say, 'Come on John... what do they want with you?'"
"And you know, I see now where Jane Fonda is suing the governemnt for millions, and when I first heard that I thought, 'Aha!' d then 'Uh-oh' ...like, if they left me alone would they be afraid I'd make a fuss and start suing after. I guess it's probably going to have to be the president who decides-- a pure political decision when my paper comes up, as it does every now and then-- into his consciousness."
Q: "Is the president aware of this?"
JOHN: "Oh, you bet. I had a friend who visited there, right? I mean you can't have one junkie in the White House and kick another out, can you? That's being flippant of course. Neither of us are junkies. Anyway. They keep falling back on that law about misdemeanors, and it's some trip to change the law here. Even though in England that law has been reversed."
Q: "But they could get around it."
JOHN: "Of course they can, because they've got around it for the Nazis, for big dope dealers... big heroin-heavy-stuff dealers. My lawyer has a list of people... hundreds of people in here who got around the law for murder, rape, double murder, heroin, every crime you can imagine. People who are just living here. I want it to end, but I can go on as long as they go on. It'll probably go on until it gets to the Supreme Court."
Q: "How much of your time is spent on this?"
JOHN: "Well, when I'm not talking about it, I think about it occasionally. I mean, it's on my list of lawsuits. I was just talking about it with Yoko last night-- there seems to be an awful lot of lawsuits involved with rock and roll."
Q: "There's Allen Klein, right?"
JOHN: Yes, that's about twenty-- He's suing me, and Yoko, and all the ex-Beatles, and everybody that ever knew them! And he's suing me individually, me collectively, any version of me you can get hold of is being sued. But immigration is the important one-- the others are all just money, somehow a deal will be made. Immigration, that's the one. I mean, if they can take Helen Reddy, they can take me..."
Q: "Would you want to become a US citizen?"
JOHN: "I'm too involved with this to think about citizenship. I'd prefer to do a P. G. Wodehouse. I found out before he was knighted that he was living here (America), and I thought well, that's cool. Nobody thinks P. G. Wodehouse is not English. He was English until his last breath and he lived on Long Island. And that suits me fine. I'm English but I want to live here. And the funny thing about America is that there's almost no such thing as American. You go on the streets and everybody's Italian or Irish or Israeli or English or Jamaican or Nigerians... and if you go out into the sticks you've got the German group or the Dutch group and the names tell you which race dominates. It's just a pack of Europeans living here with Africans, Indians, and Asians thrown in. Thousands of Chinese, Japanese... It's like the old gag about the melting pot."
"I always liked Liverpool and London-- places like that had alot of different races living in them. You could go to Soho and see all kinds of races on earth and I like that, but there's even more of a mixture here. My ideal is to be able to travel, that's the thing I really miss most. I miss England, Scotland, Wales, all that sentimental stuff... but I also miss France, Holland... Germany I haven't been to for years. I'd like to go to South America. I've never been. I'd like to be based here, and just travel."
Q: "Do you ever think you'll be so overcome with all the legal hassles that you'll get like Lenny Bruce and become obsessed with learning the law?"
JOHN: "No. I got obsessed with the politics for awhile... but law is, well... I could never take it that seriously. At a certain point I would just see the funny side of it and say fuck it. The worst that happens with most of these lawsuits is that they'll take more money off of me, and the worst that would happen with immigration is that I'd have to move."
Q: "Where would you move? I've heard rumors of Canada."
JOHN: "No. They always say that because whenever I go to Canada the Canadians as me if I like Canada, So I say yes, I like Canada-- I like Montreal and Toronto. I don't know the rest of it-- and the next minute they say I'm going to live there. And they always ask, 'Have you ever thought of living here?' Well, every country I've ever been to I've thought, 'Could I live here...'"
Q: "If you attempted to be a US citizen, would it be easier or more difficult because of your present status?"
JOHN: "Well, unless I get rid of this thing I can't even consider it I mean, if I can't get a green card, no way can I be a citizen. Not with a misdemeanor. See, the law in England has changed since the time when all rockstars were busted-- that tricky law where 'you' were responsible if 'this building' had it in it-- you were responsible if you owned the building. No possession, I never had any stuff on me. It was mysteriously found in the building, in the apartment. I think they've wiped the slate clean and it's retroactive in England, but not here."
Q: "What can people do about this?"
JOHN: "Well, the English really can't do anything, except those that care to could write to the American Embassy. The thing with politicians and ambassadors is that if they get one letter they count it as twenty. One letter keeps them aware, it keeps them realizing about it. But it's really a bore for me and I'm sure a bore for people listening about it..."
Q: "Does it help when you have a hit album-- keep a high profile, so to speak?"
JOHN: "Well, you see more of me if I've got a product to sell, it's as simple as that. Unless I feel like goofing around to a few openings with friends or hanging out in the 'rock biz.' But when you;ve got a product out you have to be seen or they'll forget. This sort of thing reminds the powers that be of me and what I represent."
Q: "Can that work against you?"
JOHN: "No. No, because power is power. Whatever power I have they're aware of it. Power doesn't frighten power, it makes them respect it-- that's their business. You've got the bomb, we've got the bomb. Everything's okay. If you aint got the bomb you don't even get a look-in. So I'm always aware of keeping my bomb, you know. Even though I blow it a few times, I always manage to put my bomb back together again, because that power is necessary. It's not good if I don't put records out and become invisible and go away, because then they come out and say nobody gives a dmn... people have forgotten about you."
Q: "Let's just say that there's a happy ending to all of this, and there comes a day when you're knighted, or the Academy Awards brings you back to receive a special award. What would your reaction be? Would you tell them to fuck off?"
JOHN: "Well, there will be a happy ending. But I have no idea what I'll do at age 70 or 80 like Charlie Chaplin, or P. G. Wodehouse. I don't really know his story but there was something weird about him and being captured in France by the Nazis and doing broadcasts. And I think that was one of the reasons he left, although he was forgiven. But the real official forgiveness was when they knighted him last year, and he died happy, right? So... I'm not really interested if I get knighted when I'm seventy. I'll deal with it when it comes. I want it now-- not the knighthood-- I'll take the green card, and a passport, and the cash I earn in the band in my own name. And I'll let my music, or my art, speak for me. If they give me knighthood at age 70 I'll deal with it then. Sir John..."
Q: "To turn to your music for a moment, what happened at Madison Square Garden when you were to have performed with George Harrison? Is it true that Klein had the place staked out with subpoenas?"
JOHN: "Well, Klein was chasing George all over New York. George was running down back elevators. I mean, Ringo won't come to New York. I live here so I get ALL the papers, and I'm always doing depositions. See, at the time he was doing his concerts we were also finalizing the Apple papers. And what actually happened was that at the last minute I wouldn't sign it. Actually my astrologer said it wasn't the right time to sign it. George got a little angry with me for not signing it, and he decided to finish the tour as he started it. That was cool by me, because I'd just done Elton, but I didn't want to do George... because it was expected. But he probably made the right decision. I saw him afterward, at the party."
Q: "Was it true that you or the McCartney's were denied a backstage pass?"
JOHN: "Well, there was some funny business... but you know I like him. I love him, we're alright. I don't really want to make a big deal about it. The thing is just that the business was always interfering with pleasure. It was hard to deal with each other anyway, because I had seen alot of Paul and Ringo in the last two or three years-- Paul always comes to New York, or I see Ringo in L.A.-- but I hadn't seen George. And not only were we trying to talk to each other not having seen each other in three years-- all that time only vaguely communicating through lawyers-- we tried to communicate in a hotel. I hung around the hotel for a few days, but it was hard. And then I didn't turn up on the day that I was supposed to sign this agreement. But I finally did sign it, in Disneyland. I wanted to go over it one more time.And I had already seen the concert in Nassau so I wasn't really planning to go to Madison Square Garden anyway. I don't really enjoy sitting in shows, whosoever they are, because you either have to go backstage with all that hassle, or sit in front where you get all that looking at you. I know Mick (Jagger) and everybody's always doing it, but it wears the shred out of me. There's not that many people I want to see in concerts. I'd only go because they're friends, you know. I prefer records, I always did. It's like watching a painter paint... just give me the painting."
Q: "Do you have any plans to perform in concerts on your own?"
JOHN: "Well, performing's not my greatest kick. I had fun with Elton, but that's just because it was Elton. He was really more nervous that I was, because he was nervous for me. I think he felt 'Poor old bugger, maybe he'll collapse.' I don't know... It was just a weird feeling being up there alone, but I knew Elton, and I knew the band, and it was just a one off thing. Don't expect to see me all over the place. I promised him if 'Whatever Gets You Through The Night' got to number one, I'd go one with him-- little thinking that it would. I might do odd TV, or TV specials where I can control the thing... like in the studio. See, I like to see it. I like to HAVE something afterwards. After the concert you don't get anything-- you either get cash or a headache. I hate live albums really, even though I've put a couple out."
Q: "What did you think of George's shows?"
JOHN: "Well, I saw the one without Ravi (Shankar) because he had had a heart attack. But I don't know... that night the band really cooked. The show I saw was a good show. My personal opinion was that even though I know what George was trying to do, I don't think it worked with Ravi... I mean I'm no one to say what works and what doesn't work really, but my personal opinion just was that he would have been better without. I think Ravi's great, but it might have been better to keep Ravi separate. I want to see George do George. I'm with the kids... whether it's George Beatle or George Ex-Beatle."
Q: "Do you think that he's so deeply involved with the Eastern thing that he can't separate that that was George being George-- that he really can't do the rock and roll thing effectively anymore?"
JOHN: "Well, he's just cut off, really. It's easy to get cut off. If you're surrounded by people who aren't rocking, then you just forget what it is. And he is so inolved in the Eastern trip... you know, if you don't listen to the radio, know who the current artists are, the lastest record... if you switch off from that you don't know what people listen to, which happened to me in England! I just suddenly decided because 'Whatever Gets You Through The Night' didn't even crawl around in England... so I said 'Send me a tape of the top ten,' and it's nowhere like America. I was just, 'My God, three years!' I had no idea what was going on there. Now I get them to send it over every few months... It all seems to go Boom-da-da, Boom-da-da, Boom-da-da."
"The album did alright, it could have done better. It would help if I was more visible there, but I can't be. And the TV is sewn up-- You can't get on the TV unless you're on the charts and you can't get on the charts unless you're on the TV. The BBC came over here and filmed me. I guess they figured that the single would jump into the (British) top twenty. But it didn't, it fell over... so they didn't use the film. 'Number Nine Dream' is doing a bit better I hear, so that gives you a clue. I think they're going to like the rock and roll oldies album better than anything, because that's what they seem to be playing over there. But they're doing it a bit tongue-in-cheek I think. I did it for real."
Q: "Do you think that there would be tremndous excitement if you went back to England now? Hysteria?"
JOHN: "No. There was no hysteria when I was living there so why should there be now. I mean, the Beatles nostalgia and getting back together bit goes on as much here as it does there, maybe more... are you kidding? I do alot of radio when I have an album out-- and all the people who call up want to know WHEN ...from Minnesota to Los Angeles to New York... to the hippest and coolest, they want to know when and if and what it's gonna be like. All hysteria is manufactured anyway. At the 'Sgt Pepper' opening it was announced, 'He's going to be there,' so it was bloody Beatlemania going on. I got a fright because I really didn't know what I was letting myself in for. I got the deja vu, as they say, because it was bloody 'Hard Day's Night.' But that's because it had been manufactured, and it was 'Sgt Pepper' and they probably expected all four. Ever since George did Bangla Desh they expect everybody to come on with him."
Q: "Why are there so many lawsuits?"
JOHN: "Ask any rockstar about lawsuits. And the more money there is, the more lawsuits there are, the bigger the artist, the more suits. I mean, people sue for anything-- that bloody fan with the Instamatic who sued me for hitting her.. I never touched her, never went near the girl... in the Troubador, the famous Troubador incident. She sued me, and I had to pay her off to shut her up. That happens all the time, she just wanted money. People sue you if you bump into them on the street. I do admit to chasing some weird people around, but she was not in the scene."
Q: "Weird people?"
JOHN: "Well, I was not in the best frame of mind, and I was wildly drunk. But I was nowhere near this chick. She's got no photographs of me near her. It was my first night on Brandy Alexanders, and they tasted like milkshakes. The first thing I knew I was out of my gourd-- of course Harry Nilsson was no help feeding them to me, saying 'Go ahead John.' It is true I was wildly obnoxious, but I definitely didn't hit this fat broad who just wanted to get her name in the paper, and a few dollars."
Q: "Doesn't all this wear you down?"
JOHN: "Well, I've just come out of it. Last year, with me personal life and the Apple business, the Klein business, and the immigration business... I mean, you don't want to admit it while it's happening that that's what's making you go balmy-- you're still living everyday and you think you're just going to a party, then you end up throwing up in the toilet. Everything was excessive, and you're not quite in control of yourself-- you can't lie back with the hangover and say, 'Now why did this happen to me...'"
Q: "It's surprising that it didn't get to you more."
JOHN: "Well, that was enough. I just woke up in the middle of it and thought, "There's something wrong here. I better straighten myself out.' After I deal with this last batch of lawsuits I aint gonna have anymore. I don't know how they happen-- one minute you're talking to someone, the next minute they're suing you."
Q: "As far as your personal life is concerned, you seem ecstatic to be back here with Yoko..."
JOHN: "Well I am. It's like-- and this is no disrespect to anybody else I was having relationships with--- but I feel like I was running around with me head off, and now I got me head back on. Yoko and I were always in touch, either on the phone or in one way or another. I just sort of came home is what happened. It's like I went out to get a coffee or a newspaper somewhere and it took a year-- like Sinbad. I went on a boat and went around the world and had a mad trip, which I'm glad is over. Yoko and I have known each other for nine years, which is a long friendship on any level. It was a long year, but it's been a nine year relationship, a seven year marriage. Maybe it was the seven year crutch. And apart from the pain we caused each other it probably helped us. We knew we were getting back together it was ust a matter of when. We knew-- everybody else might not have, but we did."
Q: "Actually, there wasn't that much press attention to the separation as one might have expected."
JOHN: "Well I read more about myself than you probably do, and I'll tell you there was. I mean, they would catalogue everyone you went around with, and things like, 'Lennon In Florida Trip' ...things like Rona Barrett wrote that Yoko was living with my ex-wife in a 'strange relationship.' She was putting that around... we got the clippings and everything. I mean that was dead wrong, because Yoko was definitely NOT living with my ex-wife in 'a very feminist relationship!' I see them all, because I've got a clipping service and I get all the newspapers, and you can bet your life somebody's going to send you the clippings..."
Q: "Yeah, your friends..."
JOHN: "Yes, all your best friends let you know what's going on. I was trying to put it 'round that I was gay, you know-- I thought that would throw them off... dancing at all the gay clubs in Los Angeles, flirting with the boys... but it never got off the ground."
Q: "I think I've only heard that lately about Paul."
JOHN: "Oh, I've had him, he's no good."
Q: "What is this about recording with David Bowie?"
JOHN: Well he was doing 'Across The Universe' and I had sort of met him once in L.A. and met him again here. That was an old song of mine. I gave it away because we had made a lousy version of it, and then Spector made an improved lousy version of it and it ended up on the 'Let It Be' LP which none of us would have anything to do with. So I just went down to Electric whatever where he was recording and I did whatever you do. Then he, or the guitarist, had this sort of a lick... and we made a song out of it called 'Fame.' It's an interesting track. So that's the extent of it, and they'll be on his new album-- the one with 'Young Americans' on it."
Q: "I'd like to clear up one of those myths... about Brian Epstein 'packaging' the Beatles. How true is that?"
JOHN: "Everything is true and not true about everything. I mean, we certainly weren't naive. We were no more naive than was he. So Epstein was serving in a record shop and he had nothing to do, and he saw these sort of rockers, greasers, seeming greasers playing loud music and alot of kids paying attention to it. And he thought, well this is a business to be in. And he liked it-- he liked the look of it. He wanted to manage us and we had nobody better so we said alright you can do it. Then he went around shopping, getting us work. And it got to a point where he said 'Look, if you cut your hair you'll get this,' for then it was longer than any of the photographs. It was generally cut or trimmed for the photographs-- like in your school photographs your hair was cut the day before, or when you had a holiday somehow your parents always managed to cut your hair. But there were some private pictures that show it was pretty long for those days, and greased back, hanging around. But there was alot of long hair on the teddy boys, the Tony Curtises that grew larger and larger because they never went to the hairdresser. We were pretty greasy. Outside of Liverpool, when we went down South in our leather outfits, the dance hall promoters didn't really like us-- they thought we looked like a gang of thugs. So it got to be like Epstein said, 'Look, if you wear a suit...' and everybody wanted a good suit, you know. A nice, sharp, black suit, man... We liked the leather and the jeans but we wanted a good suit, even to wear offstage. 'Yeah, man, I'll have a suit!' So if you wore a suit, you'll get this much money... Alright I'll wear a suit. I'll wear a fucking balloon if somebody's going to pay me. I'm not in love with the leather THAT much. Wear a suit, you'll get more money."
"But he was our salesman, our front. You'll notice thaqt another quirk of life is-- I may have read this somewhere-- but self-made men usually have someone with education to front for them... to deal with all the other people with education. Now Epstein had enough education to go in and deal with the hobnobs... and it's the same thing now, if I have a lawsuit, I have to get a lawyer. Epstein fronted for the Beatles, and he played a great part at whatever he did. He was theatrical, that was for sure, and he believed in us. But he certainly didn't package us the way they say he packaged us. He was good at his job, to an extent. He wasn't the greatest businessman. But you have to look at this-- If he was such a great packager, so clever at packaging products, whatever happened to Gerry and the Pacemakers, Cilla Black, and all the other packages? Where are they? Where are those packages? Only one package survived, the original package. It was a mutual deal. You want to manage us? Okay, we'll let you. We ALLOW you to. We weren't picked up off the street... we allowed him to take us. Paul wasn't that keen, but he's more conservative the way he approaches things. He even says that, it's nothing he denies. And that's all well and good, maybe he'll end up with more yachts. But we allowed Epstein to package us, it wasn't the other way around. And the real answer to that question is where are all the other packages? And that goes for all the other myths about people creating us or doing things for us."
Q: "Did you go to Allen Klein because of the Rolling Stones?"
JOHN: "Well, I reckoned Klein was alright because of the Stones. I thought Mick was together-- See, this is the fallacy. Everyone always thinks everyone else is together. You're either together yourself or forget it. I remember asking Mick what Klein was like, and he said, 'He's alright, but it's hard to get your hands on the money.' And even though my instincts were screaming, my intellect thought-- that must mean that he doesn't allow you to waste it or spend it, maybe that's good."
Q: "You should always go by instincts..."
JOHN: "I know. I'm trying to learn. It's a hard thing to learn after being programmed for life not to use your instincts, you know. Women use them a bit more than men-- you're allowed. One benefit you got from slavery was that you were emotional... that's cool. But men were supposed to make decisions on reason and intellect, so it interfered with your instinct. But my instinct is what has always saved me from lots of dragons."
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Peter Asher will bring his intimate "Songs and Stories" concert event to Abbey Road Studio 2 in London on Saturday, October 31, 2026.
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| Photo:Peter Asher Official/Fb |
Extremely limited, with fewer than 100 tickets available.
By special arrangement with Abbey Road Studios, Peter Asher will perform live in a ticketed concert event in Studio Two.
Those who purchase tickets will be admitted, and you will be able to take photos and video on your phone-IN STUDIO TWO ONLY, and on the steps outside. The halls of Abbey Road have considerable copyrighted material, so photos and video will be allowed in the studio only.
Peter Asher is also on tour. Here are the dates and locations where he will be performing:
9/4 Count Basie Theatre, Red Bank, NJ
9/5 Paramount Theatre, Huntington, Ny
9/6 United Theatre, Westerly, RI
9/8 Tupelo Music Hall, Derry NH
9/10 Adler Hall, New York, NY
9/11 Keswick Theatre, Glenside, PA
9/12 Warner Theatre, Washington, DC
9/13 Kent Stage, Kent, OH
9/15 Uptown Theatre, Minneapolis, MN
9/17 Genesee Theatre, Waukegan, IL
9/18 Ludlow Garage, Cincinnati, OH
9/19 Barrymore Theatre, Madison, WI
9/21 Devos Performance Hall, Grand Rapids, MI
9/23 Brown County Music Center, Nashville, INDIANA
9/26 College Street Music Hall, New Haven, CT
9/27 Santander Performing Arts Center, Reading, PA
9/29 RIT Performing Arts Center, Rochester, NY
9/30 Troy Savings Bank Music Hall, Troy, NY
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Sean Lennon is now a father, and John is a grandfather. Charlotte Kemp Muhl and Sean announced the birth of their first child, Aurelious, which extends the Lennon legacy. |
| Photos: Sean Ono Lennon / IG |
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The Lennon family has welcomed a new and emotional chapter. Sean Lennon and his partner, model and musician Charlotte Kemp Muhl, have announced the birth of their first child, whom they have named Aurelious.
With this event, John Lennon officially becomes a grandfather for the first time, perpetuating one of the most influential lineages in the history of contemporary music.
A new generation for music history: The news has resonated strongly in the cultural sphere, evoking the collective memory surrounding the family.
This birth not only represents a moment of profound personal joy for the couple—who have maintained a solid relationship both emotionally and artistically through their project The Ghost of a Saber Tooth Tiger—but also ensures that the Lennon surname lives on and resonates in new generations. The arrival of Aurelious symbolizes the continuity of an artistic and human legacy that marked a before and after in global popular culture.
Aurelious joins a dynasty inextricably linked to art, peace, and creativity. As beatles fans celebrate this wonderful news, the Lennon clan watches its family history expand into the future with hope and renewal.
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August 30
- 1962
- Performance at the Riverpark Ballroom, Chester.
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- 1963
- UK single release: 'Hello Little Girl', with The Fourmost.
It is announced that Gerry and the Pacemakers will star in a
Christmas pantomime, 'Babes In The Wood'. It will be promoted by Brian Epstein with Joe Collins.
- 1964
- Concert at the Convention Hall, Atlantic City.
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- 1965
- 8.00pm. Live Concert at the Hollywood Bowl, 2301 North Highland
Avenue, Los Angeles, California, USA (2nd performance). Recording:
'Twist And Shout'; 'She's A Woman'; 'I Feel Fine'; 'Dizzy Miss Lizzy';
'Ticket To Ride'; 'Everybody's Trying To Be My Baby'; 'Can't Buy Me
Love'; 'Baby's In Black'; 'I Wanna Be Your Man'; 'A Hard Day's Night';
'Help!'; 'I'm Down'. Producer: Voyle Gilmore; Engineer: Pete Abbott; 2nd
Engineer: not assigned.
Seven songs included in 'The Beatles At The Hollywood Bowl' LP. -
- 1968
- UK single release: 'Hey Jude'/'Revolution'. First Apple product.
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- UK single release: 'Those Were The Days', with Mary Hopkin, first artist discovered by Apple.
Trident Studios. 5.00-11.00pm. Recording: 'Dear Prudence'
(overdub onto take 1). Producer: George Martin; Engineer: Barry
Sheffield; 2nd Engineer: unknown.
Chelsea Register Office, London. Neil Aspinall marries
Suzy Ornstein. Paul, Ringo and Maureen attend. Alexis Mardas is best
man.
Afternnon. Surprise party at a restaurant in King's Road, London, for the couple. Paul, Ringo and Maureen attend.
Screening, on the programme 'Experiment In Television', of a film of the Beatles recording 'Hey Jude' (filmed 29 July 1968).
- 1969
- 'Give Peace A Chance', 8th week in the Top 28 (Billboard).
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- 1971
- Great Hall, Alexandra Palace, London. Closing of 'Art
Spectrum', modern art exhibition.
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- 5 films of John and Yoko are screened:
'Cold Turkey', 'The Ballad Of John And Yoko', 'Give Peace A Chance',
'Instant Karma!', 'Up Your Legs Forever'.
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- 1972
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- Madison Square Garden, New York. 'One To One Concert', to raise
money for Willowbrook, institution for children with physical or mental
defects. 2 shows (afternoon, 2.00pm; evening), featuring John Lennon,
Stevie Wonder and others, organized by John and Yoko. Filmed by ABC-TV.
1973: Mixing: Meat City by John Lennon
2001: Ringo Starr and his All-Starr Band live: Concord Pavilion, Concord
2003: Ringo Starr and his All-Starr Band live: Marymoor Amphitheatre, Redmond
2019: Ringo Starr and his All-Starr Band live: Vina Robles Amphitheatre, Paso Robles
- 1982
- Santa Barbara Sound studio, Santa Barbara, USA. Mixing: 'I Keep Forgettin''; 'Be My Baby'. end of sessions for LP 'Old Wave'.
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Zak Starkey has been running through rehearsals with The Who.
Both Daltrey and Starkey have put out public statements confirming they will be taking the stage together in the near future.
Representatives for both camps verified to Variety that these reports are accurate.
During a solo show at the Encore Theater in Las Vegas on Wednesday night, Daltrey mentioned to the crowd that he had recently jammed with Zak and noted it "sounded fantastic," per a recap published the following day by the Las Vegas Review-Journal. On social media, Starkey shared a screenshot of that specific section from the paper's review, adding his own caption:
“Nice one Rog x. Lookin forward to tearin it up with The Who again..The
rehearsal was great.. I don’t think we’ve ever rehearsed as tough as
that .. usually we drink tea and talk about what time we’re going home!”
Zak later provided a more formal comment to Variety: “We rehearsed for an afternoon and were absolutely on fire, I’m so happy to be back playing the music I love with people I love. It’s good to be home.”
Roger Daltrey explained that the band had organized the trial run to ensure they were fully dialed in for an upcoming farewell tour across Europe.
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August 29
- 1959
- Opening night of the Casbah Club. Show by the Quarrymen (John, Paul, George, Ken Browne).
- 1963
- Concert at the Odeon Cinema, Southport, with Tommy Quickly and Gerry and the Pacemakers.
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- 1964
- 'A Hard Day's Night' LP number 1, 6th week (UK Record Retailer chart).
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- 1965
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- Live Concert at the Hollywood Bowl, 2301 North Highland Avenue,
Los Angeles, California, USA (1st performance).
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- Recording:
'Introduction' (by KRLA disc-jockeys); 'Twist And Shout'; 'She's A
Woman'; 'I Feel Fine'; 'Dizzy Miss Lizzy'; 'Ticket To Ride';
'Everybody's Trying To Be My Baby'; 'Can't Buy Me Love'; 'Baby's In
Black'; 'I Wanna Be Your Man'; 'A Hard Day's Night'; 'Help!'; 'I'm
Down'.
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- Producer: Engeman (Christian name unknown); Engineer: Hugh
Davies; 2nd Engineer: not assigned.
Due to technical defects, nothing of this was included in 'The Beatles At The Hollywood Bowl' LP.
1966Morning. Dizz Gillespie disappears with personal briefcases of Brian and Nat Weiss.
Concert at the Candlestick Park, San Francisco. Last Beatles concert.
Tony Barrow films and records the concert. Support act: the Ronettes.
- 1968
- Trident Studios. 7.00pm-6.00am. Recording: 'Dear Prudence'
(overdub onto take 1). Producer: George Martin; Engineer: Barry
Sheffield; 2nd Engineer: unknown.
Visits at the studio: John (Paul's cousin), Jackie Lomax.
- 1971
- Great Hall, Alexandra Palace, London. 'Art Spectrum', modern
art exhibition. 5 films of John and Yoko are screened: 'Cold Turkey',
'The Ballad Of John And Yoko', 'Give Peace A Chance', 'Instant Karma!',
'Up Your Legs Forever'.
Mixing: I Know (I Know), Intuition by John Lennon
1974: Filming, recording: One Hand Clapping by Wings
Mixing: Old Dirt Road by John Lennon
1980: Recording: Every Man Has A Woman Who Loves Him, Woman, Dear Yoko by John Lennon and Yoko Ono
1989: Ringo Starr and his All-Starr Band live: Cal Expo Amphitheatre, Sacramento
1998: Ringo Starr and his All-Starr Band live: Salle Des Etoiles, Monte Carlo
2003: Ringo Starr and his All-Starr Band live: Harrah’s Lake Tahoe, Stateline
2008: Sam Taylor-Wood to direct Lennon biopic Nowhere Boy
2013: Paul McCartney announces New song and album
2019: Ringo Starr and his All-Starr Band live: Paramount Theatre, Oakland
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Theatre Within—the charitable organization that has hosted the Annual John Lennon Tribute since 1981—will present Rock & Roll Hall of Fame inductee Cyndi Lauper with the 2026 John Lennon Real Love Award. The accolade will be conferred during the 46th installment of the benefit event on Saturday, November 21, hosted at New York City’s historic Town Hall. Passports to the performance can be secured via LennonTribute.org, with the complete roster of performing artists scheduled for release in the near future.
A pioneering musician and dedicated humanitarian, Lauper is slated to deliver a customized performance showcasing her preferred selections from the Lennon and Beatles catalog.
In accepting this honor, she joins an esteemed roster of past awardees, a distinguished group that features Graham Nash, Judy Collins, Patti Smith, Kenny Loggins, and Natalie Merchant.
“I’m honored to receive this year’s John Lennon Real Love Award,” said Cyndi Lauper. “John inspired and challenged us all to work towards making the world a better place for everyone. His message of love continues to ripple through time, and I am grateful to help celebrate his life, Theatre Within, and the John Lennon Real Love Project.”
In a public statement, Sean Ono Lennon conveyed his appreciation for the enduring tradition:
“It’s beautiful that Theatre Within continues to celebrate my father in New York City and is honoring Cyndi Lauper with this year’s John Lennon Real Love Award. Through her art and activism, Cyndi has been a
positive force for a very long time. It’s also deeply meaningful to me and my mom that Tribute proceeds help bring the John Lennon Real Love Project to the cancer community and public schools."
Co-produced alongside Music Without Borders, this annual benefit presented by Theatre Within stands as the sole John Lennon memorial concert globally to hold the official endorsement of Yoko Ono and Sean Ono Lennon.
Photo: Bob Gruen
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