AND HERE THEY ARE, THE BEATLES!
THIS IS THE SOUND OF BEATLEMANIA! I DON'T KNOW HOW THIS SOUND CAN BE EXPLAINED!
THE BEATLES ARE NOW ON STAGE! THE ENTIRE AUDIENCE HAS JUMPED TO ITS FEET!
FLASHBULBS ARE GOING OFF IN EVERY DIRECTION! I'M STANDING ON STAGE ABOUT 50
FEET AWAY FROM THE BEATLES AND HEAR THE SCREAMS, SHOUTS, YELLS, CHEERS!
LISTEN TO THE CROWD! THIS IS SOMETHING LIKE I'VE NEVER SEEN BEFORE!

IT STARTED IN LIVERPOOL, ENGLAND. A SOUND, A FEELING, AN EMOTION. IT STARTED IN
LIVERPOOL, ENGLAND AND SWEPT UP THE YOUTH OF THE WORLD. AND WHILE ADULTS
SPEAKING IN MANY FOREIGN LANGUAGES LOOKED ON IT ALL, FOUR YOUNG BOYS FROM A
POOR BRITISH SEAPORT SLUM TOWN, THEIR HAIR STYLE A HARMLESS DEFIANCE OF
CONVENTION, THEIR MUSICAL STYLE BRASH, EARNED RENOWN WHICH THEY HAD NEVER
DREAMED OF AND PERHAPS NEVER REALLY WANTED.
THE BEATLES HAD EVEN PICKED A NAME WHICH DEFIED AND CHALLENGED ACCEPTANCE.
THEIR VERY SUCCESS, IRONICALLY, SEEMS TO DEFEAT THEIR 'I DON'T CARE' PHILOSOPHY.
BUT THROUGH IT ALL, CONFUSED AT TIMES, PERHAPS A LITTLE FRIGHTENED AT TIMES,
THEY'VE CLINGED TO THEIR IDENTITY AND GROWN CLOSER TO ONE ANOTHER.
FROM SUCH ROMANTIC SOUNDING OF THE DANK APPEARING LIVERPOOL CLUBS AS 'THE
CAVERN' OR 'IRON DOOR' WHERE THE SMELL OF SEA WATER MIXES WITH THE ODOUR OF
CIGGIES, NOW COME THE SOUND-ALIKES, THE SINGING AND SCREAMING JUNIOR
AUXILIARIES OF BRITAIN' S STORIED ANGRY MEN BUT ALWAYS UP FRONT, GEORGE, PAUL,
JOHN AND RINGO, A QUARTET OF MUSICAL REBELLION WHO MAKE NO EFFORT TO CHARM
BUT STRANGELY ENOUGH BY THAT VERY ACT CHARM THEIR MOST SEVERE CRITICS, AND
LIKE PIED PIPERS, THEIR FANS ARE LEGION BUT THEIR CULTIST REACTION A PHENOMENA.

"WHAT DID IT, EH WHAT DID IT DO TO YOU? YOU SEEM TO BE IN A...."
" I THOUGHT THEY WERE JUST LIKE FOUR BOYS. I REALLY LIKED THEM. THEY WERE
GOOD. THEY WERE REALLY GREAT GUYS. IT DIDN'T REALLY HIT ME. AND THEN YOU SEE
THEM STANDING THEE, SINGING AND I DON'T KNOW WHAT THEY DID. THEY JUST CHANGED
YOU. THEY'RE NOT WHAT THEY USED TO BE. THEY'RE JUST SO MUCH BETTER. AND YOU SEE
THEM ON STAGE, AND THEY, AND THEY, OOH....LIKE IT'S, LIKE IT'S, THEY'RE JUST LIKE
THEY'RE MEANT FOR YOU, FOR YOU AND NO ONE ELSE. IT SEEMS SO PERSONAL BUT YET
IT'S JUST FOR EVERYBODY."
"DID YOU EVER, DID YOU EVER EXPECT THE CONCERT TO DO THIS TO YOU?"
"OH NO, I CAME HERE TO SAY I'M NOT GONNA SCREAM, I'M NOT GONNA CRY, I'M NOT
GONNA DO ANYTHING. SO HERE I AM CRYING.
AND THE THING IS, I TOUCHED PAUL THE OTHER DAY. AND I THOUGHT WELL, THAT'S NOT
GONNA BE NOTHING. I TOUCHED PAUL McCARTNEY, AND NOW THAT I'VE TOUCHED HIM, I
CAN'T TOUCH HIM AGAIN, EVER AGAIN...NEVER. I GOT HIS AUTOGRAPH."
"DO YOU HAVE ANYTHING ELSE YOU WANNA ADD?"
"I, I JUST THINK THEY'RE THE...OOH...THE MOST WONDERFUL PERSONS I'VE EVER MET IN
MY WHOLE LIFE. I JUST LOVE 'EM."
BEATLEMANIA.
BUT WHAT IS BEATLEMANIA? MANIA BY DEFINITION MEANS CRAZE. WE FOUND A LABEL,
BUT WE STILL DON'T KNOW WHAT'S INSIDE THE BOTTLE.
IN HAMBURG, GERMANY WHERE THE EARLY BEATLES STARTED, YOUNGSTERS WHO DIDN'T
EVEN UNDERSTAND ENGLISH FELT BEATLEMANIA. BEATLEMANIA IS IN FACT A
TEMPORARY STATE OF MIND WHICH CAN ONLY BE ACCURATELY DESCRIBED BY THE ONE
WHO IS UNDER ITS INFLUENCE.
THERE ARE MANY REASONS FOR BEATLEMANIA.


I WANT TO HOLD YOUR HAND
By John Lennon and Paul McCartney

OH YEAH, I'LL TELL YOU SOMETHING,
I THINK YOU'LL UNDERSTAND.
WHEN I SAY THAT SOMETHING,
I WANNA HOLD YOUR HAND,
I WANNA HOLD YOUR HAND,
I WANNA HOLD YOUR HAND.
OH, PLEASE, SAY TO ME,
YOU'LL LET ME BE YOUR MAN.
AND PLEASE, SAY TO ME,
YOU'LL LET ME HOLD YOUR HAND,
NOW LET ME HOLD YOUR HAND,
I WANNA HOLD YOUR HAND.
AND WHEN I TOUCH YOU I FEEL HAPPY INSIDE.

THIS IS THE REASON WHY BEATLEMANIA WAS READY TO SERVE TO THE WORLD. INTO THE
MUSICAL LIVERPOOL CAULDRON WERE THE BASIC BEATLE INGREDIENTS OF EXCITEMENT,
SOUND, MOVEMENT, FRESHNESS, COOKED OVER THE BUBBLING WATERS OF THE 'MERSEY
RIVER', IT WAS BRIAN EPSTEIN, STIRRING THE BREW, ADDING FROM TIME TO TIME THE
DASH OF PROFESSIONAL SEASONING. DRAWING ON HIS THEATRICAL EDUCATION, EPSTEIN,
THE BEATLE MANAGER WAS ABLE TO TAKE THE ADMITTEDLY SCRUFFY QUARTET AND
ACT AS BOTH OBJECTIVE MIRROR AND BUSINESS GUIDE. HOW EPSTEIN AND THE BEATLES
JOINED FORCES IS ANOTHER CHAPTER IN THIS LIVING LEGEND.
EPSTEIN, AT THE YOUTHFUL AGE OF 27, HAD REJECTED THE TEMPTATIONS OF A CAREER IN
THEATRE TO ENTER THE FAMILY BUSINESS IN LIVERPOOL. DESPITE AN ALMOST LIFELONG
YEARNING FOR THEATRE AND A FORMAL EDUCATION WHICH INCLUDED STUDY AT THE
'ROYAL ACADEMY OF DRAMATIC ART' IN LONDON, HE DECIDED TO EMPLOY HIS CREATIVE
TALENTS AND BOUNDLESS ENERGY IN THE BUSINESS WORLD WHERE THE CHANCES OF
FINANCIAL SECURITY WERE CONSIDERABLY GREATER THAN THEATRE.
ALTHOUGH HIS PERSONAL TASTES WERE SOMEWHAT SOPHISTICATED, BRIAN EPSTEIN
FOUND THE BUSINESS OF SELLING POP MUSIC RECORDS SO FINANCIALLY REWARDING
THAT HE DECIDED HE'D BETTER EMERGE HIMSELF IN THE POP MUSIC WORLD WHICH
STRANGELY ENOUGH WAS FOCUSING ITS BEAMS ON LIVERPOOL AND THE 'MERSEY BEAT',
SUCCESSOR TO BOTH THE EUROPEAN 'SKIFFLE' AND AMERICAN 'ROCK' WERE POPULAR.
SO DOWN THE COBBLE-STONED STREETS OF LIVERPOOL'S STORIED BEAT GENERATION
SECTION WENT EPSTEIN WITH DRESS AND MANNER GENTEEL. HE REPORTEDLY
PROJECTED A FEELING OF CONFUSION THE FIRST TIME HE WAS CONFRONTED BY THE
BEATLES. BUT IN SUBSEQUENT TRIPS HIS DEMEANOUR CHANGED AND WHEN BRIAN EPSTEIN
FINALLY MADE A PERSONAL DECISION TO MANAGE THE BEATLES, IT WAS A DECISION
WHICH WOULD AFFECT THE MUSICAL HISTORY OF THE WORLD.


SLOW DOWN
By Larry Williams

WELL, COME ON, PRETTY BABY WON'T YOU WALK WITH ME?
COME ON, PRETTY BABY WON'T YOU TALK WITH ME?
COME ON, PRETTY BABY, GIVE ME ONE MORE CHANCE.
TRY TO SAVE OUR ROMANCE!
SLOW DOWN!
BABY, NOW YOU'RE MOVIN' WAY TO FAST.
FROM THE ROUGH AND ROWDY STREETS OF HAMBURG, TO THE CELLARS OF LIVERPOOL'S
ANCIENT AND NOT-SO-HONOURABLE ALLEYS, THE BEATLES WERE ALREADY LEGEND. AND
LIKE MUSICAL BOULDERS DROPPED INTO STILL WATER, THE STORY OF THAT STRANGE
OVER-POWERING AUDIENCE REACTION RIPPLED ACROSS THE CONTINENT. PERHAPS
ROGER CHRISTIAN CAN EXPLAIN A FEW REASONS FOR THIS BEATLEMANIA.

ONE REASON IS JOHN LENNON, THE CHIEF BEATLE. WITHOUT JOHN THERE WOULD BE NO
BEATLES. JOHN WAS THE ONE WHO ORGANISED THE GROUP AND GAVE THEM THEIR NAME,
ONE THAT HAS BECOME IN THE PAST YEAR THE MOST IMPORTANT WORD IN THE ENGLISH
VOCABULARY.
ON OCTOBER 9, 1940, JOHN WINSTON LENNON WAS BORN IN LIVERPOOL. HE GREW TO BE 5
FEET 11 INCHES TALL WITH BROWN HAIR AND BROWN EYES. JOHN LENNON IS A
DETERMINED 23-YEAR-OLD WHOSE SOMEWHAT STERN FACE GIVES THE IMPRESSION OF AN
ANGRY YOUNG MAN. FITTINGLY, LENNON IS CALLED THE CHIEF BEATLE. "BUT WE DON'T
LET IT COUNT SO MUCH REALLY," HE SAYS. "IF WE'VE GOTTA HAVE A LEADER, I'M HIM."
THE APPOINTMENT OF JOHN AS GROUP LEADER CAME ABOUT, NOT FROM NECESSITY BUT
ONLY TO FULFIL A PUBLIC DEMAND. PEOPLE KEPT COMING UP AND ASKING WHO THE
LEADER OF THE GROUP WAS. THE BEATLES REPLIED, "NOBODY." THE PEOPLE SAID WELL,
THERE MUST BE A BOSS. "SO THE OTHERS SAID TO ME WELL, YOU STARTED THE WHOLE
THING OFF, JOHN, SO YOU'VE GOT TO BE OUR LEADER." AND THAT'S THE WAY IT WAS. JOHN
GOES ON TO SAY, "OURS IS A CO-OPERATIVE GROUP, NOBODY LAYS DOWN ANY LAWS. WE
TALK THINGS OVER. WE HAVE OUR ROWS, NOTHING SERIOUS THOUGH. JUST DIFFERENCES
LIKE ANY OTHER HUMAN BEINGS." AND LIKE HIS THREE FELLOW BEATLES, LENNON IS AN
INDIVIDUAL WHO DOESN'T HESITATE AT ANY TIME TO SPEAK HIS MIND. ONCE WHEN ASKED
ABOUT POLITICS, HE REPLIED, "POLITICS? THEY HAVE NO MESSAGE FOR ME NOR FOR ANY
OF OUR GROUP. THE BOMB,
NUCLEAR DISARMAMENT WELL, LIKE EVERYONE ELSE I DON'T WANT TO END UP WITH
FESTERING HEAT, BUT I DON'T STAY UP NIGHTS WORRYING. I'M PREOCCUPIED WITH LIFE,
NOT THAT."
BORN IN LIVERPOOL, JOHN ATTENDED LIVERPOOL HIGH SCHOOL AND LATER THE
LIVERPOOL COLLEGE OF ART. LENNON READILY ADMITS HIS SCHOOL LIFE WAS FAR FROM
BEING SUCCESSFUL. HE GOES ON TO SAY, "MY SCHOOL LIFE WAS A CASE OF I COULDN'T
CARE LESS. IT WAS JUST A JOKE AS FAR AS I WAS CONCERNED. BUT DON'T THINK I'M PROUD
OF IT. I WOULDN'T WANT ANYONE TO FOLLOW MY EXAMPLE."
AL WIMAN, IN OUR 'BEATLE BIOGRAPHY IN SOUND', PROBES DEEPER INTO JOHN LENNON?S
MIND.
ALTHOUGH TWO OF THE THREE R'S OF SCHOOL HELD NO PARTICULAR FASCINATION FOR
JOHN LENNON, HE ALWAYS HAD A DESIRE TO EXPRESS HIMSELF WITH THE MEDIUM OF THE
THIRD R WRITING. HIS ORIGINALITY OF STYLE IS EVIDENT IN HIS BOOK, PUBLISHED BY
SIMON AND SCHUSTER. THE BOOK APTLY ENTITLED 'IN HIS OWN WRITE', IS A HUGE SALES
SUCCESS. WHEN JOHN WAS ASKED IF HE EMPLOYED THE HELP OF A GHOST-WRITER, HE
JOCULARLY REPLIED, "NO, I MEAN WHO WHO'S GONNA HELP YOU WITH A THING LIKE
THAT?" AS FOR THE OFF-BEAT STYLE JOHN EMPLOYED WITHIN ITS PAGES, HE CANDIDLY
SAYS, "WELL, THAT'S THE WAY I THINK."
THE HUGE SUCCESS OF HIS BOOK AMPLY OVERSHADOWS HIS SELF-ADMITTED FAILURES IN
SCHOOL. BUT EVEN BEFORE HIS LITERARY ACHIEVEMENT, JOHN WAS TO TASTE SUCCESS IN
A LIVERPOOL CLUB CALLED 'THE CAVERN'.
BUT WHAT IF THERE HAD BEEN NO 'CAVERN CLUB', NO BRIAN EPSTEIN, NO GEORGE
MARTIN, NO CAPITOL RECORDS, NO LADY LUCK TO SMILE DON ON THOSE FOUR LADS FROM
LIVERPOOL? GEORGE HARRISON SIMPLY PUTS IT THIS WAY, "I DON'T KNOW. I KNOW IF WE
WEREN'T, EH, MAKING A LOT OF MONEY AND, EH, POPULAR, THEN WE'D JUST BE POOR
UNPOPULAR BEATLES."
AFTER MANY SUCCESSFUL MONTHS OF PLAYING AT THE 'CAVERN', THE BEATLES LANDED A
BOOKING TOUR WITH A LARRY PARNES POP SHOW. THE JOB WASN'T A VERY GOOD ONE,
JUST BACKING A YOUNG SINGER, BUT IT WAS THE FIRST TIME THAT THE BEATLES HAD
PLAYED OUTSIDE THEIR NATIVE LIVERPOOL. AFTER THAT CAME THE BOOKING AT THE
'INDRA CLUB' IN HAMBURG, GERMANY AND A SHORT TIME LATER THEIR DISCOVERY BY
BRIAN EPSTEIN.
WHILE IN GERMANY, THE OTHER BEATLES, AT THAT TIME INCLUDING THE LATE STUART
SUTCLIFFE, PAUL McCARTNEY WHO HAD BEEN WITH JOHN SINCE THE DAYS OF THE NOT-
TOO-SUCCESSFUL 'NERK TWINS', AND GEORGE HARRISON WHO HAD JUST BECOME A
BEATLE, ALL FOUND THE YOUNG GERMAN FRAULEINS MUCH TO THEIR LIKING.
BUT IT WAS CLEAR THAT JOHN, ALTHOUGH GREATLY ELATED OVER THE GROUPS NEW
FOUND FAME, LONGED FOR HIS HOME IN LIVERPOOL AND IN HIS WORDS, "MY LOVE WAS IN
LIVERPOOL. SHE AND I HAD MET ONE DAY AND SUDDENLY FELL IN LOVE. LATER WE WERE
MARRIED AND I LOVE HER." AND LIKE EVERY GOOD HUSBAND, JOHN WANTED HIS FAMILY
TO HAVE FINANCIAL SECURITY, HOWEVER, AT THIS POINT THIS SEEMED TO BE THE LEAST
OF HIS WORRIES.

WHEN ASKED ABOUT THE RUMOUR IF HE OR ANY MEMBER OF THE GROUP WAS A
MILLIONAIRE, HE CASUALLY SCOFFED, "NO, THAT'S ANOTHER LOUSY RUMOUR. I WISH WE
WERE."

"IS BRIAN EPSTEIN A MILLIONAIRE?"
"NO, EVEN HE'S NO ONE, POOR FELLOW."
"WHERE DOES ALL THE MONEY GO?"
"WELL A LOT OF IT GOES TO HER MAJESTY. SHE'S A MILLIONAIRE!"
AND SHE TOO IS A BEATLE FAN AND AS LONG AS WE HAVE BEATLE FANS, I GUESS WE'LL
ALWAYS HAVE BEATLEMANIA!


YOU CAN'T DO THAT
By John Lennon and Paul McCartney

I'VE GOT SOMETHING TO SAY THAT MIGHT CAUSE YOU PAIN;
IF I CATCH YOU TALKING TO THAT BOY AGAIN,
I'M GONNA LET YOU DOWN
AND LEAVE YOU FLAT,
BECAUSE I'VE TOLD YOU BEFORE,
OH, YOU CAN'T DO THAT.

WELL, IT'S THE SECOND TIME I'VE CAUGHT YOU TALKING TO HIM;
DO I HAVE TO TELL YOU ONE MORE TIME I THINK IT'S S SIN?
I THINK I'LL LET YOU DOWN (let you down)
AND LEAVE YOU FLAT.
(Gonna let you down and leave you flat)
BECAUSE I'VE TOLD YOU BEFORE,
OH, YOU CAN'T DO THAT.

EV'RYBODY'S GREEN,
'CAUSE I'M THE ONE WHO WON YOUR LOVE.
BUT IF THEY'D SEEN.

IT'S A GREAT SOUND, ISN'T IT? SOME SAY IT'S THE SOUND OF A GROUP THAT HAS ACHIEVED
OVER NIGHT SUCCESS. BUT DON'T YOU BELIEVE IT.
IT TOOK THE BEATLES OVER FIVE YEARS TO BECOME AN OVER NIGHT SUCCESS. AND MUCH
LIKE THE TITLE OF THEIR FIRST MOTION PICTURE, IT WAS 'A HARD DAY'S NIGHT'.
JOHN LENNON WHO ALMOST WAS SIDE-TRACKED INTO AN ART CAREER, BY THE WAY,
MUST BE CREDITED NOT ONLY WITH INITIATING THE BEATLES, BUT ALSO AS THE ONE
MEMBER WHO NEVER GAVE UP HOPE OF SUCCESS DESPITE MANY ADVERSITIES. AND HE
WAS ALWAYS THE RALLYING POINT FOR REGROUPINGS.
JOHN LENNON WHOSE WHOLE FAMILY WAS MUSICALLY INCLINED WAS ALSO THE FIRST
TO FORM A GROUP AND CALLED IT 'THE QUARRYMEN'. PAUL McCARTNEY SOON JOINED
JOHN'S 'QUARRYMEN' THEREBY EARNING THE TITLE OF BEATLE-IN-WAITING NUMBER
TWO. THAT THE WORLD NEVER CAUGHT ON TO A CRAZE CALLED 'QUARRYMENMANIA'
WAS EVIDENCE THAT THE MAGIC SOUND WAS NOT YET FORMED. 'THE QUARRYMEN',
ORIGINALLY FIVE IN NUMBER, DWINDLED DON TO JOHN AND PAUL. BUT UNDER THE NEW
NAME 'THE NERK TWINS' THERE WAS STILL DISILLUSIONMENT.
WITH MUSICAL IDOLS LIKE BUDDY HOLLY AND THE CRICKETS, GEORGE HARRISON WAS
THE NEXT TO JOIN JOHN AND PAUL, BECOMING BEATLE-IN-WAITING NUMBER THREE. WITH
GEORGE THE NEW GROUP NAME BECAME 'JOHN AND THE MOONDOGS'. BUT NO
'MOONDOGMANIA'.
BY NOW THE SKIFFLE CRAZE WAS DIMMING AND WITH IT THE HOPES OF THE 'MOONDOGS'
WHO WERE STILL IN THEIR SKIFFLE APPRENTICEMENT AT THE TIME WHEN SKIFFLE
'JOURNEYMEN' COULDN'T FIND WORK.
WHILE STILL WORKING ON NEW IDEAS FOR SOUND, AND SOME MORAL SUPPORT TOO FROM
BETTER KNOWN LIVERPOOL GROUPS, JOHN INTRODUCED THE NAME 'BEATLE'.
BUT WHO CAME UP WITH THE FINAL 'BEATLES' SPELLED WITH THE B E A T? PAUL
McCARTNEY EXPLAINS THE ORIGIN.
"JOHN GOT THE NAME 'BEATLES' IN A VISION...AGES AGO, YOU KNOW WHEN WE WANTED,
WHEN WE NEEDED A NAME AND EVERYBODY WAS THINKING OF A NAME AND HE THOUGHT
OF 'BEATLES'."
"WHY THE BEA INSTEAD OF THE BEE?"
"WELL, ACTUALLY, YOU KNOW... WELL, YOU KNOW, IF WE LEFT IT WITH BEE, IT WAS HARD
ENOUGH GETTING PEOPLE TO UNDERSTAND WHY IT WAS BEA, NEVER MIND THAT."
FOR A TIME THE NAME WAS SOFTENED TO 'SILVER BEATLES', AND WITH VARIOUS OTHER
ARTISTS JOINING AND LEAVING THE GROUP, JOHN, PAUL AND GEORGE WERE GETTING
CLOSER AND CLOSER TO THAT MAGIC DOOR WHICH ONE DAY WAS TO SUDDENLY FLY
OPEN AND LIFT THEM FROM A LIVERPOOL CELLAR AND CARRY THEM BEFORE A WORLD
SPOTLIGHT SO BRIGHT IT WOULD LEAVE THEIR IMAGE PERMANENTLY EMBEDDED IN
ENTERTAINMENT HISTORY.
THE BEATLES LIKE TO BE THOUGHT OF AS A FUN-LOVING, DEVIL-MAY-CARE, NON-
CONFORMING, LIFE-LOVING QUARTET WHICH WAS MORE OFTEN DISJOINED THAN JOINED.
BUT WHILE THEY MAY HAVE NEITHER INTEREST NOR ABILITY IN BOOKING THEIR OWN
ENGAGEMENTS OR COUNTING PROFITS, THEY'VE CONSISTENTLY DISPLAYED THAT THEY
TAKE THEIR MUSIC SERIOUSLY, THEMSELVES LIGHTLY, AND THE WORLD ACCLAIM
MODERATELY. NOT EVEN THEIR SUCCESS-SWELLED BANK ACCOUNTS SEEM TO PHASE
THEIR BASIC DOWN-TO-EARTH OUTLOOK.
EVEN WITH FULL KNOWLEDGE THAT CRITICS AND FRIENDS BY THE LEGION ARE
SCAMPERING, CLAWING, BEGGING FOR TITBITS OF INFORMATION, ANY INFORMATION, ON
HOW THEY FORMED, HOW THEY DRESS, THEY TAKE IT CASUALLY.
JOHN LENNON, FOR INSTANCE WHEN ASKED THE TECHNICAL QUESTION OF HOW LONG IT
TOOK THEM TO DEVELOP THE BEATLE SOUND FROM ITS PARENT SKIFFLE BEAT
ANSWERED,
"UH, OVER A PERIOD OF ABOUT SIX MONTHS, I THINK. OR WAS IT A YEAR?"
"EH, A LITTLE LONGER, JOHN."
"YOU FORGET, YOU KNOW, I KNOW I MET PAUL FIRST AND HE SORT OF JOINED THIS LITTLE
GROUP I HAD AND THEN...THEN...THEN GEORGE, YOU KNOW, AND IT GRADUALLY CHANGED
A LITTLE. IT WAS JUST US THREE."

BUT IT REALLY WASN'T AS EASY AS IT SOUNDS. THOSE LAST PAINFUL MONTHS BEFORE
DISCOVERY WERE FULL OF OBSTRUCTIONS AND BARRIERS, AND DISILLUSIONMENT, AND
DISAPPOINTMENTS. BUT IF SUCCESS SEEMED TO ALLUDE THE BEATLES IN THEIR NATIVE
LIVERPOOL, SEVERAL JUNKETS TO HAMBURG, GERMANY WORKED WELL FOR BOTH THEIR
POCKETBOOK AND SPIRIT. PARTICULARLY THEIR LAST TRIP IN WHICH THEY ACHIEVED
THEIR FIRST AUDIENCE REACTION WHICH WAS LATER TO BE CALLED BEATLEMANIA.
THE GERMANS WERE THE FIRST TO FEEL BEATLEMANIA. AND THIS, DESPITE THE FACT
THAT A GOOD PART OF THE BEATLE ACT WAS SPOOFING EVERYTHING FROM NAZIS TO
NIETZSCHE AND ARIANS TO AGRARIANS, THE BARBS WITH NOTED LIVERPUDLIAN WIT,
WERE BURNED INTO HAMBURG AUDIENCES BETWEEN NUMBERS AND DURING NUMBERS.
RETURNING HOME TO LIVERPOOL, HOWEVER WAS SOMEWHAT OF A DISAPPOINTMENT
FOR THEIR HAMBURG SUCCESS STORY HADN'T REACHED HOME. FOR THE BOYS NUMBER 10
MATTHEW STREET, THE ADDRESS OF THE POPULAR 'CAVERN CLUB' WAS AS FAR AWAY AS
NUMBER 10 DOWNING.

ABOUT THIS SAME TIME, ANOTHER LIVERPOOL ACT, MERSEY SIDE WAS ACHIEVING
NOTABLE SUCCESS, A GROUP CALLED 'RORY STORM AND THE TEXANS'. MUSIC HISTORIANS
WOULD LATER PAY PARTICULAR NOTE TO A MOURNFUL-FACED LITTLE DRUMMER WITH
'THE TEXANS' KNOWN TO HIS FRIENDS AS RICHIE BUT TO THE PUBLIC AS RINGO STARR. IT
WOULDN'T BE LONG BEFORE RINGO WOULD BE BEATLE NUMBER FOUR.
LADY LUCK WOULD BE BEATLE NUMBER FIVE AND WITH THE BRILLIANT GUIDING HAND OF
YOUNG BRIAN EPSTEIN AS THEIR MANAGER, THE BEATLES WOULD SOON LIFT OFF THE
LIVERPOOL LAUNCHPAD WITH ENOUGH FORCE TO PUT THE ENTIRE MUSICAL WORLD INTO
ORBIT.


IF I FELL
By John Lennon and Paul McCartney

IF I FELL IN LOVE WITH YOU
WOULD YOU PROMISE TO BE TRUE
AND HELP ME UNDERSTAND?
CAUSE I'VE BEEN IN LOVE BEFORE
AND I FOUND THAT LOVE WAS MORE
THAN JUST HOLDING HANDS.
IF I GIVE MY HEART TO YOU,
I MUST BE SURE
FROM THE VERY START THAT YOU
WOULD LOVE ME MORE THAN HER.


THAT'S THE SOUND THAT'S ROCKETED THE MUSIC WORLD. AND IN THAT WORLD MUSIC OR
JUKEBOXES WHICH ARE EQUIPPED TO ACCEPT COINS IN RETURN FOR RECORDED BEATLE
ENTERTAINMENT, FEEL THE METALLIC WATERFALL OF DIMES, QUARTERS, SHILLINGS,
MARKS, PESOS, FRANCS, LIRE, YEN AND OTHER FORMS OF NATIONAL COIN. AND FROM THE
BACK OF BURRO-DRIVEN OXCARTS IN REMOTE SECTIONS OF LATIN AMERICA, TO PLUSH
AIR-CONDITIONED, ULTRA-MODERN RECORD EMPORIUMS OF THE CONTINENT, EAGER
HANDS REACH FOR EACH NEW BEATLE RECORD. WORLD WIDE RECORD SALES
REPORTEDLY HAVE ALREADY EXCEEDED THE 30 MILLION MARK.
WHY? WHY INDEED. CERTAINLY A KEY FACTOR IS BEATLE MANAGER BRIAN EPSTEIN WHO
FOUND THE LONG-HAIRED VERSION OF ALADDIN'S LAMP IN A LIVERPOOL CELLAR.

BUT THERE IS STILL ONE MORE MAN WHO?S PLAYED A KEY ROLE IN THIS AMAZING BEATLE
STORY. HE REALLY DOESN'T LOOK LIKE A GENIE, BUT ON THE OTHER HAND HE DOESN'T
NECESSARILY LOOK LIKE AN OBOE PLAYER WHO ONCE CONDUCTED CLASSICAL MUSIC
EITHER. BUT HE WAS JUST THAT. HIS NAME, GEORGE MARTIN. '
HE SELECTS THE MUSIC, THE MATERIAL, AND THE SUCCESS OF THE BEATLES IS A
COMMENTARY ON GEORGE MARTIN'S ABILITY.
WHILE THE FORMULA FOR BEATLEMANIA WAS BEING SAMPLED ON THE CONTINENT,
AMERICA'S FIRST EXPOSURE TO THE BEATLES CAME IN SHORT BURSTS FROM SMALL
RECORD COMPANIES UNABLE TO MARSHAL THE PROMOTIONAL KICK-OFF NEEDED TO
PROPERLY INTRODUCE THE YOUNG SINGERS TO AMERICA. THAT'S WHEN CAPITOL
RECORDS DECIDED TO TAKE OVER DISTRIBUTION AND PLANNED A FULL-SCALE, COAST-TO-
COAST MASTER PLAN AND THE BEATLES HAD THE WINNING COMBINATION TO MEET
AMERICA.

THAT'S THE LEAD GUITAR ARTISTRY IN BEATLEMANIA OF GEORGE HARRISON. ALTHOUGH
IT'S NOT DOCUMENTED, GEORGE HARRISON WAS PROBABLY BORN WITH AN AMUSED SMILE
ON HIS FACE. AND IF HE HAS HIS WAY AT THE END, HE'LL GO OUT IN A SIMILAR MANNER,
AMUSED OR IN ATTEMPT TO STIFLE A YAWN.
HARRISON WHOSE DEADPAN EXPRESSION MARKS THE SPHINX JEALOUS, DIDN'T JOIN THE
BEATLES UNTIL 1958. BUT IF HE WERE EVER ASKED WHY, HE'S PROBABLY SAY, BECAUSE
NOBODY ASKED ME. IN HIS TEENS MUSICAL INTERESTS WERE CENTRED ON BUDDY HOLLY,
BUT SPORT INTERESTS DULLED EARLY ATTEMPTS AT A SERIOUS MUSICAL STUDY. GEORGE
IS AN INTERESTING COMBINATION OF BEAT AND BLASE, BUT TAKES HIS MUSIC SERIOUSLY.
TO GET AN ANGRY RESPONSE OUT OF GEORGE, YOU'D PROBABLY HAVE TO BE HIS TAILOR,
FOR CLOTHING NEXT TO MUSIC IS HIS ONLY CONCERN. AS FOR A PERSONAL GLIMPSE INTO
HARRISON, HE IS ALTERNATELY ANALYTICAL AND CASUAL.
GEORGE, YOU MIGHT SAY, IS THE UNSUNG HERO OF THE GROUP. ALTHOUGH HE DOESN'T
DO MOST OF THE SONG WRITING OR LEAD SINGING, HE'S VERY PROUD OF THE JOB HE DOES
DO. AS FOR HIS SPECIFIC ROLE WITH THE BEATLE GROUP, HARRISON SAYS, "I PLAY LEAD
GUITAR AND SING A COUPLE OF SONGS. AND I SING A COUPLE OF BITS ON THE SONGS THAT
PEOPLE DON'T THINK I SING ON."
BLASE WITH A BEAT. THAT'S PRETTY MUCH THE STORY ON GEORGE HARRISON. GUITAR
PLAYING AND SINGING ARE NOT GEORGE'S ONLY INTERESTS. IN HIS OWN WORDS, "I LIKE
PARTIES AND A BIT OF FUN LIKE ANYONE ELSE AND THERE'S NOTHING BETTER FOR ME
THAN A BIT OF PEACE AND QUIET. SITTING AROUND A BIG FIRE WITH YOUR SLIPPERS ON
AND WATCHING TELLY. THAT'S THE LIFE."
GEORGE'S IDEAL LIFE IS A FAR CRY FROM HIS REAL LIFE. LIKE THE REST OF THE BEATLES,
HIS HOME IS OFTEN SURROUNDED BY DOZENS OF FEMALE FANS. "THEY DON'T WORRY ME
THOUGH", SAYS GEORGE, "IN FACT I RATHER LIKE IT. I?D BE DEAD WORRIED IF THOSE
GIRLS WEREN'T AROUND, AND IF THEIR SCREAMS DIED AWAY. IN ANY CASE WE AREN'T
HOME MUCH THESE DAYS."
GEORGE DID HAVE ONE CHANCE TO GO HOME OVER THE PAST YEAR. IT WAS DURING A
TWO WEEK VACATION RECENTLY. THE FIRST THE GROUP HAS TAKEN SINCE THEIR
PHENOMENAL RISE TO STARDOM. INSTEAD HE TOOK OFF FOR AMERICA, "TO SEE THE
ORDINARY SIDE OF THE STATES", HE SAID. "THE SHOPS, THE AIRPORTS, THE TRAINS, THE
GARAGES AND THE WAY PEOPLE SEEM TO LIVE IN GENERAL."

DESPITE THE NOVEL HAIRDO AND THE NEW APPROACH THE BEATLES HAVE TO MUSIC,
GEORGE FEELS THE MAIN REASON FOR THE PHENOMENAL RISE OF THE GROUP IS BECAUSE,
IN HIS WORDS, "WE'RE A DIFFERENT GENERATION AND SO ARE OUR FANS."'
BORN IN LIVERPOOL, GEORGE LEFT SCHOOL TO BECOME AN APPRENTICE ELECTRICIAN.
HE SAID HE STOPPED TRYING TO BE AN ELECTRICIAN THOUGH BECAUSE HE KEPT
BLOWING EVERYTHING UP.
BUT HOW SUCCESSFUL DID HARRISON FEEL THE GROUP WOULD BE WHEN HE FIRST
JOINED? WHEN ASKED IF HE EVER THOUGHT THAT HE AND THE MEMBERS OF THE GROUP
WOULD EVER BE AS BIG AS THEY ARE TODAY, HARRISON IN DON-TO-EARTH FASHION SAID,
"WELL, I'M STILL ONLY FIVE FOOT ELEVEN, YOU KNOW."
GEORGE HARRISON IS THE YOUNGEST OF THE BEATLES, BORN FEBRUARY 25, 1943, AND HE'S
THE ONE WITH THE LONGEST HAIR. "AS FOR MY STARTING THE HAIRCUT, THAT WAS
COMPLETELY BU ACCIDENT", SAYS GEORGE. "WE'D BEEN SWIMMING WHEN I CAME FROM
THE POOL MY HAIR DRIED INTO WHAT IS NOW THE BEATLE HAIRDO. NOT HAVING A COMB
OR BRUSH, I DID NOT COMB IT AFTERWARDS AND THEN IT LOOKED AS IT DOES NOW. WE
DECIDED WE LIKED IT AND IT HAS REMAINED."
GEORGE'S THOUGHTS ARE CLOSELY ALLIED TO THOSE OF HIS FELLOW BEATLES. HE
DOESN'T THINK MUCH ABOUT THE FUTURE. IN HIS OWN WORDS, "WE'RE TOO BUSY TODAY
TO TALK ABOUT TOMORROW." AND HE'S DISINTERESTED IN MANY OTHER THINGS THAT
OLDER PEOPLE CONSIDER WORTHWHILE. HE'S COMPLETELY AT EASE AND LOOKS AT THE
PROSPECTS OF THE GROUP QUITE REALISTICALLY.
TRUE TO HIS UNHURRIED APPROACH TO LIFE, HARRISON IS CANDID ABOUT THE EARLY
AIMS OF THE BEATLES MEASURED AGAINST THAT WHICH HAS HAPPENED SINCE. "WE DON'T
SIT DOWN AND THINK WELL WE'RE GONNA BE STARS AND WE'RE GONNA DO THIS AND
GONNA HAVE FUNNY HAIRCUTS. THE ONLY THING WE WANTED WAS TO MAKE A RECORD."
AND MAKE A RECORD THEY DID. AND HAVE SINCE, IN EVERY FIELD OF THEIR ENDEAVOUR
IN ENTERTAINMENT, BROKEN ALL EXISTING RECORDS.


A HARD DAY'S NIGHT
By John Lennon and Paul McCartney

IT'S BEEN A HARD DAY'S NIGHT
AND I'VE BEEN WORKING LIKE A DOG.
IT'S BEEN A HARD DAY'S NIGHT
I SHOULD BE SLEEPING LIKE A LOG.
BUT WHEN I GET HOME TO YOU,
I FIND THE THINGS THAT YOU DO,
WILL MAKE ME FEEL ALRIGHT.
WHOA! (OW!)

AFTER HAVING ENJOYED ALL THE SUCCESS A RECORDING GROUP COULD EVER HOPE FOR
AND FINALLY ACHIEVE, THE HEIGHT OF THEIR SUCCESS IS STILL NOWHERE IN SIGHT.
THEIR RECORD SALES TODAY HAVE REACHED A FIGURE BEYOND ALL COMPREHENSION.
THE NEXT OBVIOUS STEP TO FURTHER THE BEATLE IMAGE WAS TO MOVE FROM THE
WORLD OF WAX TO THE WORLD OF CELLULOID AND THE MEDIUM OF MOTION PICTURES.

SO WHY ON EARTH SHOULD I MOAN?
'CAUSE WHEN I GET YOU ALONE,
YOU KNOW I FEEL OKAY,
YOU KNOW I FEEL ALRIGHT,
YOU KNOW I FEEL ALRIGHT.
THE INITIAL ANNOUNCEMENT THAT THE BEATLES WERE GOING TO MAKE A MOTION
PICTURE AROUSED IMMEDIATE AND PREDICTABLE ENTHUSIASM FROM FANS. BUT BEATLE
CRITICS ALSO WELCOMED THE NEWS WITH A CYNICAL HOPE THAT EXPOSURE ON FILM
WOULD EXPOSE THE BEATLES AS ENTERTAINMENT WORLD FREAKS LONG ON HAIR BUT
SHORT ON TALENT. BEATLE ENEMIES ALSO SMIRKED IN ANTICIPATION OF THE POISON PEN
TREATMENT WHICH THEY FORECAST WOULD COME FROM AMERICA'S HARD-NOSED
MOTION PICTURE CRITICS. DESCRIBED OFFICIALLY AS A LOW-BUDGET FILM WITH LITTLE
OR NO STORY LINE, IT WAS GIVEN ALL THE PUBLICITY TREATMENT OF A MAJOR
SPECTACULAR. INTERVIEWS WERE GRANTED. THE BEATLES SAID THEY HAD FUN, DIDN'T
ACT. JOHN LENNON EVEN ADMITTED THAT THEY COULDN'T ACT.
"ARE YOU SATISFIED WITH THE FINISHED PRODUCT?"
"WELL, IT'S AS GOOD AS ANYBODY THAT MAKES A FILM WHO CAN'T ACT, YOU KNOW."
NEWSPAPER AND MAGAZINE CRITICS HELD THEIR PENS READY. PREVIEWS WERE HELD AND
SO WERE BREATHS. THEN SURPRISE! THE MOST COMPETENT REVIEWERS HAILED THE
BEATLES FIRST MOTION PICTURE AS A SMASH HIT. THEY WERE COMPARED TO THE MARX
BROTHERS AND ENCOURAGED TO DO IT AGAIN. AMAZED READERS, PRECONDITIONED TO
KNOCK THE MOVIE, NOW MADE PLANS TO SEE IT. IN ENGLAND, BEATLE MANAGER BRIAN
EPSTEIN, CASUALLY LOOKED UP FROM THE MASTER PLAN OF A FUTURE BEATLE TOUR TO
ANNOUNCE THAT THE MOVIE WOULD BREAK EVERY EXISTING MOTION PICTURE BOX
OFFICE RECORD. THE BEATLES, AS USUAL, THEY WERE JUST BUSY BEING BEATLES.
"RINGO, JOHN, PAUL, GEORGE - RINGO, JOHN, PAUL, GEORGE, ALL TOGETHER NOW. RINGO,
JOHN, PAUL, GEORGE. BY JOVE THEY'VE GOT IT IN THIS PICTURE. GOOD."
AN ESTIMATED 100 MILLION AMERICANS HAVE ALREADY SEEN THE BEATLES ON
TELEVISION OR AT THEIR NEIGHBOURHOOD THEATRES. HUNDRED OF THOUSANDS MORE
HAVE SEEN THE BEATLES IN PERSON. AND THAT'S JUST ONE COUNTRY IN A BEATLE
MARKETPLACE WHICH KNOWS NO LIMITS. THIS IS ONLY THE BEGINNING. FOR ALMOST
EVERYTHING THE BEATLES NOW DO SETS A NEW ENTERTAINMENT RECORD.


AND I LOVE HER
By John Lennon and Paul McCartney

I GIVE HER ALL MY LOVE,
THAT'S ALL I DO;
AND IF YOU SAW MY LOVE,
YOU'D LOVE HER TOO,
I LOVE HER.
SHE GIVES ME EV?RYTHING,
AND TENDERLY;
THE KISS

JAMES PAUL McCARTNEY, THE BABY-FACED BEATLE, AN EXTREMELY HANDSOME FELLOW,
BORN THE 18TH OF JUNE, 1942. THE FIVE-FOOT ELEVEN INCH McCARTNEY HAS HAZEL EYES.
PAUL'S HOME IS IN A TYPICALLY SUBURBAN AREA OF LIVERPOOL, ALLERTON WHERE HIS
FATHER STILL WORKS AS A COTTON SALESMAN.. HIS MOTHER DIED WHEN HE WAS ONLY
FOURTEEN YEARS OF AGE. HE IS OFTEN HEARD TO SAY, "SHE WOULD HAVE BEEN PROUD TO
SEE OUR SUCCESS HAD SHE LIVED." HE DESCRIBES HIS EARLY YEARS AS AWKWARD, DOING
EVERYTHING IN REVERSE. HE WAS APPARENTLY VERY SELF-CONSCIOUS OF THE FACT
THAT HE HAS ALWAYS BEEN LEFT-HANDED.
McCARTNEY, ALONG WITH LENNON WRITES ALL OF THE SONGS FOR THE GROUP AND
TOGETHER THEY HAVE TURNED OUT OVER 100 SONGS. AND OF THESE MORE THAN 100
TUNES, MANY HAVE BECOME HITS AND ALL HAVE BEEN RECORDED IN HIT ALBUMS. WHEN
ASKED ABOUT THE ACCLAIM ACCORDED THE GROUP THROUGH THE NUMBER OF THEIR
RECORDS WHICH HAVE BEEN SOLD, PAUL SAID, "NO IDEA. GEORGE SAID THE OTHER
DAY,...GEORGE HARRISON THAT IS, SAID IT WAS,...EH...ABOUT 30 MILLION WHICH IS
FANTASTIC."
WITH THIS IN MIND, JOHN, THE OTHER MEMBER OF THE SONG WRITING TEAM, CANDIDLY
ADMITS, "WE MAKE MORE MONEY OUT OF WRITING SONGS THAN WE DO OUT OF
APPEARING AND RUNNING AROUND WAVING, YOU KNOW."
THE SUDDEN RISE TO FAME BY THE BEATLES IS ONE OF THE THINGS THAT PAUL HAS
THOUGHT A GREAT DEAL ABOUT.. "YOU KNOW," HE SAID, "WE WERE TALKING ABOUT THIS
JUST THE OTHER DAY. WHEN YOU'RE ABOUT ELEVEN, YOU START TO THINK ABOUT WHAT'S
GOING TO HAPPEN TO YOU. I'VE OFTEN THOUGHT ABOUT IT. MY PLAN WAS TO GO ON
PLAYING THE CLUBS UNTIL I REACHED ABOUT 25, A RIPE OLD AGE AND THEN GO TO JOHN'S
ART COLLEGE AND HANG ON THERE FOR A COUPLE OF YEARS. I NEVER DREAMT ABOUT
BEING DISCOVERED OR ANYTHING LIKE THAT. I ALWAYS THOUGHT DISCOVERY WAS
SOMETHING YOU READ ABOUT." AT PRESENT, McCARTNEY AND THE BEATLES ARE BEING
READ ABOUT AND STUDIED. PAUL REALISES THIS BUT HE CAN'T ANSWER WHY.

ONE CRITIC TRIED TO EXPLAIN THEIR SUCCESS BY SAYING THEY HAVE A SOUND WHICH IS
TODAY'S VERSION OF THE ETERNAL CRY OF THE YOUTH. STILL OTHER CRITICS PLACE A
LESSER VALUE OF THEIR MUSICAL APPEAL AND ATTRIBUTE THEIR SUCCESS TO THEIR
PHYSICAL APPEARANCE. THE GROUP'S MOST DISTINGUISHING CHARACTERISTIC, THE
HAIRCUT. A CARDINAL RULE, NEVER SHOW THE FOREHEAD. I ASKED PAUL IF THE GROUP
EVER VISITS THE BARBER SHOP.
"YOU KNOW, YOU NOTICE WHEN YOU'VE HAD A HAIRCUT. BUT YOU DON'T NOTICE WHEN
WE HAVE. WELL, YOU KNOW, IT'S SNEAKY HAIRCUTS."
AH, THOSE SNEAKY HAIRCUTS. THOSE WHO WOULD ANALYSE THE REASONS FOR THE
FANTASTIC APPEAL ON THE BEATLES OFTEN SAY IT'S THEIR SOUND, THEIR ACCENT AND SO
FORTH, STILL EVERYONE AGREES THAT THE BEATLES ARE SUCCESSFUL. AND OF SUCCESS,
PAUL McCARTNEY SAYS, "IT'S FABULOUS, THE SUCCESS AND ALL THAT, BUT I WISH PEOPLE
WOULDN'T THINK THAT BECAUSE WE'RE SUCCESSFUL THAT WE'RE UNAPPROACHABLE. IT
IS NOT TRUE."
IT REALLY BOTHERS PAUL THAT SOME PEOPLE THINK HE HAS CHANGED SINCE THE
BEATLES BECAME THE RAGE OF ENGLAND. "I REALLY CAN'T QUITE EXPLAIN IT BUT WHEN I
MEET SOME OF MY OLD MATES, THEY DON'T SEEM TO BE THE SAME. THEY HAVE A
DIFFERENT ATTITUDE TOWARD ME. PERHAPS THEY THINK THAT WE'VE ALL GONE BIG
TIME SINCE GETTING INTO THE CHARTS. I REALLY DON'T KNOW. BUT I KNOW THEY'RE
WRONG."
THE BEATLES HAVE BEEN EXPOSED TO HECKLERS DESPITE THEIR POPULARITY. IN SOME
CITIES THE BEATLES HAVE BEEN MET WITH A FEW JEERS BUT THEY SHRUG IT OFF
PHILOSOPHICALLY AS PART OF THE GAME OF SHOWBUSINESS. ON AT LEAST ONE
OCCASION, HOWEVER, THE JEERING GOT OUT OF HAND AND THREE DELINQUENTS, OR
'TEDDY BOYS' AS THE BEATLES WOULD CALL THEM, HURLED OBJECTS AT THE STAGE. ON
THIS SUBJECT ALL SPOKE FOR ONE AND ONE BEATLE SPOKE FOR ALL WHEN IT CAME TO
REACTION.
"IT WAS JUST A MINOR GROUP THAT THREW THEM, YOU KNOW. AND WE HAD FOUR OF
THEM IN THE ROOM IN MELBOURNE. AND THEY, THEY DECIDED AT THE END IT WAS A
STUPID TRICK. WE BROUGHT THEM UP AND SAID WELL WHY DID YOU DO IT AND THEY
SAID, 'WELL, EVERY TIME WE TURN THE RADIO ON YOUR RECORDS ARE ON,' SO WHAT CAN
YOU SAY TO THAT?"
MANY A SUCCESSFUL GROUP OF THE PAST HAS FALLEN VICTIM TO WHAT HAS BECOME THE
ESTABLISHED RULE RATHER THAN THE EXCEPTION. SPLITTING UP TO INDIVIDUALLY
PURSUE CAREERS. I ASKED PAUL IF HIS GROUP, THE BEATLES WAS REALLY A COMPATIBLE
COMBINATION.
"WELL WE'VE BEEN EACH OTHER'S FRIENDS FOR YEARS NOW, A LONG TIME. AND YOU
KNOW, I KNEW GEORGE AND JOHN AT SCHOOL. AND SO WE'RE JUST WE ARE EACH OTHER'S
FRIENDS, SO WE GET ALONG. WE GET ALONG AS WELL AS BEST FRIENDS DO WHICH IS
LUCKY."
IS IT LUCK, TALENT, TIMING, THE BREAKS? I THINK IT'S A COMBINATION OF ALL THESE
THINGS. AND MANY, MANY MORE FACTORS. BUT THEY ALL ADD UP TO SPELL SUCCESS AND
THIS VERY TANGIBLE COMMODITY CAN OFTEN CHANGE ONE IN THE LIMELIGHT. BUT I
DOUBT VERY MUCH WHETHER IT WILL CHANGE PAUL McCARTNEY. HE STILL HOLDS THE
SAME IDEALS HIGH, STILL LIKES THE SAME THINGS THAT HE DID WHEN HE WAS A BOY.
HE'S STILL VERY FOND OF ART.
IN PAUL'S WORDS, "I GOT MY DIPLOMA IN ART AND I'M STILL VERY INTERESTED IN THIS
SUBJECT. I OFTEN SKETCH WHILE WE'RE ON TOUR, THAT IS WHEN I'M NOT WRITING SONGS
OR GO GO-CARTING." AND HE HOPE SOME DAY TO EARN ENOUGH, ENOUGH MONEY THAT
IS, SO HE CAN INVEST IN A BUSINESS, HIS BROTHER'S BUSINESS. IT'S A HAIRDRESSING
BUSINESS!


TWIST AND SHOUT
By Bert Russell and Phil Medley (pseudonym of Bert Berns)
Recorded live Sunday 23 August 1964 at Hollywood Bowl, Los Angeles, California, USA

AH -
AH -
AH -
AH -
WHOA! OW! OW!

WELL, SHAKE IT UP, BABY, NOW, (shake it up, baby)
TWIST AND SHOUT. (twist and shout)
COME ON, COME ON, COME ON, COME ON, BABY, NOW, (come on, baby)
COME ON AND WORK IT ON OUT. (work it on out -oo-)
WELL, YOU TWIST, LITTLE GIRL.

THERE NEVER HAS BEEN A GROUP LIKE THE BEATLES WHO COULD ENTERTAIN AND SO
COMPLETELY CAPTIVATE THEIR AUDIENCE. BUT THE BEATLES THINK OF THEMSELVES
ONLY AS ENTERTAINERS. JOHN BABCOCK OFFERS THIS EXPLANATION.
BEING NON-CONFORMISTS IN THE AREAS SUCH AS DRESS AND HAIR STYLE DOESN'T IMPLY
ANY DESIRE TO BE A STYLE SETTER. IN FACT THE OPPOSITE IS THE CASE. BEATLE STYLES
ARE FOR JOHN, PAUL, GEORGE AND RINGO, NOT EVERY TOM, DICK AND HARRY. IN USING
THE SAME BASIC PHILOSOPHY, THE BEATLES DON'T WANT TO BE CALLED UPON TO MAKE
ANY SOCIOLOGICAL JUDGEMENTS, FOREIGN POLICY STATEMENTS, OR TAKE PUBLIC
STANDS ON ANY NON-SHOW BUSINESS SUBJECT. THEY ARE FIRM BELIEVERS THAT
EVERYBODY'S RESPONSIBLE FOR HIMSELF AND IN THEIR OWN CASES FEEL THAT THAT'S A
FULL TIME JOB. SPECIFICALLY, JOHN LENNON PEGGED THE BEATLES FEELINGS WHEN
ASKED ABOUT WHAT RESPONSIBILITY HE FELT REALISING THAT MANY YOUNGSTERS
MIMIC ALL BEATLE BEHAVIOUR.
"WELL WE JUST BEHAVE AS NORMALLY AS WE CAN, YOU KNOW. WE DON'T FEEL AS
THOUGH WE SHOULD PREACH THIS AND TELL THEM THAT, YOU KNOW. LET THEM DO
WHAT THEY LIKE."

IF THE OFF-STAGE BEATLES FEEL SOMEWHAT IMPERSONAL TOWARD THE PUBLIC, THE
PUBLIC NEVER SEEMS IMPERSONAL WHEN IT COMES TO THE BEATLES, PEOPLE EITHER
LIKE THE BEATLES OR DISLIKE THE BEATLES. BUT INDIFFERENCE IS ALMOST NEVER
DISCOVERED. FOR THOSE WHO LIKE THE BEATLES THE FEELINGS MAY RUN TO HIGH
EMOTION SUCH AS A VICTIM OF BEATLEMANIA, OR PERHAPS A MORE SUBDUED BUT LOYAL
RESPONSE SUCH AS THIS.
"THEY GIVE THE CHANGE OF SOMETHING IN THE WAY OF NON-CONFORMITY AND I THINK
EVERY TEENAGER WELL, THAT'S WHAT THEY LOOK FOR, ESPECIALLY IN THIS DAY AND
AGE, THE STRESS NON-CONFORMITY AND THAT'S WHAT THE BEATLES ARE."

OF COURSE THERE ARE SOMETIMES DISTRAUGHT FATHERS WHO SHAKE THEIR HEADS IN
CONFUSED DISBELIEF AFTER WATCHING THEIR DAUGHTERS WILT UNDER THE EMOTIONAL
STRAIN OF IDOL WORSHIP.
"AH, IT'S A MOB, YOU KNOW. THEY'RE JUST PART OF THE MOB. I MEAN, UH, THEY'RE
MONKEY-SEE, MONKEY-DO IT SO THEY COME RUNNING. THAT'S ALL. IT'S LIKE A BUNCH OF
MONKEYS, YOU KNOW"

AND LET'S NOT FORGET SOME OF THE ADULT MOTHERS WHO ACCOMPANY YOUNGSTERS
TO AIRPORT FAN CLUB RALLIES.
"YOU LOOK LIKE A HOUSEWIFE. ARE YOU HERE TO SEE THE BEATLES?"
"OH, YOU MUST BE KIDDING. MY HUSBAND'S COMING. AND OTHERWISE, DO YOU THINK I?D
FIGHT THIS MOTLEY CREW?"

BUT WHETHER YOU'RE A FAN OR A CRITIC, BEATLEMANIA IS A REALITY. AND AS
LONGFELLOW ONCE ADVISED, "FOR AFTER ALL, THE BEST THING ONE CAN DO WHEN IT'S
RAINING, IS TO LET IT RAIN."

THINGS WE SAID TODAY By John Lennon and Paul McCartney
I'M HAPPY JUST TO DANCE WITH YOU By John Lennon and Paul McCartney
LITTLE CHILD By John Lennon and Paul McCartney
LONG TALL SALLY By Enotris Johnson, Richard Penniman and Robert Blackwell
SHE LOVES YOU By John Lennon and Paul McCartney

YOU SAY YOU WILL LOVE ME
IF I HAVE TO GO,
YOU'LL BE THINKING OF ME
SOMEHOW I WILL KNOW.
BR SOME DAY WHEN I'M LONELY
WISHING YOU WEREN'T SO FAR AWAY,
THEN I WILL REMEMBER,
THINGS WE SAID TODAY.
YOU SAY YOU'LL BE MINE, GIRL,

BEFORE THIS DANCE IS THROUGH,
I THINK I?LL LOVE YOU TOO,
I'M SO HAPPY WHEN YOU DANCE WITH ME.

I DON'T WANNA KISS OR HOLD YOUR HAND,
IF IT'S FUNNY TRY AND UNDERSTAND.
THERE IS REALLY NOTHING ELSE I?D RATHER DO,
'CAUSE I'M HAPPY JUST TO DANCE WITH YOU.
I DON'T NEED TO HUG OR HOLD YOU TIGHT,
I JUST WANNA DANCE

LITTLE CHILD, LITTLE CHILD,
LITTLE CHILD WON'T YOU DANCE WITH ME?
I'M SO SAD AND LONELY,
BABY, TAKE A CHANCE WITH ME
LITTLE CHILD, LITTLE CHILD,
LITTLE CHILD WON'T YOU DANCE WITH ME?
I'M SO SAD AND LONELY,
BABY, TAKE A CHANCE WITH ME
IF YOU WANT SOMEONE TO MAKE YOU FEEL SO FINE,
THEN WE'LL HAVE SOME FUN WHEN YOU'RE MINE ALL MINE.
SO COME ON, COME ON, COME ON.

LITTLE CHILD, LITTLE CHILD,
LITTLE CHILD WON'T YOU DANCE
BR GONNA TELL AUNT MARY 'BOUT UNCLE JOHN,
HE SAID HE HAD THE MIS'RY BUT HE GOT A LOT OF FUN.
OH, BABY,
YEAH, NOW BABY,
OOH, OOH, OOH, BABY,
SOME FUN TONIGHT.
I SAW UNCLE JOHN WITH LONG TALL SALLY,
HE SAW AUNT MARY COMIN' AND HE DUCKED BACK IN THE ALLEY.
OH, BABY,
YEAH, NOW BABY,
OOH, OOH, OOH, BABY,
SOME FUN TONIGHT.
WHOA!
BR LOVE LIKE THAT
YOU KNOW YOU SHOULD BE GLAD.
WITH A LOVE LIKE THAT
YOU KNOW YOU SHOULD BE GLAD.
WITH A LOVE LIKE THAT
YOU KNOW YOU SHOULD
BE GLAD.
YEAH, YEAH, YEAH,
YEAH, YEAH, YEAH, YEAH.


THESE ARE THE SOUNDS WHICH COMPLETE THE PICTURE. FOR IS THERE ANYBODY IN THE
CIVILISED WORLD WHO DOES NOT CONJURE UP A MENTAL MOTION PICTURE OF THE
PERFORMING BEATLES AT THE FIRST SOUND OF THEIR DISTINCTIVE STYLE. WHICH BEATLE
ONE IMMEDIATELY THINKS OF MAY VARY. IN AUSTRALIA IT MIGHT BE THE MOURNFUL-
FACED RINGO, IN GERMANY IT MIGHT BE THE BABY-FACED PAUL McCARTNEY, IN BRITAIN
IT MIGHT BE THE LITERATE BEATLE LEADER JOHN LENNON, IN AMERICA IT MIGHT BE THE
MORE QUIET BUT WHIMSICAL GEORGE HARRISON.
WHILE OTHERS MAKE NO INDIVIDUAL DISTINCTIONS, THEY JUST SEE ALL FOUR BEATLES IN
MOTION, HAIR FLOPPING, GUITARS WAVING, GIRLS SCREAMING. BUT EVERYBODY HAS A
MENTAL MOTION PICTURE. AND THAT PICTURE, PLUS THE BEATLE SOUND, IS THE
FORMULA WHICH WHEN FED TO THE YOUTH OF THE WORLD BRINGS ON BEATLEMANIA.

BOYS
By Luther Dixon and Wes Farrell

I BEEN TOLD WHEN A BOY KISS A GIRL
TAKE A TRIP AROUND THE WORLD.
HEY, HEY, (bop shoo wa 'n' bop bop shoo wa)
HEY, HEY, (bop shoo wa 'n' bop bop shoo wa)
HEY, HEY, (bop shoo wa 'n' bop shoo wa)
YEAH, SHE SAY YOU DO. (bop shoo wa)

MY GIRL SAYS WHEN I KISS HER LIPS
GETS THE THRILL THROUGH HER FINGERTIPS. (whoa ho!)
HEY, HEY, (bop shoo wa 'n' bop bop shoo wa)
HEY, HEY, (bop shoo wa 'n' bop bop shoo wa)
HEY, HEY, (bop shoo wa 'n' bop bop shoo wa)
YEAH, SHE SAY YOU DO. (bop shoo wa)

WELL, I TALK ABOUT BOYS, (yeah, yeah, boys)
DON'T YOU KNOW I MEAN BOYS? (yeah, yeah, boys)
WELL, I TALK ABOUT BOYS NOW, (yeah, yeah, boys)
AH, BOYS,

THE SONG IS CALLED 'BOYS'. THE BOY SINGING IS CALLED RINGO. HE'S CALLED RINGO
BECAUSE OF HIS PASSION FOR WEARING LOTS OF RINGS. RINGO IS THE MOST RECENT
ADDITION TO THE GROUP AND HE'S ALSO THE OLDEST MEMBER. RINGO?S FRIENDS CALL
HIM RICHIE, A NAME HE PICKED UP IN DINGLE, ONE OF THE TOUGHEST AREAS OF
LIVERPOOL. OFTEN COMPARED TO NEW YORK'S STORIED "HELL'S KITCHEN". THE COBBLE
STREETS AND ANCIENT BUILDINGS WHICH SURROUNDED HIS TERRACED HOME DIDN'T HIDE
THE BOMB CRATERS WHICH WERE LEFT THERE IN 1940, THE YEAR OF RINGO?S BIRTH.
RICHIE WENT TO ST. SILAS SCHOOL IN DINGLE, BUT DROPPED OUT AT THE AGE OF SIX
BECAUSE OF APPENDICITIS. HE HAD COMPLICATIONS WHICH RESULTED IN
HOSPITALISATION FOR A YEAR. RECOVERING HE WENT BACK AND STARTED ALL OVER
AGAIN. BUT AT THE AGE OF THIRTEEN, A COLD GOT AWAY FROM HIM AND HE DEVELOPED
PLEURISY WHILE ON A TRIP TO LONDON. RUSHED BACK TO HIS LIVERPOOL HOME, HE
SPENT ANOTHER YEAR IN HOSPITAL. THAT ENDED SCHOOLING AND RINGO WENT TO WORK
IN AN ENGINEERING COMPANY. IN 1959, AROUND CHRISTMAS TIME, RINGO GOT HIS FIRST
DRUMKIT. HE WAS EIGHTEEN AT THE TIME.

RINGO, THE SMALLEST MEMBER OF THE GROUP, STANDING FIVE FEET EIGHT INCHES TALL,
JOINED JOHN, PAUL AND GEORGE IN THE PREDAWN ERA OF BEATLEMANIA. COMPLETE
WITH BEARD. THE BEARD WAS SHAVEN, HIS SIDEBURNS SAVED. AND THE TRANSFORMATION
BEGAN. RULE NUMBER ONE, FORGET THE HAIRCUTS. AND THIS HE DID. IN FACT SO
SUCCESSFULLY THAT SOME OBSERVERS BEGAN TO BELIEVE THAT HIS BROWN-HAIRED
LOCKS WERE LONGER THAN THOSE OF GEORGE.
"NO, GEORGE'S IS LONGER THAN MINE. YEH, MINE'S A SCRUFFY MESS."

ALTHOUGH RINGO HAS BEEN INVOLVED IN THE BEATLE MAD MOVEMENT FOR OVER A
YEAR, HE'S STILL AMAZED AT THE IMPACT THE GROUP HAS MADE. IN RINGO?S WORDS,
"NONE OF US HAVE QUITE GRASPED WHAT IT'S ALL ABOUT YET. IT'S WASHING OVER OUR
HEADS LIKE SOME HUGE TIDAL WAVE. BUT WE'RE YOUNG AND YOUTH IS ON OUR SIDE. AND
IT'S YOUTH THAT MATTERS RIGHT NOW. I DON'T CARE ABOUT POLITICS OR ANYTHING.
JUST PEOPLE. AND THE PEOPLE CERTAINLY SEEMS TO CARE ABOUT THE BEATLES." AS
RINGO PUTS IT, "WE'RE INTERNATIONAL FIGURES. EVERYONE WANTS TO INVESTIGATE US
AND GET INSIDE US AND TRY TO UNDERSTAND WHAT MAKES A BEATLE TICK.

THEY SENT BIG WRITER DOWN TO TALK TO US. WRITERS WHO SAY THEY WANT TO TALK
TO US ABOUT OUR SOCIOLOGICAL SIGNIFICANCE. IN BIRMINGHAM THERE WERE DOZENS
OF POLICEMEN CONTROLLING SCREAMING FANS AT THE STUDIO DOORS WHILE WE
REHEARSED A TELEVISION PROGRAM." "WELL," RINGO SAYS, "IF THEY DIDN'T SCREAM, I
GUESS WE WOULDN'T BE WHERE WE ARE TODAY. BUT DON'T ASK ME TO EXPLAIN IT."
FOR RINGO IS NOT ONE FOR EXPLANATION, OR FOR THAT MATTER TALKING EITHER. YOU
SEE, RINGO IS THE QUIET ONE. HE SITS AT HIS DRUMS LIKE SOME BUDDHIST IDOL, AND
WEARS A WORRIED FROWN MORE OFTEN THAN A SMILE. ONCE IN A WHILE HE LETS A
SMILE SHATTER HIS MELANCHOLY SAYING, "I'M NOT REALLY MISERABLE. IT'S JUST ME
FACE."

RINGO CONSIDERS HIS INITIATION INTO THE GROUP AS THE GREATEST SINGLE EVENT OF
HIS LIFE. TO HIM THE TASTE OF SUCCESS MEANS THAT HIS MOTHER DOESN'T HAVE TO
WORK ANY MORE. HE TAKES GREAT PLEASURE IN PROVIDING THOSE THINGS FOR HIS
MOTHER WHICH INCREASE HER HAPPINESS.

BEATLE MANAGER BRIAN EPSTEIN CONSIDERS RINGO A TREMENDOUS BLOSSOMING
TALENT. AND GOES A STEP FURTHER TO SAY, " I THINK HE WILL PROVE TO HAVE GREAT
ACTING ABILITY, PROBABLY THE GREATEST OF THE FOUR."
RINGO SOMETIMES REFERS TO HIMSELF AS THE ODD-BALL BEATLE, PERHAPS BECAUSE OF
THE FACT THAT FATE DUBBED HIM WITH THE DISTINCTION OF BEING THE INGREDIENT
WHICH COMPLETED THE QUARTET. WHEN ASKED HOW HE FEELS WITH THE LABEL OF THE
DIFFERENT MEMBER OF THE GROUP, HIS RYE SENSE OF HUMOUR BUBBLED IN THIS REPLY,
"WELL, I, I'VE, YOU KNOW, I'VE ALWAYS BEEN A DRUMMER AND I'M, I'VE ALWAYS SAT AT
THE BACK SO I ENJOY IT AT THE BACK. WHEN THEY START THROWING THINGS IT'S A GOOD
PLACE TO BE."

ALTHOUGH HE LIKES TO SING, HE PREFERS TO PLEASE HIS FANS BY PLAYING HIS DRUMS
AND LEAVING THE VOCAL WORK TO THE OTHER THREE MEMBERS OF THE GROUP. WHEN
ASKED IF HE WOULD LIKE TO TAKE THE SPOTLIGHT TO SING MORE OFTEN, HE MODESTLY
REPLIED, "UH, NO I THINK WHEN WE DO A SHOW ONE OF THEM'S ENOUGH FOR ME. AND IT'S
MORE FUN FOR THE KIDS IF THREE OF THEM ARE SINGING AT ONCE THAN JUST ME."
"IT ISN'T THE SCREAMING FANS OR THE THINGS THEY THROW THAT AFFECT ME. THAT'S
NORMAL. YOU GET USED TO IT. I LOVE 'EM AND IT'S GREAT TO KNOW THEY LOVE YOU. IT'S
A FEELING THAT I MIGHT LET THEM DOWN."
THE FEELINGS OF RINGO STARR.

WELL, RINGO?S WORRIES IN THIS DEPARTMENT ARE COMPLETELY UNFOUNDED BECAUSE
HIS FAN MAIL OFTEN NUMBERS THE GREATEST. BUT ALL THE FAN MAIL AND ADULATION
HEAPED UPON RINGO HASN'T CHANGED HIS ATTITUDE AT ALL. HE SHARES THE SAME LIKES
AND DISLIKES OF HIS FELLOW BEATLES. AS RINGO WOULD PUT IT, "I'M NOT INTERESTED IN
LIVING IT UP. ALL THE MONEY'S INVESTED. I DON'T EVEN KNOW HOW MUCH IT IS. I DON'T
TAKE OUT VERY MUCH, JUST FOR CLOTHES AND A FEW CIGARETTES. WHEN IT ENDS,
"WELL", RINGO SAYS, "I'VE BEEN SKINNED BEFORE. BUT I?D LIKE TO HAVE ENOUGH TO DO
SOMETHING. WELL, SOMETHING WITH ME HANDS. I'VE ALWAYS LOVED BASKET WORK OR
POTTERY, SHAPING SOMETHING, MAKING SOMETHING, BEING ABLE TO SAY I DID THAT."
RIGHT NOW RINGO, ALONG WITH THE REST OF THE BEATLES, IS MAKING SOMETHING,
MUSICAL HISTORY.

LIVERPOOL, A POOR BUT PROUD BRITISH SEAPORT WHICH TOOK MORE PRIDE IN HER
HISTORY THAN HOPE FOR HER FUTURE HAS LIFTED HER HEAD. INSTEAD OF THE SOMBRE
RATTLE OF POVERTY ECHOING FAINTLY FROM HER OLD COBBLE-STONED STREETS,
SOUNDS WHICH MIXED WITH THE FADING SHIPS HORNS, AND PULSATING ORGAN-LIKE
POLICE SIRENS, THERE'S NOW A SOUND OF HOPE. IT STARTED LESS THAN A DECADE AGO IN
THE CELLARS OF LIVERPOOL'S BEAT GENERATION DIVES. IT WAS THE SOUND OF A NEW
MUSIC. AND IT LIFTED THE SPIRITS AND HOPE OF A WHOLE CITY WHILE ENTERTAINING
THE WORLD. THE BEATLES, OF COURSE, ARE THE BEST KNOWN OF THE LIVERPOOL
MUSICAL GROUPS. AND NONE OF THE BEATLES GET TO SPEND AS MUCH TIME IN THEIR
LIVERPOOL HOMES AS THEY WOULD WISH, BUT WHEREVER THE BEATLES ARE, LIVERPOOL
IS WITH THEM IN SPIRIT. AND IT WORKS THE OTHER WAY AROUND TOO.

THIS IS THE BIOGRAPHY OF BEATLEMANIA!