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Friday, March 23, 2018

JOHN LENNON DIDN’T REALLY SAY EVERYTHING HE SAID.


Reporter Maureen Cleave, a good friend of John Lennon's, wrote a personality article about him in the March 4th, 1966 edition of the London Evening Standard. Cleave's piece was intended to present a portrait of the behind-the-scenes Lennon, and was entitled 'How Does A Beatle Live? John Lennon Lives Like This.' The article contained a number of Lennon musings, remarks and random thoughts from a recent conversation she had with him at his home in Weybridge, including John's personal view of the current state of religion: "Christianity will go. It will vanish and shrink. I needn't argue about that; I'm right, and I will be proved right. We're more popular than Jesus now. I don't know which will go first, rock 'n' roll or Christianity. Jesus was all right, but his disciples were thick and ordinary. It's them twisting it that ruins it for me."

A separate article with different content, including portions of the Jesus quote out of context from the original article, was published in the American teen fanzine 'Datebook' just before the Beatles' 1966 American tour.

Word-of-mouth rumors in America about John Lennon's Jesus quote spread quickly among anti-Beatle factions, even further out of context, as the ridiculous egocentric headline: 'John says Beatles are bigger than Jesus.' The outrage and reaction mostly seemed to be coming from the 'bible belt' in America.

John would later remark during a press conference in Chicago on August 12th during the Beatles' 1966 North American tour, "We could've just sort of hidden in England and said, 'We're not going, we're not going!' You know, that occurred to me when I heard it all. I couldn't remember saying it. I couldn't remember the article. I was panicking, saying, 'I'm not going at all,' you know. But if they sort of straighten it out, it will be worth it, and good."

Lennon continued, "When it came out in England it was a bit of a blab-mouthed saying anyway... A few people wrote into the papers, and a few wrote back saying, 'So what, he said that. Who is he anyway,' or they said, 'So, he can have his own opinion.' And then it just vanished. It was very small. But... you know, when it gets over here, and then it's put into a kid's magazine, and just parts of it or whatever was put in, it just loses its meaning or its context immediately... and everybody starts making their own versions of it." John would be asked many times during the 1966 tour to clarify what he had intended to say. Lennon explained in Chicago: "My views are only from what I've read or observed of Christianity and what it was, and what it has been, or what it could be. It just seems to me to be shrinking. I'm not knocking it or saying it's bad. I'm just saying it seems to be shrinking and losing contact."

In some cities, reporters would ask Lennon to explain the Jesus comment repeatedly -- even multiple times within a single press conference -- baiting him to become upset or to say something even further inflammatory. Knowing their game, John kept his cool.

The public outcry against Lennon had been coming from a rather small minority of the population, but once the national media fanned the flames as much as they were able, reports of negative public reaction made it appear more widespread than it really was. For the minority of Americans who moved from religious outrage to action, the fallout did involve Beatle record burnings arranged by Christian radio stations, Ku Klux Klan protests, and anonymous death threats. It also gave the older generation a sense of vindication that the Beatles were somehow bad role models for the youth of America.

With some hindsight perspective, John clarified the remark perhaps best during his December 1966 Look magazine interview: "I said we were more popular than Jesus, which is a fact. I believe Jesus was right, Buddha was right, and all of those people like that are right. They're all saying the same thing, and I believe it. I believe what Jesus actually said -- the basic things he laid down about love and goodness -- and not what people say he said."

John's then-wife Cynthia would state years later in her 1978 book, A Twist Of Lennon: "His views were totally misconstrued. John was very bewildered and frightened by the reaction that his words created in the States. Beatle albums were burnt in a mass orgy of self-righteous indignation. Letters arrived at the house full of threats, hate, and venom."

The original London Evening Standard article is presented below in its entirety, featuring the quote in its original context.



HOW DOES A BEATLE LIVE? JOHN LENNON LIVES LIKE THIS - by Maureen Cleave.

Article Copyright © 1966 London Evening Standard

On a hill in Surrey... a young man famous, loaded and waiting for something

It was this time three years ago that The Beatles first grew famous. Ever since then, observers have anxiously tried to gauge whether their fame was on the wax or on the wane; they foretold the fall of the old Beatles, they searched diligently for the new Beatles (which was as pointless as looking for the new Big Ben).

At last, they have given up; The Beatles' fame is beyond question. It has nothing to do with whether they are rude or polite, married or unmarried, 25 or 45; whether they appear on Top of the Pops or do not appear on Top of the Pops. They are well above any position even a Rolling Stone might jostle for. They are famous in the way the Queen is famous. When John Lennon's Rolls-Royce, with its black wheels and its black windows, goes past, people say: 'It's the Queen,' or 'It's The Beatles.' With her they share the security of a stable life at the top. They all tick over in the public esteem-she in Buckingham Palace, they in the Weybridge-Esher area. Only Paul remains in London.

The Weybridge community consists of the three married Beatles; they live there among the wooded hills and the stockbrokers. They have not worked since Christmas, and their existence is secluded and curiously timeless. "What day is it?" John Lennon asks with interest when you ring up with news from outside. The fans are still at the gates, but The Beatles see only each other. They are better friends than ever before.

Ringo and his wife, Maureen, may drop in on John and Cyn; John may drop in on Ringo; George and Pattie may drop in on John and Cyn, and they might all go round to Ringo's, by car of course. Outdoors is for holidays.

They watch films; they play rowdy games of Buccaneer; they watch television till it goes off, often playing records at the same time. They while away the small hours of the morning making mad tapes. Bedtimes and mealtimes have no meaning as such. "We've never had time before to do anything but just be Beatles," John Lennon said.

He is much the same as he was before. He still peers down his nose, arrogant as an eagle, although contact lenses have righted the short sight that originally caused the expression. He looks more like Henry VIII than ever now that his face has filled out-he is just as imperious, just as unpredictable, indolent, disorganized, childish, vague, charming and quick-witted. He is still easy-going, still tough as hell. "You never asked after Fred Lennon," he said, disappointed. (Fred is his father; he emerged after they got famous.) "He was here a few weeks ago. It was only the second time in my life I'd seen him -- I showed him the door." He went on cheerfully: "I wasn't having him in the house."

His enthusiasm is undiminished, and he insists on its being shared. George has put him on to this Indian music. "You're not listening, are you?" he shouts after 20 minutes of the record. "It's amazing this -- so cool. Don't the Indians appear cool to you? Are you listening? This music is thousands of years old; it makes me laugh, the British going over there and telling them what to do. Quite amazing." And he switched on the television set.

Experience has sown few seeds of doubt in him: not that his mind is closed, but it's closed round whatever he believes at the time. "Christianity will go," he said. "It will vanish and shrink. I needn't argue about that; I'm right, and I will be proved right. We're more popular than Jesus now; I don't know which will go first -- rock 'n' roll or Christianity. Jesus was all right, but his disciples were thick and ordinary. It's them twisting it that ruins it for me." He is reading extensively about religion.

He shops in lightning swoops on Asprey's these days and there is some fine wine in his cellar, but he is still quite unselfconscious. He is far too lazy to keep up appearances, even if he had worked out what the appearances should be-which he has not.

He is now 25. He lives in a large, heavily paneled, heavily carpeted, mock Tudor house set on a hill with his wife Cynthia and his son Julian. There is a cat called after his aunt Mimi, and a purple dining room. Julian is three; he may be sent to the Lycde in London. "Seems the only place for him in his position," said his father, surveying him dispassionately. "I feel sorry for him, though. I couldn't stand ugly people even when I was five. Lots of the ugly ones are foreign, aren't they?"

We did a speedy tour of the house, Julian panting along behind, clutching a large porcelain Siamese cat. John swept past the objects in which he had lost interest: "That's Sidney" (a suit of armour); "That's a hobby I had for a week" (a room full of model racing cars); "Cyn won't let me get rid of that" (a fruit machine). In the sitting room are eight little green boxes with winking red lights; he bought them as Christmas presents but never got round to giving them away. They wink for a year; one imagines him sitting there till next Christmas, surrounded by the little winking boxes.

He paused over objects he still fancies; a huge altar crucifix of a Roman Catholic nature with IHS on it; a pair of crutches, a present from George; an enormous Bible he bought in Chester; his gorilla suit.

"I thought I might need a gorilla suit," he said; he seemed sad about it. "I've only worn it twice. I thought I might pop it on in the summer and drive round in the Ferrari. We were all going to get them and drive round in them, but I was the only one who did. I've been thinking about it, and if I didn't wear the head it would make an amazing fur coat-with legs, you see. I would like a fur coat, but I've never run into any."

One feels that his possessions -- to which he adds daily-have got the upper hand; all the tape recorders, the five television sets, the cars, the telephones of which he knows not a single number. The moment he approaches a switch it fuses; six of the winking boxes, guaranteed to last till next Christmas, have gone funny already. His cars-the Rolls, the Mini-Cooper (black wheels, black windows), the Ferrari (being painted black) -- puzzle him. Then there's the swimming pool, the trees sloping away beneath it. "Nothing like what I ordered," he said resignedly. He wanted the bottom to be a mirror. "It's an amazing household," he said. "None of my gadgets really work except the gorilla suit -- that's the only suit that fits me."

He is very keen on books, will always ask what is good to read. He buys quantities of books, and these are kept tidily in a special room. He has Swift, Tennyson, Huxley, Orwell, costly leather-bound editions of Tolstoy, Oscar Wilde. Then there's Little Women, all the William books from his childhood; and some unexpected volumes such as Forty-One Years In India, by Field Marshal Lord Roberts, and Curiosities of Natural History, by Francis T. Buckland. This last-with its chapter headings 'Ear-less Cats', 'Wooden-Legged People,' 'The Immortal Harvey's Mother' is right up his street.

He approaches reading with a lively interest untempered by too much formal education. "I've read millions of books," he said, "that's why I seem to know things." He is obsessed by Celts. "I have decided I am a Celt," he said. "I am on Boadicea's side -- all those bloody blue-eyed blondes chopping people up. I have an awful feeling wishing I was there -- not there with scabs and sores but there through reading about it. The books don't give you more than a paragraph about how they lived; I have to imagine that."

He can sleep almost indefinitely, is probably the laziest person in England. "Physically lazy," he said. "I don't mind writing or reading or watching or speaking, but sex is the only physical thing I can be bothered with anymore." Occasionally he is driven to London in the Rolls by an ex-Welsh guardsman called Anthony; Anthony has a mustache that intrigues him.

The day I visited him he had been invited to lunch in London, about which he was rather excited. "Do you know how long lunch lasts?" he asked. "I've never been to lunch before. I went to a Lyons the other day and had egg and chips and a cup of tea. The waiters kept looking and saying: 'No, it isn't him, it can't be him.'"

He settled himself into the car and demonstrated the television, the folding bed, the refrigerator, the writing desk, the telephone. He has spent many fruitless hours on that telephone. "I only once got through to a person," he said, "and they were out."

Anthony had spent the weekend in Wales. John asked if they'd kept a welcome for him in the hillside and Anthony said they had. They discussed the possibility of an extension for the telephone. We had to call at the doctor's because John had a bit of sea urchin in his toe. "Don't want to be like Dorothy Dandridge," he said, "dying of a splinter 50 years later." He added reassuringly that he had washed the foot in question.

We bowled along in a costly fashion through the countryside. "Famous and loaded" is how he describes himself now. "They keep telling me I'm all right for money but then I think I may have spent it all by the time I'm 40 so I keep going. That's why I started selling my cars; then I changed my mind and got them all back and a new one too.

"I want the money just to be rich. The only other way of getting it is to be born rich. If you have money, that's power without having to be powerful. I often think that it's all a big conspiracy, that the winners are the Government and people like us who've got the money. That joke about keeping the workers ignorant is still true; that's what they said about the Tories and the landowners and that; then Labour were meant to educate the workers, but they don't seem to be doing that anymore."

He has a morbid horror of stupid people: "Famous and loaded as I am, I still have to meet soft people. It often comes into my mind that I'm not really rich. There are really rich people, but I don't know where they are."

He finds being famous quite easy, confirming one's suspicion that The Beatles had been leading up to this all their lives. "Everybody thinks they would have been famous if only they'd had the Latin and that. So when it happens, it comes naturally. You remember your old grannie saying soft things like: 'You'll make it with that voice.'" Not, he added, that he had any old grannies.

He got to the doctor 2 3/4 hours early and to lunch on time but in the wrong place. He bought a giant compendium of games from Asprey's but having opened it he could not, of course, shut it again. He wondered what else he should buy. He went to Brian Epstein's office. "Any presents?" he asked eagerly; he observed that there was nothing like getting things free. He tried on the attractive Miss Hanson's spectacles.

The rumor came through that a Beatle had been sighted walking down Oxford Street! He brightened. "One of the others must be out," he said, as though speaking of an escaped bear. "We only let them out one at a time," said the attractive Miss Hanson firmly.

He said that to live and have a laugh were the things to do, but was that enough for the restless spirit?

"Weybridge," he said, "won't do at all. I'm just stopping at it, like a bus stop. Bankers and stockbrokers live there; they can add figures, and Weybridge is what they live in, and they think it's the end, they really do. I think of it every day -- me in my Hansel and Gretel house. I'll take my time; I'll get my real house when I know what I want."

"You see, there's something else I'm going to do, something I must do -- only I don't know what it is. That's why I go round painting and taping and drawing and writing and that, because it may be one of them. All I know is, this isn't it for me."

Anthony got him and the compendium into the car and drove him home with the television flickering in the soothing darkness while the Londoners outside rushed home from work.



Friday, March 16, 2018

THE BEATLES SATISFY THEIR OBLIGATION TO UNITED ARTISTS. BUT FAB FOUR FANS WORLD WIDE ARE LEFT UNSATISFIED.


Close to forty-eight years ago (May 13th, 1970), the Beatles' final movie, Let It Be, received its premiere in American theaters. The film, shot in January 1969, had original intentions to air as a TV special called Get Back, featuring the group rehearsing for their first live show in over two years. The early rehearsals captured the group, along with soon-to-be Lennon’s wife Yoko Ono, clearly bored. Just McCartney alone showed any real enthusiasm for the new material. The first part of the film reveals the strain of the early morning sessions held in a cavernous soundstage at London's Twickenham film studios.

Producer George Martin recalled in The Beatles Anthology that the Let It Be project held great promise in the beginning: "They were going through a very, very revolutionary period at that time. And they were trying to think of something new. They did actually come up with a very good idea, which I thought was well worth working on; The wanted to write an album completely and rehearse it and then perform it in front of a large audience -- and for that to be a live album of new material. And we started rehearsing down at Twickenham film studios, and I went along with them."

George Harrison, who was the least invested member of the band in regards to returning to the stage, recalled the band's initial plan: "I think the original idea was to rehearse some new songs, and then we were going to pick a location and record the album of the songs in a concert. I suppose kinda like they do these days on Unplugged, except, you know, it wasn't to be unplugged. It was to do a live album."

Among the songs featured in the film are "Let It Be," "Get Back," "Don't Let Me Down," "Maxwell's Silver Hammer," "For You Blue," "Octopus' Garden," "I Me Mine," "Across The Universe," and "The Long And Winding Road," and covers of "Besame Mucho," "Shake, Rattle And Roll," and "Kansas City," among many others.

In 1970 John Lennon recalled the nearly month-long film shoot saying: "It was just a dreadful, dreadful feeling being filmed all the time. I just wanted them to go away. And we'd be there at eight in the morning, and you couldn't make music at eight in the morning, or 10, or whatever it was . . . in a strange place with people filming you and colored lights."

The tension between the group comes to light, especially during the sequence where Harrison and McCartney argue over Harrison's playing on the song "Two Of Us."

McCartney explained that unconsciously, the Beatles were actually telling the world that they were breaking up: "In fact what happened was when we got in there we showed how the breakup of a group works because we didn't realize that we were actually breaking up, you know, as it was happening."

The movie eases up considerably during the second half, when the filming moved to the group's new Apple basement studios, with the addition of keyboardist Billy Preston. A major climax of the film is the final sequence, when the Beatles play an impromptu set on the Apple headquarters rooftop, featuring "Get Back," "Dig A Pony," "I've Got A Feeling," "Don't Let Me Down," and "One After 909." Filmed on January 30th, 1969, captured the hasty, poorly planned and perhaps dishonorable farewell tribute as the band's final public performance.

Reviews for the film released a month after the group's breakup, were mixed, citing the sluggish and depressing nature of the film, as well as director Michael Lindsay-Hogg's sloppy editorial choices. But across the board, both critics and fans agreed on the power of the group's rooftop set helps the viewers appreciation toward the picture.

Author Ritchie Unterberger chronicled the prolonged Get Back/Let It Be sessions in his book, titled The Unreleased Beatles: "They had bitten off more than they could chew. You know, even before they assembled in January, the idea was, 'Let's get back to playing as a live band' -- pretty good idea. But then it was, 'Let's make it an album and a film, and we're going to make the album a film of us doing a concert of songs we've never recorded before.' It's kind of like trying to do too much at once. And then you're recording it -- the comparison I made in the book is kind of Nixon's 'The Watergate Tapes,' you have no idea that this stuff is going to come back to haunt you forever."]

Beatlefan magazine's executive editor Al Sussman saw the film within days of its premiere and was left speechless by the group's live swan song: "It was really depressing. But, what made it worthwhile was the rooftop. Because when I left that theater, I was this far off the ground. Despite the fact that we knew everything that happened afterward. Yeah, that saves the film."

Ken Mansfield, the former U.S. manager of Apple Records, was among the handful of insiders present at the rooftop concert that day. He recalled prior to the lunchtime gig walking in on the four Beatles who were using one of the Apple offices as a makeshift dressing room: "It was like walking in on a band, a nervous bunch of guys getting ready to do an audition. I don't know if it's because they hadn't played together, or whether they were trying to put the set together, but it was one of those kind of tense things where they were nervous. When we locked the doors upstairs, and the minute they started playing -- and all the. . . everything that was going down, all the stuff. It's like it all went away and I really believe in my mind that they forgot everything and they were what they were. They were the Beatles."

Let It Be earned the Beatles their only Academy Award when they won the 1970 Oscar for Best Original Song Score. Now, sit back and see for yourself what you’ve been reading about – the actual film waits for you here, just a click away: https://archive.org/details/Let_It_Be_1970_film



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Saturday, March 3, 2018

BEATLES FIRST EVER VISIT TO THEIR IDEAL SHANGRI-LA, DETROIT, HOME OF MOTOWN.


Following their performance at the International Amphitheatre in Chicago, the Beatles and their entourage were flown to Detroit Michigan on September 6th 1964, as the 14th stop of their 1964 North American Tour.

The Motor City was the place of origin for the music the Beatles had professed to love in almost every interview and press conference -- The Detroit Sound, and the recording artists of the Tamla-Motown label.

The Beatles would perform two shows at Olympia Stadium. The press conference was held backstage at the Olympia between the two performances.

From here, the Beatles would fly from Detroit to Toronto as their 1964 North American Tour pressed onward.



DEREK TAYLOR: (to the press) "If anyone would like to raise their hand."

Q: "How do you like Detroit so far?"

JOHN: "Great."

PAUL: "What we've seen of it."

(laughter)

JOHN: "We see very little. The show, we enjoyed."

Q: "Is it a disappointment not to see it?"

JOHN: "No. We come here to play, not to see, you know."

PAUL: "We saw a bit of it though."

Q: "Does that noise out there go away with a little bit of cotton packed way deep in your ear so that the noise..."

JOHN & PAUL: "No."

JOHN: "We're used to it."

GEORGE: "We're immune to it."

Q: "It doesn't upset your musical balance?"

PAUL: "It sounds nice."

Q: "Which artist or musical group do you think has most influenced your music?"

JOHN: (jokingly) "Nicki Cuff."

PAUL: "Nicki Cuff, I'd say. No, uhh... American colored groups, mainly. And early Elvis Presley."

GEORGE: "In fact, The Detroit Sound."

JOHN: "In fact, yes."

GEORGE: "In fact, yeah. Tamla-Motown artists are our favorites. The Miracles."

JOHN: "We like Marvin Gaye."

GEORGE: "The Impressions, Marvin Gaye."

PAUL & GEORGE: "Mary Wells."

GEORGE: "The Exciters."

JOHN: "To name but eighty."

RINGO: "Chuck Jackson."

Q: "How many records have the Beatles sold?"

RINGO: "No idea."

JOHN & GEORGE: "We don't know."

JOHN: "It's a lot, somebody said."

Q: "What part of the film (A Hard Day's Night) did you enjoy making the most?"

JOHN & RINGO: "The bit in the field."

GEORGE: "And the bit in the bathroom. We had a laugh, didn't we. A laugh. We had a laugh, anyway."

Q: "Do the jellybeans bother the Beatles onstage?"

BEATLES: YES!"

JOHN: "It's awful."

PAUL: "It's worse when it's not really jellybeans. When it's... Once there was about 'that long' silver pin that they use for sticking on kilts in Scotland."

(giggles)

PAUL: "And it came flying through about two-hundred-mile-an-hour. Just missed me."

RINGO: "Very dodgy."

Q: "Is that an affirmation? Are they throwing it for you or against you?"

PAUL: "I think so."

JOHN: "And when they don't have the sweets they throw whatever they've got on them, which hurts."

Q: "Do you ever throw anything back?"

RINGO & JOHN: "No."

JOHN: "I think we did once."

Q: "Have you written the new screenplay yet?"

JOHN: "No. I'm not writing it. I'm having hard enough time trying to get to sleep."

Q: "With the exception of being onstage, after the performances are over do you socialize with each other or do you go your own separate ways?"

GEORGE: "Well, we can't go our own..."

Q: "Or is it like in the movie?"

JOHN: "It's like in the movie."

RINGO: "Yeah."

GEORGE: "We all go the same way, don't we."

PAUL: "Especially on tour, you know."

(laughter)

PAUL: "It wasn't a joke."

GEORGE: (to the others) "Well, they're drunk."

PAUL: "Of course it was a joke. Good joke, man."

Q: "With the jellybeans, do you think some of the kids should be ejected by the police when they do throw..."

BEATLES: "NO!"

PAUL: "That's stupid, you know."

GEORGE: "They should just confiscate the jellybeans at the gate."

JOHN: "Or just eat them."

PAUL: "Just ask 'em not to throw 'em. Throw streamers instead. We'll have a party."

JOHN: "Or balloons, or something light."

Q: "What reaction do you guys get individually when you see these kids crying in this hysteria?"

JOHN: "I don't know. If you're onstage, you're really thinking about what you're playing, you know."

GEORGE: "And it depends how bright the lights are."

JOHN: "Sometimes you couldn't see ANYTHING."

GEORGE: "Yeah."

PAUL: "The overall reaction's just one of being flattered. It's just nice to think that..."

GEORGE: "Or flattened."

PAUL: "You know, I don't think they're crying because they're unhappy. I hope not, anyway."

Q: "Do you guys think of yourselves as singers and romantic idols at the same time?"

(Beatles laugh)

JOHN: "We're just singers, you know. Or shouters, whatever you like to call it."

Q: "What do you think about all the psychologists that are giving..."

GEORGE: "Oh... rubbish."

Q: "...all these heavy, heavy definitions of what it all means?"

GEORGE: "A load of rubbish."

JOHN: "They've got nothing else to do, them fellas."

(laughter)

Q: "What are some of your talents? For instance, we know singing, we know music, we know writer, we know photography. What else do you do?"

JOHN: "I used to paint..."

GEORGE: "Acrobatics. All sorts of things."

JOHN: "...lousy."

Q: "Oh, I didn't hear what you said..."

JOHN: (comical voice) "Well, you missed it! Heh-heh heh-heh!" (snorts)

(laughter)

PAUL: (jokingly) "Oh, he's nasty today."

GEORGE: (laughs)

Q: "If you had a son, maybe some of you do..."

JOHN: "I have, I have."

PAUL: "He's got one."

JOHN: "I've got one like that."

Q: "...would you like him to grow up to be a Beatle?"

JOHN: "No. What's the point? It'll be all outdated when he grows up."

Q: "How long do you think it'll last?"

JOHN: "I haven't a clue."

PAUL: "It probably won't last THAT long though, will it?"

JOHN: "No."

GEORGE: "I mean, he's 38 now!"

(Beatles laugh)

Q: "Why did 'World Without Love' go to Peter and Gordon?"

JOHN: "Because when Paul and I were fiddlin' 'round it and they heard it, they sang it good. So we gave it to them."

Q: "They do a great job."

JOHN: "They're good, aren't they. The new one's out, too"

PAUL: "Yeah, the new one."

JOHN: "Get THAT."

PAUL: "At your local record stores. 'I Don't Want To See You Again.'"

DEREK TAYLOR: "'I Don't Want To See You Again,' Peter and Gordon."

PAUL: (jokingly) "That's not a plug, though."

Q: "Which one's idea was it to let the hair grow long?"

PAUL: "It wasn't..."

JOHN: "We always... We met each other with long hair, didn't we."

GEORGE: "Yes."

PAUL: "Well, it wasn't really THIS long, but it was longer than average. It wasn't just an idea that we suddenly got saying, you know, 'Haha, that'll be a gimmick.' In fact, we didn't even know it was a gimmick until somebody told us it was, you know. Somebody kept asking, you know... People from the press said 'What's with the hair?' 'It's like everybody else's, isn't it?' We were a bit stupid in those days."

Q: "Who are the fierce competitors of the Beatles?"

JOHN: "Elvis."

PAUL: "Sophie Tucker."

(laughter)

Q: "Does he still sell that many records?"

JOHN: "Yeah, and he does well, him. You know, he's not messing about."

Q: "Next to the Beatles, who is your favorite British group?"

GEORGE: "Animals."

JOHN & RINGO: "The Stones."

PAUL: " And The searchers."

Q: "The Animals opened at the Paramount in New York and it was half-empty."

JOHN: "Well, you see, nobody knows 'em yet. They'll know 'em. They're good."

PAUL: "Good group."

Q: "When the show is over for the day, and you guys head back to your apartment and houses, do you listen to record albums?"

JOHN: "Sometimes. Not very often."

Q: "What kind do you listen to?"

JOHN: "Rock and Roll."

PAUL: "Or the ones we were talking about before, especially the ones made here in Detroit."

Q: "But not (Count) Basie or (George) Shearing?"

BEATLES: "No."

GEORGE: "I've got a Shearing album, but you've got to be in a good mood to listen to him."

PAUL: "We're not very keen jazz fans. We like a bit of all kinds of music."

Q: "How about George Gershwin? Jerome Kearn? Cole Porter?"

JOHN: "They're okay, you know, but I don't go potty over them."

(laughter)

PAUL: "They're great, you know, but we like other things."

Q: "Have you had a chance to meet Elvis Presley, and if so, what was his reaction to you?"

JOHN: "We haven't met him. We'd like to, you know."

Q: "How about Mancini?"

JOHN: "Henry Mancini?"

PAUL: "He's great!"

GEORGE: "In fact, we met him in a nightclub in London, actually, though I think he never noticed."

DEREK TAYLOR: "Can we keep the noise down a bit? Can we have the noise down just a little bit at the back?"

Q: "I'd like to direct a question to Ringo. Is it true that you have stated you'd like to be a disc jockey if you were not in the Beatles?"

RINGO: "Umm, no. Someone said 'What were you gonna do when it's all finished,' and I said 'I don't know but it'd be good fun being a DJ.' And since then I've become a DJ, only by word of mouth, you know. SO any minute now you'll read, 'Ringo leaves to become a DJ' but it's not true."

Q: "Ringo, are you engaged?"

RINGO: "No, I'm not engaged. You only have to take somebody out and the marriage is off already, you don't stand a chance."

JOHN: (to Ringo) "You don't stand a chance, do ya."

Q: "How about you, John, when it's all over... do you have any plans?"

JOHN: "No, you know. No plans, no. Why plan?"

PAUL: "Well, you know, the only thing that really sounds like a plan is that John and I will probably carry on songwriting. But other than that, nobody's made any plans."

Q: "Fellas, I know Europe soccer is the big sport. Do you have any favorite sport here in America, such as Baseball or American football?"

JOHN & RINGO: "We don't like ANY sport."

PAUL: "Very unsporting, really. Smoking is a sport."

Q: "What do you think of the Dave Clark Five and the Rolling Stones?"

RINGO: "Well, the Rolling Stones are good."

JOHN: "We just remarked on that. We like the Stones, you know. Dave Clark's alright, but we prefer the Stones."

Q: "John, are you working on a new book yet?"

JOHN: "Yeah."

Q: "You are? Any idea when it will be out?"

JOHN: "Oh no, you know. (giggling) Just, when I finish it."

Q: "How do you compare American radio and British radio?"

GEORGE: "You can't compare it, really, because in England there's the BBC and then two commercial stations which are outside of Britain... outside of the zone. In America, in each city, they have about thirty. So you can't compare it."

RINGO: "It's much better over here."

JOHN: "It's more fun over here, though, the radio."

PAUL: "It's more exciting, the radio here."

DEREK TAYLOR: “Thank You, everyone, good day.”



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