The Beatles are still enjoyed around the world to this day, even scooping up a Grammy as recently as last year.

It's hard to believe founder John Lennon was shockingly killed way back in 1980, and Thursday, Jan. 22 marks exactly 45 years since the last portrait of him and Yoko Ono was released to the masses.

On this day in 1981, newsstands were welcomed with Rolling Stone's new issue paying tribute to the couple, particularly the late Lennon, who had died a month and a half earlier at just 40 years of age. On the cover of the coveted magazine was an image of a naked Lennon in a fetal embrace of his clothed wife, now 92.

Famed photographer Annie Leibovitz's portrait became a defining picture of arguably the most photographed married couple in the history of music, according to HISTORY.com.

"You've captured our relationship exactly," ⁣Lennon had said to Leibovitz, 76, according to the caption of the Instagram post above from the late musician's official account.

"The '80s were not a romantic time and I asked [John and Yoko] to crawl up together," Leibovitz later said in May 2014 regarding the iconic photo, per the caption above. "I wanted them both to be naked, but Yoko wouldn't take off her pants so I said, 'why don't you keep everything on?' In those days, you pull a Polaroid and the three of us knew right away it was good. I was sent to get John for the cover, not Yoko, because there was still a lot of resentment [towards her]. But when I got there, John said he wanted Yoko on the cover... When he was killed, I went to Rolling Stone and they were mocking up the film. I told them the story and so they put that photo on the cover."

While the Rolling Stone image is sometimes called the final photograph of Lennon, it's actually just the final portrait of him and Yoko together. The final photo of John was taken a few hours after Leibovitz's by a fan, HISTORY.com also reports.

Source: Will Sayre/yahoo.com

A judge in America has raised a provocative hypothetical during legal arguments around President Donald Trump’s use of an 18th-century wartime statute to deport Venezuelan gang members: ‘Could a president deport The Beatles?’

Jennifer Walker Elrod, chief judge of the 5th U.S. Circuit Court of Appeals in New Orleans, asked whether the same law could be deployed against a "British invasion" deemed to be corrupting young minds.

She described her reference to the 1960s moral panic surrounding The Beatles and other British bands as "fanciful". However, a government attorney responded unequivocally that the president possessed such power, and the courts would be unable to prevent its exercise.

“These sort of questions of foreign affairs and the security of the nation are specifically political issues,” said Drew Ensign, an assistant attorney general who was arguing the administration’s case before the full 5th Circuit Court of Appeals. Ensign said it would be up to Congress to check the president in that scenario.

The unexpected exchange came in the administration's appeal of a ruling by a three-judge panel of the 5th Circuit, one of the most conservative courts in the country, that found Trump inappropriately used the Alien Enemies Act of 1798 when he targeted the Venezuelan gang Tren de Aragua last year.

The act has only been invoked three other times in American history, during the War of 1812 and both world wars. A majority of the three-judge panel agreed in last year's ruling with multiple lower court judges and immigration lawyers who brought the case that it cannot be deployed against a gang rather than a belligerent foreign power.

The administration appealed to the full 5th Circuit, and all 17 judges on the court were present for the arguments in New Orleans on Thursday. “Tren de Aragua is committing ordinary crimes that are being dealt with by law enforcement,” Lee Gelernt, an attorney for the ACLU, told the judges. “The Alien Enemies Act is about wartime and it's about the military.”

Several of the judges were concerned about second-guessing the president's determination of a threat to the country. Ensign noted the law allows it to be invoked in attempts of “invasion” or “predatory incursion” and argued that courts should accept a president's declaration that that is happening.

“A predatory incursion is less than an invasion,” Ensign said, arguing that cases involving other laws have determined it happens when foreign fishing boats enter U.S. waters. He also noted that Trump alleged the gang was acting at the behest of recently ousted Venezuelan President Nicolas Maduro's government — an assertion that has been challenged by some law enforcement analysts.

Source: Nicholas Riccardi/the-independent.com

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Every Beatle had their influence and hero, and for Paul McCartney, that artist happened to be Frank Sinatra. At 14 years old, years before his days in The Beatles, McCartney wrote a song called “Suicide”, taking inspiration from Sinatra, who was best known for “Come Fly With Me” and “My Way.” When an opportunity arose, and McCartney got in touch with Sinatra, the former Beatle sent “Suicide” to him. Ultimately, the song was rejected. Paul McCartney and Frank Sinatra Crossed Paths After The Beatles Disbanded.

It was not until Sinatra covered “Something” by The Beatles (written by George Harrison) that he viewed The Beatles favorably. The cover was the only time Sinatra crossed paths with the Beatles before he called the “Blackbird” and “Maxwell’s Silver Hammer” songwriter for a song after The Beatles’ disbandment, which McCartney enthusiastically accepted. Speaking on Sinatra’s influence on his songwriting to the McCartney Archive Collection, he said, “I had my Dad’s old piano at home that I used to tinker about on when there was no one in the house. And my feelings were, then, that if you were ever going to be a songwriter, the height of it all was Sinatra.
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Why Sinatra rejected “Suicide” was simple: he found the song too dark for his style, despite the song being a flashy cabaret track. In fact, when McCartney sent the song to him, he thought it was a joke. As McCartney detailed, “He thought I was taking the piss. ‘Is this guy kidding?’” You know, sending Sinatra a song called ‘Suicide’. He did not get it! But I did think, ‘Oh God, maybe I should have changed it a bit to send it to him.’”

“Suicide” was not the only song McCartney had written with him in mind. “When I’m Sixty Four,” from the critically acclaimed album Sgt Pepper, was also written for Sinatra, though Sinatra would never receive the demo. The Fab Four recorded the song for the album instead, despite the disapproval of John Lennon.

Source: Teguan Harris/collider.com

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Rock legend Ringo Starr is working with Sam Mendes and his team on the director's ambitious four-biopic project about the Beatles – and RadarOnline.com can ​​reveal the 85-year-old drummer is being an uptight micromanager about certain aspects of his life story, including his party-hearty days.

The upcoming movies – set for simultaneous release in April 2028 – are being touted as a "cinematic event" that examines the Fab Four's meteoric rise to fame from the perspective of its individual members.

In January 2025, RadarOnline.com reported Starr would be portrayed by Barry Keoghan and Paul McCartney by Paul Mescal – with late legends John Lennon and George Harrison played by Harris Dickinson and Joseph Quinn.

Now, an insider shared: "Some early concepts around what exactly the Ringo-focused movie would cover leaned into his hard partying during the height of the Beatles' success.

"He loved being famous more than the other three guys – that's a matter of historical record. Even with the casting of Barry, you see a perfect fit with that kind of 'wild man' rock star portrayal.

"But with the real Ringo's considerable input, the ideas have evolved, and they're trying to unearth stories and moments from his years in the band that fans haven't heard a million times before." 

Sources said Barry Keoghan's casting as Ringo Starr is tied to efforts to avoid a gimmicky portrayal.

The source explained the now sober No No Song chart-topper has been "generous with his own time" when it comes to the project – in a way that McCartney, 83, hasn't been able to do because he's been carrying a heavy workload himself.

Source Aaron Johnson/radaronline.com

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The Beatles drew from a wide variety of influences when making their music. While they borrowed from Elvis, Buddy Holly, and Chuck Berry, they had their ears open to many different genres. Don’t forget that the four men grew up in an era when rock and roll didn’t exist.

Even country music made an impact on them, enough so that they released their share of songs that could pass for country. Here are four original Beatles songs that sound as much like Nashville as they do Liverpool.  “I Don’t Want To Spoil The Party”

The Beatles’ fourth album, Beatles For Sale, came at a point in their career when they were run a bit ragged by demands on their time. That’s why it’s not so surprising that some of the songs came out sounding a bit bluesy and introspective. “I Don’t Want To Spoil The Party”, written primarily by John Lennon, comes from the perspective of a jilted lover. This guy would rather abandon the scene than see the source of his pain. It comes replete with George Harrison’s Carl Perkins-style rockabilly riffs and close vocal harmonies borrowed from the Everly Brothers. It’s the first time that the group nodded to country music so overtly. The fact that Roseanne Cash released a hit cover version of the song only enhances its country cred.
“I’ve Just Seen A Face”

As had been the case with A Hard Day’s Night, The Beatles recorded a full album’s worth of songs for Help!. But not all of them would be used in the film. For the ones that didn’t make the film cut, they often tried out some different ideas that might have been a tad off the beaten path compared to their normal approach. In the case of “I’ve Just Seen A Face”, Paul McCartney wrote the song as a clear-cut country and western number. When the band recorded it in the studio, they sped up the pace and relied on acoustic guitars. That took the song more in the direction of one of country’s direct offshoots, bluegrass. In any case, there’s more than a little twang involved here.

Source: Jim Beviglia/americansongwriter.com

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Of the four Beatles, John Lennon was always somewhat the antagonist, the one not worried to ruffle some feathers, and ultimately, the one who would always speak his piece, even if it wasn’t deemed appropriate or polite. This was one of the many factors that added to Lennon’s charisma and mystique, and one incredibly notable time he did just this was in front of the British royal family in 1963.

In 1963, The Beatles were the band in the United Kingdom. They were on the brink of infiltrating the United States market and, consequently, on their way to becoming the biggest band in the world. That being said, they had a platform, a platform John Lennon comically but also intellectually utilized when they performed in front of members of the British royal family at the Prince of Wales Theatre in London.

Typically called the Royal Command Performance, The Beatles took to the Prince of Wales Theatre to entertain both members of the royal family and other aristocrats in the audience. While it is unclear if there were any members of the working class in attendance, Lennon still made a clear, comical remark about class divide that would forever stick with his legacy.

That evening, the royal family members in attendance included Her Majesty Queen Elizabeth, Princess Margaret, and several others. Per those high-dollar individuals as well as others, Lennon stated before their final number, “For our last number, I’d like to ask your help, the people in the cheaper seats clap your hands, and the rest of you, if you’d just rattle your jewelry. We’d like to sing a song called ‘Twist and Shout’,” via The Beatles Anthology.

Source: Peter Burditt/americansongwriter.com

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