On this day in 1965...
The Beatles were in Cannes, France
At some point during the day John gave a brief interview to US television reporter Martin Ogronsky, screened a week later - June 1st (Tuesday) on the CBS program The Merv Griffin Show. The interview was filmed close to the sea-front in Cannes during a short and scarcely publicized visit that John and his wife Cynthia made to the town's annual film festival. In fact, this was their last day on the Riviera and they returned to England during the afternoon.
As for lyrics, “Let It Be” takes rock and the Beatles into a new era. They (and this includes Harrison al though his lyrics tend to be more blunt and obvious than those of Lennon‐McCartney) seem now to be assembling many lyrics, not linear‐ration ally as the professional lyri cist might, but by the logic of music‐making processes, roughly, through free associ ations which take off from the intended sentiment. The texts to “Let It Be” are uni formly apt and occasionally brilliant and strange from “Let It Be” the mini‐theatri cal evocativeness of “I wake up to the sound of music/ Mother Mary comes to me.” Or from “Across the Uni verse”—“...like the restless wind inside a letter box/ They tumble past...” Or from the same song the set of sounds which close the tune and are totally unrecognizable, at least in English, as language. A logical stream like that from the songlet “Dig It” (Yoko ‐ Cage influenced?) which says “F.B.I., C.I.A., B.B.C.,” veers off from the anti ‐ Establishment implica tions to “B. B. King” and then on to “Doris Day” for the rhyme.
Interestingly enough, from all the wealth of choice im plied in this free‐association music, the core sadness of this album lies in its refer ences to being lost, trains, travelling and, as in the blues poetry of early 20th‐century North‐bound blacks, long roads. Even the harmonies to “Winding Road” wander tell ingly along like water down a pane to resolve home at last on the words “...your door.” Though this music may be said to illuminate the root lessness of the Woodstock generation, the advice of fered by two of the songs, “Let It Be” and “Get Back,” probably can't be heeded by the young at this time of strife. The Rolling Stone's “You Can't Always Get What You Want” from “Let It Bleed,” their latest album, falls into the same category. The affluence and physical isolation of these two super groups has, perhaps, begun to separate them from their peo ple's lives. At any rate, John, Paul, George and Ringo seem in no hurry to “get back to where they once belonged” on Mersey's side. It was months after, on “Abbey Road,” that the ensemble was to sing, “Once there was a way to get back home.”
Perhaps this will be the last new Beatles album. I don't believe it, but it's pos sible. Already each of them has made at least one rathei weak solo album, and all are planning more. Three of them —John, Paul and George—are excellent composer ‐ perform ers and, once used to going loner, may make some mighty music. George Harrison's progress has been especially formidable, and he is used to composing alone. At any rate, together they have changed a part of the world but without forgetting where they come from.
Woodstock Nation will be served — and by musician sages who come from there. What needs to be recorded and advised will be done. Floating, harassed and un nerved though not necessari ly unhappy, that Nation lives in the streets, dormitories, communes and long winding roads, driven there much more out of necessity than any outsiders will believe. Ragged and emancipated by choice—since they “can't go home this‐a‐way,”—they will have to make a new home. Perhaps at such a time and place the four Mersey indi viduals will find their own answer as the reconstituted Beatles. Perhaps “Get Back” will be relevant there. Until then, let be.
The Beatles' Let It Be sets an advance record order, with over four million copies ordered before it is released.
And...Fluxfest continues with “Portrait of John Lennon as a Young Cloud.” This piece features an entire wall covered with 100 drawers. All but one are empty; the exception being a drawer that holds “John’s smile.”
And...-Paul McCartney's solo album, McCartney, reaches #1 in the US charts.
So, this happened back in 1963....
Playhouse Theatre, London
Two separate sessions for BBC Radio. The first session was for Saturday Club, a special occasion in that it was the Beatles first top of the bill appearance on this program. It began with a rehearsal from 2:30, the actual recording taking place between 5:30 and 6:30 pm. The tape was then inserted into the next edition of the series, broadcast on the Light Programme between 10:00 and 12:00 noon on May 25th.
In addition to some witty conversation with host Brian Matthew, the Beatles performed six songs, "I saw her standing there", "Do you want to know a secret", "Boys", "Long tall Sally", "From me to you", "Money (That's what I want)". The last three numbers fell within the last half hour of the program, simultaneously broadcast by the BBC's General Oversees Service.
After a 45 minute break for dinner, the Beatles returned to the Playhouse to rehearse and record a new show for the Light Programme, "Steppin Out", broadcast on 'Bank Holiday', Monday, June 3rd. Before playing their first couple of numbers. Diz Disley, host of the show, introduced the Beatles - "We have four young fella's who, since they emerged from the trackless interior of Merseyside a mere matter of months ago, have been playing 'em in the aisles all over the Isles - from Land's End to John O'Groats - so mind your backs, wacks, for it's the earth-shaking sounds of The Beatles!". This was typical "hip" radio speak for pop radio and TV programs for the day.
Before a very enthusiastic audience, the Beatles performed six songs, "Please please me", "I saw her standing there", "Roll over Beethoven", "Twist and Shout", "Thank You Girl", and "From me to you". "Twist and Shout" was edited out of the broadcast tape, however.
The Beatles’ final film Let It Be premiered today in Britain, with simultaneous screenings in the north and south of England. The Beatles ......or the group...did not attend.
The southern event was held at the London Pavilion, with guests including Richard Lester, Mary Hopkin, Spike Milligan, Lulu, Simon Dee and EMI boss Sir Joseph Lockwood. Several members of The Rolling Stones and Fleetwood Mac also attended, as did around 50 Hare Krishna followers.
Although The Beatles didn’t attend, two notable figures from their past were present. Cynthia Lennon and Jane Asher were among the invited guests, two years after they split from John Lennon and Paul McCartney respectively.
The Beatles’ final LP, Let It Be, was issued in the United States 10 days after the UK release.
The US edition of Let It Be didn’t come with the box set and glossy paperback book. Its cheaper price, together with the absence of any new Beatles long-players since Abbey Road in October 1969, meant it was an enticing prospect for record buyers.
At the time, Let It Be had the highest number of advance orders for any album in the US record industry, with an astonishing 3,700,000 orders placed. The album retailed at $7, creating a gross sales figure of $25,900,000 before it was even released.
As United Artists was the distributor of the Let It Be film, it also had the rights to distribute the soundtrack album in America. Capitol, meanwhile, retained the rights to release songs from Let It Be as singles and on compilation albums.
Back on this day in 1968
Studio Two, EMI Studios, London
A long day of overdubs, mixing and copying some of the best mixes up to date. "Taxman" received its final ingredient (the "One, two, three, four" into) and was then mixed into mono, and Paul overdubbed his lead vocal onto "For No One".
Back on this day in 1963
Royalty Theatre, City Road, Chester, Cheshire
The Beatle's repertoire on this night comprised "Some Other Guy", "Thank You Girl", "Do You Want To Know A Secret", "Please Please Me", "You Really Got A Hold On Me", "I Saw Her Standing There", and "From Me To You".
Back on this day in 1963
Alpha Television Studios, Aston, Birmingham
A return visit to Aston for the Beatles first bill-topping appearance on the ABC Television show "Thank Your Lucky Stars", taped this afternoon for transmission six days later, Saturday May 18th, between 5:55 and 6:35 pm.
For the first time, the Beatles mimed to more than one song in a TYLS broadcast: "From Me To You", and also LP track "I Saw Her Standing There".
On this day back in 1965....
Cliveden House, Cliveden, Maidenhead, Berkshire and Studio Two, EMI Studios, London
The outside view of Buckingham Palace was seen in Help! (filmed on May 12) but there was, of course, no way that permission could be obtained for the Beatles to film inside the real edifice. Instead, the Beatles went to the sumptuous Cliveden House, situated by the River Thames in leafy Berkshire, built in 1850-51 and presently owned and preserved by the National Trust.
The Beatles filmed here over two days, looking out of a window on the east side of the house, playing cards in the "French" dining room, also shooting the brief but fascinating "Intermission" sequence in Bluebell Wood, in a section of the extensive Cliveden grounds.
During the evening the Beatles returned to London for a recording session at EMI, where - taping especially for the US record market - John steered the group through two of his favorite songs by the American rocker Larry Williams: "Dizzy Miss Lizzy" and "Bad Boy". Both were completed between 8:00 am and 11:30 pm and 1:15 in the morning. George Martin took away the mix tapes and dispatched them by airfreight the next day to Hollywood, and within five weeks they were in the record stores, on the Capitol-compiled LP Beatles VI.
Being well versed at performing such material from their pre-fame stage days, the Beatles played both songs live in the studio, with minimal overdubbing. "Dizzy Miss Lizzy" was perfected in seven takes, using only three of available four tracks. "Bad Boy" was recorded in just four takes.
At best, so the music press reported at the time, the songs might turn up on a British EP later in the year. In fact, "Dizzy Miss Lizzy" was included on the upcoming Help! album but "Bad Boy" wasn't issued in the UK until the December 1966 compilation A Collection Of Beatles Oldies.
Source: The Complete Beatles Chronicles- Mark Lewisohn
Fluxfest continues with “Weight and Water by John And Yoko,” which involves flooding the Canal Street exhibition room.
Richard Williams ends his in-depth Melody Maker review of the Let It Be album by writing: “The Beatles are dead...Long live the Beatles.”
The final Beatles album was first released on 8th May, 1970, just prior to the launch of the cinema film of the same name.
Rehearsals and recording sessions for the album had taken place in January, 1969 first At Twickenham Film Studios and later in the basement and on the roof of their Apple headquarters in London's Savile Row.
A single comprising of "Get Back" and "Don't Let Me Down" was released in April, 1969 but as The Beatles focussed their energies on a new album mainly recorded at Abbey Road, The "Get Back" album as it was then called remained unreleased.
Once Abbey Road had been issued and the completion of the documentary film now imminent, it was noticed that rehearsals of George's song "I Me Mine" featured prominently in the film but had not been recorded in the studio. This was remedied on 3rd January, 1970 when George, Paul and Ringo performed it without John who was in Denmark. A second single from the album, which was now titled Let It Be appeared on 6th March.
Up to now the idea behind the album had been to capture the group "live in the studio" without overdubs or effects but this changed when producer, Phil Spector was brought in to re-produce the tracks. The Long And Winding Road, which had been given a new musical arrangement featuring orchestra and choir, was released as a single in the US and other markets but not the UK and became the group's final # 1 single.
The album reached no. 1 for a three week stay during its 59 week chart stay. In the US, the album enjoyed a four week stay at #1 during an initial chart life of 55 weeks.
On this day back in 1964....
While the Beatles are on vacation, their own Around the Beatles was a 1964 television special featuring the Beatles, produced by Jack Good for ITV/Rediffusion London. It was taped in IBC Studios in London on 19 April 1964, and broadcast internationally, with its initial airing on 6 May 1964, and in the US on the ABC network on 15 November. The show featured other performers as well, with the Beatles providing backing vocals for some of them.
Back in 1967
Studio Three, EMI Studios, London
The overdub of trumpets onto "Magical Mystery Tour", played by David Mason (his third Beatles session in as many months), Elgar Howarth, Roy Copestake and John Wilbraham. Each musician was paid £30: £15 for the basic session and an additional £15 because it ran over time, starting at 7:00 pm, but not finishing until 12:15 am.
Source: The Complete Beatles Chronicle - Mark Lewisohn
This day back in 1964....
BBC Paris Studios, London
The session for the Beatle's third consecutive "bank holiday" special on BBC radio's Light Programme, again titled "From Us To You" and broadcast this time on Monday, May 18th, 10:00 am to 12:00 noon.
Recording took place at the Paris Studio in central London between 6:30 and 9:30 pm (inclusive of rehearsal time), and the group taped eight numbers: "I saw her standing there", "Kansas City/"Hey-Hey-Hey-Hey!", "I forgot to remember to forget", You can't do that", Sure to fall", Can't buy me love", "Matchbox" and "Honey Don't" (with John singing the lead vocal, not Ringo who would do so on the EMI recording. Once again, the show opened and closed with title music, the adapted version "From me to You" re-taped on February 28th. The Beatles also engaged in the usual light-hearted banter with host Alan Freeman.
The Beatles Chronicle - Mark Lewisohn
ABOUT THIS INTERVIEW:
George Harrison was interviewed by Howard Smith at WABC-FM radio in New York City on May 1st 1970 during a brief visit to America. At the time of this conversation, the Beatles breakup was already fresh news to a stunned public, and McCartney's solo album had just been released. George would begin the recording sessions for his solo album "All Things Must Pass" upon returning home to England from this US visit.
This intriguing interview with Harrison was originally broadcast on WABC-FM two days later on May 3rd 1970. It would be later rebroadcast on WPLJ-FM radio on January 23rd 1972.
- Jay Spangler, www.beatlesinterviews.org
Q: "You've been in New York since, what... Tuesday?"
GEORGE: "Yeah, Tuesday afternoon."
Q: "How much longer are you going to be here?"
GEORGE: "Just 'til next Monday."
Q: "And then you go back to London?"
GEORGE: "Yeah, right. Well, Home-- which is just outside of London."
Q: "What have you been doing?"
GEORGE: "Well, a bit of business, really. I came to see our new (Apple) office -- 1700 Broadway. And just a few little things to do with business. Also to see a few friends, and to pick up my visa. It's the first time I had a visa for 18 months, so I had to use it, you know."
Q: "Are you going to be doing any recording while your in town?"
GEORGE: "No. I can't work, you know-- not that sort of work. I'd need a different visa, and all that sort of thing. Anyway, there's not enough time to record. But I am going to be recording in about three weeks. I'm gonna start an album of my own, as Ringo and Paul... This is gonna be the George album. And I start that in three to four weeks time, and I hope to do it with Phil Spector."
Q: "Where, in London?"
Q: "Have you written the material, or...?"
GEORGE: "Yeah. I've had songs for a long time, and lots of new songs. I've got about... enough songs for about three or four albums, actually. But if I do one, that'll be good enough for me."
Q: "I didn't know you were that prolific as a writer because there's so few of your songs on Beatles albums."
GEORGE: "Yeah, well, I wrote some songs -- in fact some songs which I feel are quite nice which I'll use on this album -- I wrote about four years ago. But, uhh, it was more difficult for me then to, you know, get in there to do it. It was the way the Beatles took off with Paul and John's songs, and it made it very difficult for me get in. And also, I suppose at that time I didn't have as much confidence when it came down to pushing my own material as I have now. So it took a while. You know, I think the first... I did write one song on about the second album, and I left it and didn't write any more. That was just an exercise to see if I could write. About two years later I recorded a couple more songs -- I think 'Rubber Soul.' And then I've had one or two songs on each album. Well, there are four songs of mine on the double White Album. But now, uhh, the output of songs is too much to be able to just sit around, you know, waiting to put two songs on an album. I've got to get 'em out, you know."
Q: "How was it decided how many songs you would have on a Beatles album? Is it, like, just whoever pushed and shoved the hardest?"
GEORGE: "Yeah. It's always... it was whoever would be the heaviest would get the most songs done. So consequently, I couldn't be bothered pushing, like, that much. You know, even on 'Abbey Road' for instance, we'd record about eight tracks before I got 'round to doing one of mine. Because uhh, you know, you say 'Well, I've got a song,' and then with Paul -- 'Well I've got a song as well and mine goes like this -- diddle-diddle-diddle-duh,' and away you go! You know, it was just difficult to get in there, and I wasn't gonna push and shout. But it was just over the last year or so we worked something out, which is still a joke really -- Three songs for me, three songs for Paul, three songs for John, and two for Ringo."
GEORGE: "But that is the main problem, you see, because, I mean..."
Q: Why did Ringo only get two?"
GEORGE: (jokingly) "Well, 'cuz that's fair, isn't it! That's what you call being fair."
GEORGE: "Even Ringo, you see, is writng more songs. We just cut a track in London of Ringo's song called, uhh... 'It Don't Come Easy,' it's called. And so he maybe'll put that out as a single. But Paul and John and myself have got just so many songs, I think this is a good way, you know, if we do our own albums. That way we don't have to compromise. I mean, we lose whatever we get from each other -- we sacrifice that in order to do a total sort of thing, you know. Because in a way, Paul wants to do his songs his way. He doesn't want to do his songs my way. And I don't wanna do my songs their way, really. And uhh, I'm sure that after we've all completed an album or even two albums each, then that novelty will have worn off."
Q: "You think the Beatles will get together again, then?"
GEORGE: "Uhh... Well, I don't... I couldn't tell, you know, if they do or not. I'll certainly try my best to do something with them again, you know. I mean, it's only a matter of accepting that the situation is a compromise. In a way it's a compromise, and it's a sacrifice, you know, because we all have to sacrifice a little in order to gain something really big. And there is a big gain by recording together -- I think musically, and financially, and also spiritually. And for the rest of the world, you know, I think that Beatle music is such a big sort of scene -- that I think it's the least we could do is to sacrifice three months of the year at least, you know, just to do an album or two. I think it's very selfish if the Beatles don't record together."
Q: "But everything looks so gloomy right now."
GEORGE: "It's not, really. You know, it's no more gloomy than it's been for the last ten years. It really isn't any worse. It's just that now over the last year -- what with John, and lately with Paul-- everything that they've thought or said has come out, you know, to the public. It's been printed. It's been there for everybody to read, or to comment about, or to join in on. Whereas before..."
Q: "But the things...The feelings had been there all along?"
GEORGE: "No, I wouldn't say that. In different ways, you know. We're just like anybody else. (laughs) Familiarity breeds contempt, they do say. And we've had slight problems. But it's only been recently, you know, because we didn't work together for such a long time in the Yoko and John situation. And then Paul and Linda. But it's really... It's not as bad as it seems, you know. Like, we're all having a good time individually, and..."
Q: "There seems like there's so much animosity between Paul and..."
Q: "You know, you three... I mean, it sounds like he is saying it's all over."
GEORGE: "But it's more of a personal thing, you know. That's down to the management situation, you know, with Apple. Because Paul, really -- It was his idea to do Apple, and once it started going Paul was very active in there. And then it got really chaotic and we had to do something about it. When we started doing something about it, obviously Paul didn't have as much say in the matter, and then he decided... you know, because he wanted Lee Eastman his in-laws to run it and we didn't. Then that's the only reason, you know. That's the whole basis. But that's only a personal problem that he'll have to get over because that's... The reality is that he's out-voted and we're a partnership. We've got these companies which we all own 25 percent of each, and if there's a decision to be made then, like in any other business or group you have a vote, you know. And he was out-voted 3 to 1 and if he doesn't like it, it's really a pity. You know, because we're trying to do what's best for the Beatles as a group, or best for Apple as a company. We're not trying to do what's best for Paul and his in-laws, you know."
Q: "You think that's what the key fight is over?"
GEORGE: "Yeah, because it's on such a personal level that it is a big problem, really. You know -- You imagine that situation if you were married and you wanted your in-laws to handle certain things. You know, it's like -- It's a difficult one to overcome because... well, you can think of the subtleties, you know. But he's really living with it like that, you see. When I go home at night I'm not living there with Allen Klein, whereas in a way, Paul's living with the Eastmans, you see. And so it's purely... it's not really between Paul and us. You know, it's between Paul's advisors who are the Eastmans and our business advisors which is Allen Klein. (pause) But it's alright."
Q: "Aw, I don't know!"
Q: "I'm not as optimistic."
GEORGE: "Yeah, it's alright. All things pass... away... as they say."
Q: "I somewhat detected some kind of animosity between Yoko and Linda. Is that part of what it's about?"
GEORGE: "Ahh, I don't know. I don't think about it, you know. I refuse to be a part of any hassles like that. You know, Hare Krishna, Hare Krishna. Krishna, Krishna, Hare, Hare. And it'll all be okay, you know. Just give 'em time because they do really love each other, you know. I mean, we all do. We've been so close and through so much together that it really... to talk about it like this, you know, we'll never get any nearer to it. But the main thing is, like in anybody's life, they have slight problems. And it's just that our problems are always blown up, and uhh, you know, shown to everybody. But it's not really... it's not a problem. It's only a problem if you think about it."
Q: "So you don't think there's any great anger between Paul and John?"
GEORGE: "No, I think there may be what you'd term a little bitchiness. But, you know, that's all it is. It's just being bitchy to each other, you know. Childish. Childish."
GEORGE: "Well, I get on well with Ringo and John, and I try my best to get on well with Paul. And uhh, there's nothing much more we can... it's just a matter of time, you know, just for everybody to work out their own problems and once they've done that I'm sure we'll get back 'round the cycle again. But if not, you know, it's still alright. Whatever happens, you know, it's gonna be okay. In fact, it's never looked better from my point of view. It's really -- It's very good now -- in very good shape, the companies are in great shape. Apple Films, Apple Records. My song company is in good shape because I've been more productive over the last year or so. It's really good we got back alot of money that alot of people had that was ours; alot of percents that different people had. And it's really..."
Q: "Did Klein do all of that for you?"
Q: "Were you really that broke, or were all of you just crying poor."
GEORGE: "We weren't broke, we'd earned alot of money but we didn't actually have the money that we'd earned, you know. It was floating around, because the contracts... The structure of everything, you know, right back -- that's really the history -- Since 1962 the way everything was structured was just freaky, you know. None of us knew anything about it. We just spent money when we wanted to spend money, but we didn't know where we were spending it from, or if we payed taxes on it, you know. We were really in bad shape as far as that was concerned, because none of us really could be bothered. We just felt as though we were rich, because really we were rich by what we sold and what we did. But, uhh, it wasn't really the case because it was so untogether -- the business side of it. But now it's very together and we know exactly where everything is, and there's daily reports on where it is and what it is, and how much it is. And it's really good."
Q: "On the new album that you mentioned that you're gonna be recording, what kind of instrumentation are you gonna be doing on it? Will you be playing all the instruments?"
GEORGE: "No, no. I'd much rather play with other people, you know, because... united we stand, divided we fall. I think, musically it can sound much more together if you have a bass player, a drummer, and you know, a few friends. A little help from your friends. So the songs -- it depends really on how I see the arrangements. Some songs maybe I'll do just one or two just with acoustic guitars or something, but it's really down to how I see the songs should be interpreted. But I really want to use as much instrumentation as I think the songs need. You know, some will have orchestras, and some will have rock & roll, and some will have trumpets. You know, whatever. It'll be a production album."
Q: "Have you gone over all the material with Phil Spector already, or...?"
GEORGE: "No, no. I sang him a couple of the songs... I sang him alot of songs that I had, but umm, at that time I hadn't decided really that I was doing an album. You know, I knew I'd do one eventually but I hadn't decided to do it this soon. And it was only after that I decided that I'd do it straight away. So now I've got to meet with Phil and decide really which tunes, you know. I've got an idea which ones I'd like to use."
Q: "I guess you've heard Paul's album."
Q: "What did you think?"
GEORGE: "'That Would Be Something' and 'Maybe I'm Amazed' I think are great. And everything else I think is fair, you know -- is quite good -- but umm, a little disappointing. But I don't know. Maybe I shouldn't be disappointed, maybe... It's best not to expect anything and then everything's bonus, you know. I think those two tracks in particular are really very good. And the others, I mean, just don't do much for me. Because I can hear other people play better drums and guitars and things. And the arrangements of some of these songs like... 'Teddy Boy,' and 'Junk,' and stuff -- with a little bit more arrangement they could've sounded better. I suppose it was the only thing he felt he could do at the time, you know, and he started off just testing his machine. Eddie Cochran did something like that, though, didn't he. 'Summertime Blues' and 'Come On Everybody' he played bass, guitar, drums."
Q: "I wonder whether it can work again with you guys -- with Paul having gone off and done that kind of album and everything, and the way you used to decide how to get songs on the album. I find it very hard to imagine you all staying in a studio again for the months that it takes to produce the record. How are you going to just work it all out?"
GEORGE: "Well, it's easy. You know, it's really quite easy. It's just easy. We've done it for years. We all know that we're all separate individuals, and if all we have to do is accept that we're all individuals and that we all have as much potential as the other... It's like, if we were all perfected beings we wouldn't be here in the physical world. The fact that we're all here in these bodies means that we're not perfected. So having accepted we're not perfected, we can allow for each others inadequacies or failings with a little, you know, with a little compassion. I'm certainly ready to be able to try and work things out with whoever I'm with. But if whoever I'm with is full of hassles then I'm not going to be with him, am I. I'm gonna go with somebody else. I mean, that's really how things happened for me when I got tired of being with the Beatles. Because musically it was like being in a bag and they wouldn't let me out the bag, which was mainly Paul at that time. The conflict musically for me was Paul. And yet I could play with any other band or musician and have a reasonably good time."
Q: "What was the conflict with Paul? I don't understand."
GEORGE: "It's just a thing like, you know, he'd written all these songs for years and stuff, and Paul and I went to school together. I got the feeling that, you know, everybody changes and sometimes people don't want other people to change, or even if you do change they won't accept that you've changed. And they keep in their mind some other image of you, you know. Gandhi said, 'Create and preserve the image of your choice.' And so different people have different images of their friends or people they see."
Q: "So what was his image of you?"
GEORGE: "Well, I got the impression it was like, he still acted as if he was the groovy Lennon/McCartney. Because there was a point in my life where I realized anybody can be Lennon/McCartney, you know. 'Cuz being part of Lennon/McCartney really I could see, you know, I could appreciate them -- how good they actually are. And at the same time I could see the infatuation that the public had, or the praise that was put on them. And I could see everybody's a Lennon/McCartney if that's what you wanna be. But the point is nobody's special. There's not many special people around. And somebody else... If Lennon/McCartney are special, then Harrison and Starkey are special, too. That's really -- What I'm saying is that I can be Lennon/McCartney too, but I'd rather be Harrison, you know."
Source: Transcribed by www.beatlesinterviews.org from audio copy of the interview
US troops invade Cambodia in an escalation of the increasingly unpopular Viet Nam war.
John Lennon and Yoko Ono depart from London en route to Arthur Janov’s Primal Institute in Los Angeles. They will stay in California for four months at a rented accommodation in Bel Air.
John - After 28 straight days of shouting, screaming, sketching, and eating 28 different colors of ice cream, John Lennon and Yoko Ono’s Primal Scream therapy sessions with Arthur Janov at this London offices are concluded. He recommends that the Lennons fly out to Los Angeles and resume their treatment at his Primal Institute Clinic in California.
George - As he announces the forthcoming release of his first solo album, All Things Must Pass, George Harrison says The Beatles will probably eventually reunite.
Back on this day in 1964
Studio 5A/B, Wembley Studios, Wembley
Prior rehearsals and recording session accomplished, the TV special Around The Beatles was taped before an audience between 9:00 and 10:15 this evening. The Beatles arrived at the studios at 11:00 am, however, for final rehearsals, and somehow also found the time to record radio interviews for Swedish radio with visiting presenter Klas Burling.
What with all of their guests, the Beatles actually participated in only two of the show's main items: their music set and a humorous opening spoof of the Interlude section of Shakespeare's A Midsummer Night's Dream (Act V Scene I), in which John portrayed the beauteous lady "Thisbe", Paul "Pyramus", George "Moonshine" and Ringo "Lion", all attired in costume. Apart from this, John, Paul and George were seen at the very start of the show, miming a trumpet fanfare, and then Ringo followed by hoisting a flag and setting off a cannon ball. Later, as a group, they introduced P J Proby's performance.
The finished 60 minute production was networked by Rediffusion on Wednesday, May 6th (9:45-10:45 pm) and repeated, in slightly edited form - the Beatles sections remained untouched - on Monday June 8th. NEMS was granted overseas sales rights and so was supplied with a print of the finished program. For the US market, Brian Epstein sold it to ABC, the first transmission occurring on Sunday, November 15 1964 (7:30-8:30 EST)
The Complete Beatles Chronicle - Mark Lewisohn