Genius Having Fun: The Beatles in March

::: By Jude Southerland Kessler ::: Spring brings out childlike wonder and joy in all of us. We walk into the sunlight and marvel at exotic Japanese magnolia blossoms brashly defying winter’s last ice storms. We gasp in delight over surprising fields of yellow daffodils. We search for four-leaf clovers but find our truest fortune in the re-energized work we do, now that dark days have become light and fresh again. The Beatles felt this. In five March calendars together, they were especially creative. They starred in films, wrote books, appeared on radio and television programs, and of course, created magical music that still plays in our homes and falls from the lips of our children and grandchildren. Invigorated each spring, The Beatles tended to greet March with an enthusiasm that found its way into archetypal creativity. For example… March 1963…Fresh off the Helen Shapiro Tour (which had run from 2 February – 3 March), the boys gathered in EMI’s Studio Two on Tuesday, 5 March, to record the jaunty, “From Me to You,” a song that had been inspired by a newspaper column which John and Paul had spotted on the Shapiro tour bus. In studio, the ever-brilliant George Martin gave the number a very singular sound when he recommended that the boys sing rather than play the song’s “da-da-dum-da-da-dum-dum-da” intro. But “From Me to You,” wasn’t the only product of that creative date. The lads also recorded “Thank You, Girl” and “The One After 909.” “From Me to You,” however, was clearly the stand-out. An instant hit, it was throughout 1963, an important part of the lads’ catalogue. In fact, it was the opening song the night that The Beatles “rattled jewelry” at the Royal Command Performance, six months later. March 1964…The Beatles began making their first film for United Artists, “A Hard Day’s Night” on Monday, 2 March 1964. Now, one would think that making a full-length feature movie and creating the soundtrack LP would be task-enough for John, Paul, George, and Ringo, but throughout the month, they were busy here, there, and everywhere. On the 19^th, for example, they spent their lunch hour at London’s Royal Dorchester Hotel receiving the Variety Club Silver Heart award for “Top Show Business Personalities of 1963,” an honor presented to them by Prime Minister Harold Wilson. And that night, instead of going home when the other actors called it quits, they hurried to tape an appearance on Britain’s #1 pop TV show, Top of the Pops. The very next evening (in their spare time, after filming), the boys performed on the hit television programme, Ready, Steady, Go! (Deep Breath!!!) And of course, in addition to all of this, John Lennon also released his first book, a volume of prose and poetry entitled In His Own Write. What can I say? The Beatles’ well-lauded creativity was, in March 1964, both on and off-the-charts! March 1965…Again, it was film-making season for the Fabs, but this time, in ’65, the United Artists’ film was “Eight Arms to Hold You,” eventually dubbed “Help!”. First, filming in Nassau for a fortnight, the boys flew home on the 10^th, only to regenerate quickly and head out once again. Three days later, accompanied by newlywed, Maureen Starkey, and John’s wife, Cynthia, the boys were en route to Austria. During their time in the breathtaking Alps, John completed an extremely biographical song he’d begun at Kenwood, a number entitled “It’s Only Love.” Depicting his increasingly rocky relationship with Cynthia, this offering revealed so much of John’s vulnerability and tenderness that ever-after, he despised it. Paul told the press that John rarely let people see his soft side: “I’ve only seen him through the cracks in his shell because the shell is so hard.” But “It’s Only Love” so laid bare John’s love for his wife and their mutual struggles, that in the years to come, John would never have a good word to say about the revelatory song. In emotional and imperfect lyrics, it had too closely captured Lennon’s wounded heart. March 1967…Wearing ponchos, flowered “kecks,” and National Health glasses, the boys were truly in creative heaven, working away in EMI Studios, on Sgt. Pepper’s Lonely Hearts Club Band. On 1 and 2 March, they worked for hours on John’s “Lucy in the Sky with Diamonds.” Then, on the 9^th and 10^th, they gave their attention to Paul’s “Getting Better All the Time.” And on the 15^th, they began work on George’s “Within You, Without You.” But in every period of intense, unfettered creativity, there is always an inherent edge and potential danger. And 21 March 1967 was one of those experimental evenings that could have ended tragically. John, having taken LSD for inspiration, was feeling unwell and excused himself from Studio Two. Hoping to help John recover (and oblivious to the reason for John’s discomfort), George Martin followed him out and suggested climbing to the EMI rooftop for fresh air. When, moments later, Paul and George saw Martin return without Lennon and discovered where their friend was recuperating, they tore out after him…realising that the roof had no rails or barriers against a sheer, 30-foot drop to the ground. Fortunately, when they scrambled — breathless — onto the top deck, John was simply standing and staring at the night sky. But the boys were so thoroughly rattled that they concluded their recordings for that evening then and there. Creative inspiration had engendered a close call. March 1968…Out of devotion to his mates, Ringo (and his wife, Maureen) agreed to go along with the others to the Maharishi Mahesh Yogi’s ashram in Rishikesh, India, for a soul revival. But after only 10 days abroad — hating the “Butlin’s holiday camp” life of the Ashram — the Starkeys gave the others their regrets and flew home. Twenty-five days later, on 26 March, after having worked prodigiously with John on a plethora of songs that would populate the White Album, Paul and Jane Asher flew back to London, accompanied by Neil Aspinall…and leaving only John and Cyn, George and Patti, and Alex Mardas behind. Although this excursion failed to end particularly well (if one knows the backstory of “Sexy Sadie”), March 1968 was undeniably a time of immense creative genius for The Beatles. Having the rare opportunity to rest, talk, write music, and have furtive fun together (when the Maharishi wasn’t looking), the boys created magical songs for the finest LP they’d offered the public in quite some time. Indeed, John alone wrote enough tracks for the White Album to have his own solo LP. The “Leader Beatle,” who had sadly relinquished his role in Sgt. Pepper and Magical Mystery Tour was back. They all were…in a flood of bright, spring sunlight that blended dramatically into pure White. Albert Einstein once said, “Creativity is genius having fun.” And certainly, no group of people bear this out better than The Beatles. During the March months of their lives, they starred in award-winning films (creatively ad-libbing many of the famous lines), wrote and illustrated books of poetry and prose, composed and recorded music, starred on television and radio programmes, and sought new horizons of faith. But for the lads, ushering music, art, and literature into the world was never a job or a chore! It was always the product of the happiest moments of their lives. And may it be so, this month, with us as well. Shine on!

Jude Southerland Kessler is the author of the John Lennon Series: www.johnlennonseries.com Jude is represented by 910 Public Relations — @910PubRel on Twitter and 910 Public Relations on Facebook.

A Month in the Life

By Danny Abriano

::: By Jude Southerland Kessler :::

“If you have built castles in the air… that is where they should be…now, put the foundations under them.”

Henry David Thoreau

In this second installment of The Fest Blog’s study of The Beatles’ time together, month-by-month, John Lennon Series author, Jude Southerland Kessler, examines what the lads did during 5 fab February’s. As we walk winter’s weeks together, what can we learn from John, Paul, George, and Ringo? And how can that change the course of our own lives?

February 1963 – During one of the coldest U.K. winters on record, the shivering Beatles set out on tour with lovely, little Helen Shapiro, playing dank theatres and music halls in a concerted effort to propel their names and songs to the British public. But on the 11^th, they took one day off from their rigorous schedule to race down to London, where they would record their very first LP, Please Please Me. With brilliant producer George Martin at the helm, alongside engineer, Norman Smith, and second engineer, Richard Langham, the boys — desperately ill with colds and flu — began work around 10 a.m. First, they recorded several fondly familiar songs from their old Cavern Club days. Then, as the morning gave way to afternoon, they tackled original tunes for this LP that Epstein hoped would propel his lads to the top of the charts. In the autumn of 1962, The Beatles had had a hit with “Love Me Do” and a Number 1 with the new LP’s title song, “Please Please Me.” However, to maintain that momentum, now they had to produce a host of songs proving their versatility, creativity, and star power. And they did! In only 12 hours, John, Paul, George, and Ringo produced a record that would stand the test of time. And when, at 10:30 p.m. that night — weary and shaking with fever — John Lennon tackled the performance of “Twist and Shout” for the pot-boiling close of the record, he gave history one of his finest tracks…in only one take! The LP was complete. Never had a group compiled a record of such magnitude in only one day. The Beatles had worked their way into stardom.

February 1964 – Landing at John F. Kennedy Airport to ecstatic screams that eclipsed jet engines, The Beatles stepped onto American soil on 7 February 1964, and began “The British Invasion.” In only two days, they were slated to play The Ed Sullivan Show. And despite the fact that George Harrison had contracted flu, the four “mop-tops from Liverpool” rose to the occasion. On Sunday night, 9 February, they sang into the cameras for the largest television audience in history (at that time), and instantly, their names became both legendary and household. Then, moving rapidly by train to Washington D.C.’s exhilarating Coliseum-in-the-round performance and up to the Big Apple’s fabled boards in Carnegie Hall, The Beatles made history! Without stopping to breathe, they flew on to sunny Miami for two more Sullivan appearances, while wooing the U.S. public via press conferences, interviews, photo opportunities, and phone chats with a plethora American DJ’s. In 14 days, The Beatles did the work of months, and then nearly exhausted, they winged their way back home to begin filming the oh-so-aptly-dubbed “A Hard Day’s Night.”

February 1965 – One thinks of the exotic Bahamas as a vacation locale, but in Feb 1965, The Beatles landed in Nassau to off-the-chart screams for the making of their new United Artists’ film dubbed “Beatles 2” and later, “Eight Arms to Hold You,” and finally, “Help!” Rising daily at 6:30 a.m. for hair and make-up, The Beatles worked on set from 8:00 a.m. to 5:30-6:30 p.m. each day, and in the evenings, frequently gave interviews to journalists such as Larry Kane, Derek Taylor (who, in 1965, was with KRLA, Los Angeles), Long John Wade, and others. John Lennon, additionally, was completing the work on his second collection of prose and poetry, A Spaniard in the Works. Prior to winging their way to the Bahamas, the boys had spent hours recording many of the songs for the film’s soundtrack, but additional work was yet to come. So, taking full advantage of their few nights off, the lads enjoyed a bit of time with Jim and Angie McCartney and their daughter, Ruth, and with George’s sister, Louise — all of whom were on location. As always, however, industry ruled the day. Even in paradise, The Beatles were working.

February 1967 – It wasn’t just another “Day in the Life” when, on 10 February 1967, The Beatles oversaw the orchestral recording of the final bars of the final song of their new LP, Sgt. Pepper’s Lonely Hearts Club Band. That evening, 40 classically-trained musicians arrived at EMI Studios, Studio One, to take part in the cataclysmic close to a song that frequently is listed as the best in The Beatles catalogue. Instructing the gifted musicians that he wanted “a musical orgasm,” producer George Martin requested a sound that gradually ascended and intensified before crashing in an E major chord…a sound burst. Throughout February’s weeks, the lads had been working diligently in Studio Two, recording various other songs for the LP (including the title track) and creating videos in Knole Park for their upcoming single, “Penny Lane” and “Strawberry Fields.” But on the 10^th, with Paul McCartney and George Martin alternately conducting the small “Day in the Life” symphony (gathered in what would eventually be known at “Abbey Road Studios”), another musical moment in time was captured forever, compliments of The Beatles.

February 1969 – January had ended with a rooftop concert that was, for all intents and purposes, the swan song of The Beatles. So, February was for all four boys, a time of re-invention. Ringo began work on his new solo project — a film with Peter Sellers entitled “The Magic Christian.” John, knee-deep in various avant garde happenings and recordings with Yoko, took time out to return to London’s Trident Studios to record “I Want You (She’s So Heavy)” for what would eventually be the Abbey Road LP. George Harrison, in a bit of personal maintenance, had his tonsils removed at University College Hospital, London, but later in the month, he returned, full-throated, to EMI to record demo tapes of “Something,” “Old Brown Shoe,” and “All Things Must Pass.” Still infuriated by the late-January suggestion by John, Ringo, and George that Allen Klein should manage Apple and 20 percent of their personal incomes, Paul took immediate steps to ensure that the firm of Eastman and Eastman were appointed as Apple’s General Council, carefully supervising Klein’s management. However, Paul and Linda still found time to attend the release party for Mary Hopkins’s first LP (which Paul had produced), Postcard. In February 1969, each of The Beatles was discovering his new métier, and without a moment’s rest from the demands of Beatledom, they were exploring their chosen horizons.

The one quality that always distinguished The Beatles from other groups was their unfailing willingness to get up early, work late, give more than expected, and produce more than anticipated. They were, in short, driven. Their Februarys together bear this theme out, again and again. The Beatles never once shied away from rolling up their custom-made shirtsleeves to build “castles in the air” from rough brick and real mortar. They created enduring edifices by demonstrating to us all that lasting dreams require unflinching dedication and industry.

Jude Southerland Kessler is the author of the John Lennon Series: www.johnlennonseries.com

Jude is represented by 910 Public Relations — @910PubRel on Twitter and 910 Public Relations on Facebook.

What The Beatles Found in January

By Danny Abriano

::: By Jude Southerland Kessler :::

Ever kept a five-year diary or calendar? No? Well, if you’d like to (as we used to say in The Sixties) “find yourself,” you might try it. The practice is highly touted by self-help experts and counselors because it helps to reveal trends and patterns we display seasonally, monthly, and even at similar times of the day. Journaling over a decade reveals even more about how we react to light, weather, seasonal stresses, and yearly events. Studying a record of what we do, year-in-and-year-out, highlights so much about our personalities.

Now, The Beatles didn’t journal…well, not that we know of…yet. But their day-by-day actions from 1964-1969 were highly chronicled. And studying their undertakings, month-by-month, is not only interesting, it’s informative. So, throughout 2020, the Fest Blog would like to take you on a month-by-month glance back at some of the most outstanding events of each month during The Beatles’ time together, beginning, of course, with some of The Beatles’ Januarys together.

January 1964…On 16 January, The Beatles endured a rather rough opening night at the Olympia outside Paris. Their amplification equipment failed three times! The audience, comprised mostly of young men (since teenage girls would have required chaperones to attend an evening performance away from home), was yawningly unimpressed and disappointingly unresponsive. John, Paul, George, and Ringo trudged “home” to the Hotel Georges Cinque in an umber mood. But waiting for them was a change of disposition: Brian held a telegram announcing that in the week ahead, “I Want to Hold Your Hand” would chart at Number 1 on the U.S. Cashbook hit list! Utterly phenomenal! And just in the nick of time, too: The Beatles were booked to fly into New York City on 7 February for a three-week tour. Cheering and cavorting, the elated Liverpool lads were filled with hope that soon they’d claim “the toppermost of the poppermost.”

[Note: A long-held legend states that The Beatles had vowed not to appear in the U.S. unless they had secured a Number One, and this good news gave them the “green light” to journey on to The States. Well, the truth is, The Beatles were already booked to appear in America on three Ed Sullivan shows, whether or not the Number 1 slot was attainable. Brian had arranged the trip back in autumn of 1963. So, the Paris telegram was truly a bit of happy serendipity! Good fortune to begin the year.]

January 1965 – John and Cynthia, George Martin and his girlfriend, Judy Lockhart-Smith, flew to St. Moritz, Switzerland for a few days of rest and relaxation, following the close of “Another Beatles Christmas Show” in the Hammersmith Odeon, London. One side goal of the Swiss trek was to give John an opportunity to learn to ski, since in just a few weeks, he would be filming a ski scene for The Beatles’ upcoming United Artists film. All four travelers were excited to hit the slopes with their private ski instructors. But on first night in the hotel, John and George were entertaining the ladies with mad antics, when George fell and broke his foot. For the producer, there would be no happy jaunts on the picturesque Alpine slopes. Not this trip.

The next evening, to amuse Martin and draw him out of the doldrums, John performed two new songs…songs that John had composed for the new film (eventually to be known as “Help!”). The first number was haunting and lovely, but because it was clearly a song about an affair John had had, Martin was unnerved. He felt awful that Cynthia was sitting only a few feet away, chatting with Judy. So, he urged John along to the next composition. This one was fast-paced — a hard-hitter about a girl who was leaving the singer flat. “Ticket to Ride” was, even in its early, unplugged version, incredible. Later, John would call the number “the first heavy song The Beatles ever did.” In fact, he said it was “heavy before there even was heavy!” It would be released on 9 April in the U.K. and go to Number 1 only five days later. This January 1965 composition, born of the desire for greater experimentation and variety in The Beatles’ musical creations, would take them in a new direction.

January 1966 – John had been married since August of 1962, and Ringo since January of 1965. But Paul and George remained eligible bachelors until January of 1966 when George and Patti Boyd said their “I do’s” at the Epsom Register Office in Surrey. In a very brief, 7-minute ceremony, the couple (who had dated since they met on the set of “A Hard Day’s Night” in 1964) became Mr. and Mrs. George Harrison. And full of hope, a new year and a new life began for The Beatle as well as his gorgeous new bride, a former model.

January 1968 – The end of 1967 had left The Beatles deeply despondent. They were mired in Apple’s machinations, and “Magical Mystery Tour” — airing on BBC1 on Boxing Day, 1967 — had disappointed both the public and the press. But in January, George Harrison, who had been in India, working on the music for the film, “Wonderwall,” came home filled with a serene spiritual peace. Certain that he could connect his mates to this new font of inspiration as well, George began to coax them to “at least listen” to “the truth” he had found. Already, seeds were being planted for The Beatles’ February 1968 sojourn to Rishikesh where, in the Ashram of the Maharishi Mahesh Yogi, the four boys would refresh their weary souls, write most of “The White Album,” and return home with renewed energy and creativity for the studio. George had given them hope by reminding them that, as always, the world could not break their spirit.

And so, looking back over the lads’ myriad Januarys together, we find that The Beatles are not so different from you and me.

Hope visited The Fab Four regularly in January, as it comes to us all: a flicker in the dark of winter, a soft whisper that no matter how we’ve failed in the year before, we have a chance to try again: a new world to conquer, a new marriage to tend, a new song to sing, and a newness of soul to seek. Over and over, The Beatles kicked off the year, as we must, in a spirit of optimism — believing that life is doable, if only we can pick ourselves up and start again. They also began in expectation, claiming the year ahead as their own and pledging the determination and hard work to make it so. And so, my dear Fest family…so can we.

Jude Southerland Kessler is the author of the John Lennon Series: www.johnlennonseries.com

Jude is represented by 910 Public Relations — @910PubRel on Twitter and 910 Public Relations on Facebook.

Monday, January 6, 1964 at 7:45 p.m.: A moment in time that changed my life, exactly 56 years ago!

By Danny Abriano

From Fest Founder Mark Lapidos

56 years ago tonight, I heard I Want To Hold Your Hand for the first time.

I know I have told this story before but some stories are worth retelling.

Since Christmas and New Year’s fell on Wednesday in 1963-64, as it did this year, Monday, Jan 6th was the first day back in school in New Jersey. I was out of town for two weeks and my transistor radio did not work, so I heard nothing about The Beatles until that evening.

I remember it as if it were today. I was almost 16 years old, sitting on my bed doing my homework, listening to the radio – WABC in particular. It was the biggest station in the U.S. and was called a Top 40 station. They played all the hits of the day. At 7:45 p.m., the Legendary Scott Muni puts on this new record I had never heard before.

The song immediately caught my attention and I got so very excited, I put down my homework, jumped to the edge of the bed and listened, wondering what was I hearing. Who was singing?

By the time the song was over, I was hooked. Scott Muni said that was a song by a band from England who called themselves The Beatles. My immediate thought was “What a strange name!” The next day I came home from school and since Tuesday was always new survey day, the radio went on as soon as I got home. Within minutes, Dan Ingram (another radio icon) played the new Number One song and it was I Want To Hold Your Hand. How could that be — hearing it for the first time and #1 immediately!!

Apparently a lot of people must have had the same reaction as I did. I have met many fans at the FEST over the years who tell me a similar story. I guess that is why we celebrate our common love for The Beatles there. It was a moment in time indeed. My father bought me a guitar the day after he asked me if I wanted to learn how to play guitar. I was jumping up and down playing air guitar to Twist and Shout on the car radio and my dad (a professional musician himself) definitely took notice.

The Beatles took hold of me 56 years ago tonight and never let go. The Ed Sullivan Show was five weeks later and two weeks after that I saw The Beatles in the flesh leaving the Deauville Hoel in Miami Beach. My family happened to be staying at the hotel right next door on vacation. I was running down Collins Avenue alongside the limo waving and they were smiling and waving back at me as they headed off to the airport to go back to London.

Peace and Love,

Mark Lapidos – FEST Founder

Remembering the Concert for Bangladesh

By Danny Abriano

FEST FOUNDER MARK LAPIDOS’ THOUGHTS ABOUT THIS CONCERT AND THE ALBUM, WHICH WAS RELEASED 48 YEARS AGO TODAY

July 31, 1971, I cut my West Coast vacation short by one day, to take the Redeye back to NYC to attend the Concert For Bangla Desh on August 1, 1971 at Madison Square Garden. I went to the afternoon performance. The excitement of seeing a Beatle (2 actually) on a U.S. stage for the first time since their breakup was mindboggling! And it all happened because George’s friend Ravi Shankar asked for some help. George said yes, called a few friends and created the blue print for all benefit superstar concerts that followed. To this day, it is the greatest concert I ever attended! Walking out into the teaming rain, which nobody seemed to be a bit bothered by it, after we just witnessed, I announced that this will win the Grammy for Album of the Year! It was supposed to be released almost immediately to raise more money for the cause, but Capitol and Columbia records to over 4 months to come to an agreement (to use Bob Dylan’s performance on the record). That delay caused it to not be eligible for that year (as it turned out , that was a good thing because it would not have beaten out Carole King’s Tapestry album. But my prediction came true as it did win Album of The Year in 1972.

But I wanted to talk about its December 20, 1971 release. I was working at Sam Goody Record Store in Paramus, NJ. A dear friend and log time FEST contributor, Al Sussman, also worked there (that is where we met). I was the Record Manager at that time and I ordered 600 copies. The buyer was surprised. He called me to explain that it would be a very expensive album, with a list price of $12.95 he thought fans may not spend that kind of money. The store price was set at $12.79 as there was very little profit for any stores as it was for charity. I told him I was certain it would sell like crazy. We got word that the truck should be arriving at 3:00PM. The lines were almost out the door in this huge store. The only time I ever went to the loading dock in my years there was that day. I had Al waiting for me at the back door service entrance where we had the line begin. I watched the truck door open and there was the entire pallet in front of my eyes. Uncontrollably and unplanned ,I leaned in and gave the pallet of Albums a big hug!! I was opening the boxes as it went down the hallway to the store so Al could begin to hand them out immediately. That moment was so electric. To see the excitement of fans so eager to purchase this amazing three records of absolute history. Between 3:00PM and 10:00PM, we sold an astounding 252 Copies. We had to reorder more copies within 2-3 days. The rest is history. It did go to #1 and stands at the top of the mountain of the world of great charity album since. Thank you, George.

On a side note, I had been playing Here Comes The Sun on guitar for 22 months and could not get it right. Then I saw George (with Pete Ham) perform it live and saw they used a capo on the 7th fret to get that sound! I went home and must have played it half the night.What a difference. To this day, at the end of each FEST, after all the packing is finished on Sunday night, and the sound of Beatles music can still can be heard with Festers playing in the lobbies and other places around the hotel, I come over, strap on a guitar with the capo in 7th position, of course, and I close the event playing Here Comes The Sun with a family of Beatles people joining in with many guitars, lot of singers harmonizing, that unique hand clapping George created during the middle eight, and into that uplifting finish. For me it is always a highlight of the weekend.

Merry of Soul

By Danny Abriano

::: By Jude Southerland Kessler :::

If you haven’t watched “Outlander,” you should.

This science fiction/romance TV series is addictive — perhaps because, unlike many programs, it is both uplifting and inspiring. This isn’t to say that there aren’t complications, hitches, and plot lines that make each episode’s ending nail-biting…but overall, the story is one of a life’s devotion.

The series theme song, “The Skye Boat Song,” is a lovely and haunting adaptation of an old Scottish ballad about “bonnie Prince Charlie,” but the words have been altered to tell the tale of the show’s female protagonist, Claire Randall. And as I was listening to it a few nights ago, I was touched by one line that described this beautiful and bold healer as “merry of soul.” What an incredible tribute to be thought of as “merry of soul”! I know a few people who fit that bill.

One (perhaps) fictional figure who certainly matches that description is the quite seasonal Santa Claus. With his hearty “ho, ho, ho’s” and his year-in-year-out dedication to giving gifts to one and all, he is described as having “dimples [so] merry.” And ah, that magnificent smile of his! It makes me grin, just imagining it.

The Beatles, too — well, The Beatles of 1958-1964 — were also “merry of soul.” With their mickey-taking and inside jokes, silly walks and dances, sly innuendos and double entendres, and their enjoyment in making music, they drew us, unashamedly, to them. They were utterly joyous.

I think of them insisting, over Brian’s reluctance, that they make a 1964 holiday record for their fans. I think of them singing that nonsensical “Good King Wenceslas” and then, stepping up to the microphone to read their personal Christmas greetings. Merry! So many scenes from those early years were exactly that! You can’t watch The Beatles on the Feb. 1964 Washington, D.C. stage-in-the-round without absorbing their sheer delight! You can’t hear them on Live at the BBC, Vol. 1 without feeling their pleasure in being exactly who they are.

Right now, I’m working away on Vol. 5 in The John Lennon Series, where 1965 begins to take its toll. The book will be entitled Shades of Life because by this point in their career, John, Paul, George, and Ringo had begun to feel the tug and pull of Beatlemania — the grind of making a yearly film, doing two annual LPs, going out on a second World Tour, enduring yet another North American Tour, and grinding out one more U.K. tour while also giving interviews, doing television specials, starring on radio shows, and living complicated private lives. The unrelenting schedule was stripping these young men of vibrance and colour. The boys were becoming grey automatons — working incessantly, without a bit of bright.

I can empathize. I bet you can as well. Life is taxing. Having moved 32 times in the last 42 years, and facing yet another move this year, I am tired. Spending most of my time doing things I have to do rather than things that I want to do (such as write) and dealing with an auto-immune disease that complicates what I eat, drink and do, I’m frustrated.

Struggling to “right myself” after several rather significant lifestyle gut-punches, I’m cynical. It’s been a long time since I’ve been “merry of soul.” “Weary of soul” is more apt. Maybe you feel that way, too.

But tonight, as I walked in the just-before-Thanksgiving night air and watched twinkling Christmas lights going up in our neighborhood, saw huge campers being readied for “to Grandmother’s house we go” road trips, and heard the laughter of visiting children romping through front yards, I reminded myself that “Outlander”’s Claire had every reason to be “weary of soul”…and yet, she wasn’t. Like a person unjustly incarcerated for years, she missed out on so much that she could never recapture and enjoy, but instead of focusing on what she’d lost, she focused on what she still had to enjoy.

The Beatles were like that. Certainly, in the post-1966 era, they experienced argumentative and unhappy moments. But Beatles Guru, Mark Lewisohn, reminded us last year at the Monmouth University White Album Conference that the White Album wasn’t entirely written under an umber cloud, that the boys were still friends in Rishikesh, at George’s home in Esher, and in the studio days ahead. Even the fractious moments we see on “Let It Be” were only part of a larger puzzle — with intricate pieces of camaraderie, dissention, happiness, and agitation snapping together congruously to form a whole. There were still plenty of times, Lewisohn reminded us, where merriment had its home in the hands of The Beatles.

After all, when one stands back and summarizes the Fab Four’s career, what does one find? Love. Love, love, love! Innocent love in “I’m Happy Just To Dance With You,” “Do You Want to Know A Secret,” and “Love Me Do.” Romantic love in “Something,” “Here There and Everywhere,” “Please Please Me,” “Eight Days A Week,” and “This Boy.” Love denied in “For No One,” “Girl,” “Not a Second Time,” “Yes, It Is,” and “I’ll Follow the Sun.” Sexual love in “When I Get Home,” “I Wanna Be Your Man,” and “I Want You.” The love of friends in “In My Life,” “With A Little Help From My Friends,” and “Yellow Submarine.” The heartbreak of love in “If I Fell” and “Yesterday.” There’s even a tongue-in-cheek fondness for the Queen in “Her Majesty.” You can think of a hundred other examples. Because for The Beatles, it all boils down to love…in the end.

Perhaps “Outlander”’s popularity can be explained by the fact that in this angry and argumentative world of blame and shame, we yearn for a place where love truly is “all you need.” And perhaps The Beatles surpassed all other bands in history, in part, because no matter what, they lived out their greatest mantra: “And in the end, the love you take is equal to the love you make.”

In moments of wonder and moments of despair, one thing remained: they were merry of soul.

Jude Southerland Kessler is the author of the John Lennon Series: www.johnlennonseries.com

Jude is represented by 910 Public Relations — @910PubRel on Twitter and 910 Public Relations on Facebook.

Happy Thanksgiving from The Fest!

By Danny Abriano

::: Message from Fest Founder Mark Lapidos on two Beatles anniversaries and Thanksgiving :::

Dear Fellow Beatles Fans,

I have very clear memories of both of these releases. I was a junior at Adelphi University and had a car. I went around to the guys in the dorm to see who wanted me to pick up a copy of Magical Mystery Tour on the day of its release and their choice of Mono or Stereo!!! There were a bunch! I was calling the nearby Record World store at Roosevelt Field every day. When it arrived (11/27/67), I immediately went to pick up both mono and stereo copies. The problem was their first shipment was stereo copies only. I was fuming. What was I going to do? In 1967, we were (falsely) led to believe that you couldn’t play stereo records on a mono record player! So I just HAD to purchase a stereo record player on the spot, so I could listen to it. It was definitely worth it.

Three years to the day, (11/27/1970), came George’s first proper solo album, and what an album it was! One of the greatest of all time, by anyone!! I was working at the Sam Goody Record Store in Paramus, NJ and the shipment was delivered the day before we were allowed to sell them. At the end of the evening of the 26th, I went to my manager and told him I wanted to buy it before I went home. He said no (He was in his 40s and just didn’t understand!). I repeated myself (another sales person, Ralph, was by my side with the same need). I said to the mgr, either you sell me the copy now or I am going to just take it home anyway. He finally realized how important this was to both of us. I stayed up half the night listening to it and trying to take in so much music in one sitting.

Only four years and one day later, November 28, 1974, John surprised the sold out Madison Square Garden by joining Elton John to perform John’s #1 hit, Whatever Gets You Through The Night, Lucy in the Sky With Diamonds (that Elton took to #1) and “a song by an old estranged fiance of mine, called Paul”. They ripped into an amazing version of I Saw Her Standing There. Because of a ticket mixup, I was not at this performance. I was extremely upset when I found out John actually did show up!!

It is hard to imagine these three events were 45, 49 & 52 years ago! Where does the time go? I don’t know, but right now, it is time to wish every one of you a very safe and HAPPY THANKSGIVING!!

Peace and Love,

Mark (+Carol, Michelle Joni, and Tilly)

Number Nine … things for which John Lennon was thankful

By Danny Abriano

By Jude Southerland Kessler

The Beatles, not being American (of course), didn’t celebrate Thanksgiving, per se. But somehow, as we near the close of the year, all of us tend to reflect on things for which we are grateful. And although John is so often caricatured as “John Lemon,” a tart and sardonic figure, he was, in reality, very appreciative of special people, moments, and belongings. After all, isn’t that what his song, “In My Life” is all about? Here are just a few precious elements of John’s journey here on earth things that he loved. Perhaps this will inspire you to make a similar list of your own.

And I think we can all begin by listing The Fest for Beatles Fans which draws us together twice a year as family…and for Mark, Carol, Tilly, and Michelle Joni, who very lovingly gave us this “Home Away From Home” in our lives.

His Uncle Ge’rge – John was, for all intents and purposes, reared by his Aunt Mimi and Uncle George. And although Mimi taught him valuable lessons about determination and duty and instilled in him a love of reading, it was Uncle Ge’rge (as John called him) who taught the little boy about love. Each night, when John was kindergarten age, Uncle George taught the boy to read from that evening’s Liverpool Echo. Despite Mimi’s fury, he took the child to the Disney picturedromes (films) that came to Liverpool. And George wired speakers up in the child’s bedroom so that John could listen to radio programs such as “Dick Barton, Special Agent” and later, “The Goon Show.” George Smith was an artist, like John, and he understood the child’s heart. John simply adored him.
His sisters, Julia and Jacqui – John’s mother, Julia Stanley Lennon, (after relinquishing John to Mimi and George) went on to have her own family with John “Bobby” Dykins at 1 Blomfield Road, Allerton…about a mile from the place where John lived with his aunt and uncle. Julia and Bobby had two precious little girls named Julia and Jacqui. And when, as an older child, John found this out, he didn’t resent the fact that his sisters got to live with his mother while he did not. He loved his sisters, and they adored him. After Uncle George’s death in 1955, John started spending a good bit of time with his mother and his sisters, and they threw impromptu parties with ginger beer and cakes, and of course, rock’n’roll. The girls enjoyed the earliest band rehearsals of the Quarry Men in the Blomfield bathroom. John’s sisters were always there and always supportive of him. In fact, when The Beatles were fêted by Liverpool during the Northern Premiere of “A Hard Day’s Night,” John specifically asked for his sisters from the stage. They meant the world to him.
His friends – John was never a loner. He always wanted to captain a group. And one of the earliest members of “his gang” was Pete Shotton. Pete lived near John in Woolton, and the two went to Quarrybank Grammar (high school) together. They were so close that people laughingly called them “Shennon and Lotton”…and they were a deadly duo full of mischief. Later, at Liverpool College of Art, John met his soul mate — a friend closer than any brother — Stuart Sutcliffe. Stu told John over and over that John would “never be just a rock’n’roller”…that John’s music would always be his form of art. So, Stu encouraged John to dress differently, write unique songs, and use his album covers as a form of artistic expression. The dramatic impact of Stuart Sutcliffe on The Beatles is absolutely immeasurable.

Of course, all of The Beatles were John’s mates. During John’s tenure at Liverpool College of Art, George was John’s “younger brother,” shadowing John everywhere he went! And once Ringo and Maureen had married and moved out to Weybridge, Surrey (where John and Cynthia lived in Kenwood), Ringo and John became close companions as well. Each of The Beatles mattered throughout John’s life, long after The Beatles had dissolved.

Cynthia Powell Lennon – Cynthia was John’s girlfriend at Liverpool College of Art, his first wife, and the mother of his son, Julian Charles Lennon. In the early days — long before The Beatles were popular — Cynthia would hold John’s microphone, taped to a broomstick, as he practiced away in the dank Jacaranda Club basement. Cynthia was also one of the earliest Beatlettes in the Cavern Club. And even though John invited her to his gigs after they were married, Cyn (as John fondly called her) wanted her husband to shine alone in the limelight. She declined. Encouraging her love to chase his dreams of “the toppermost of the poppermost,” Cynthia waited at home, keeping John’s life on an even keel. Indeed, The Beatles’ friend, Tony Barrow, called Cynthia “John’s centre, his peace.”
Books – Throughout his life, John was a voracious reader. He read two to three newspapers a day, as did his Aunt Mimi before him. In addition, John read at least one book a week. Beatles’ tours in 1964-1966 gave him plenty of “down time” to read — backstage, on airplanes, and in hotel rooms. And when he wasn’t writing song lyrics or doing interviews, John had his nose in “a bloomin’ booke.” As a child, he loved Richmal Crompton’s Just William stories and Lewis Carroll’s magical books, full of wordplay. As an adult, one of John’s favorite works was Sylvia Plath’s The Bell Jar. But when asked, in interviews, what his favorite literary work was, John would often flash a devilish grin and say either In His Own Write or A Spaniard in the Works…his own award-winning literary creations.
His many cats – In Eddie Deezen’s article, “John Lennon Was a Crazy Cat Lady,” Deezen lists and describes each of the 16 cats that John owned during his lifetime. His earliest (in Mendips with Mimi and George) were Tich and Sam. Later, Cynthia and John had a cat sarcastically dubbed Mimi. In the 1970s, the lovely May Pang and John had two cats called Major and Minor. And those were but a few of Mr. L’s furry friends! Although John clearly adored felines, however, he also cherished his childhood mutt, Sally, who always nuzzled “his boy” when John was sad or lonely.
Kellogg’s Corn Flakes and Bird’s Custard – John had simple breakfast tastes. He loved toast and tea. He loved Corn Flakes. And for dessert, the unbelievably delicious Bird’s Custard was always a hit. On tour, John ate so many backstage servings of steak and chips (fries) that he actually started to hate them after a time. But no matter how much of it he had, John always craved more Earl Grey Tea.
American rock’n’roll of the 1950s – John turned 13 in 1953, so the music of the Fifties was his music! He loved all of the songs that eventually ended up on his 1970’s “Rock’n’Roll” album, including “You Can’t Catch Me” by Chuck Berry, Larry Williams’s “Bony Maronie,” and Little Richard’s hit, “Ready Teddy.” John’s cover of Ben E. King’s “Stand by Me” is considered one of his most poignant songs, and John (like all of The Beatles) loved the hits of American girl groups, such as the Shirelles. John’s mother, Julia, taught him to love the classic, “Angel Baby” and Elvis’s “Jailhouse Rock.” No doubt about it, John Lennon was, musically, a true child of the Fifties.
Television – Television didn’t become a household item until John’s teen years, but once he found it, he was hooked! He had the television on “as background noise” almost all of the time while living in New York. But he watched many programs as well, especially newscasts. John was quite savvy about current events, trends, and rock groups; he kept up with the latest crazes on “the telly.” In the 1970s, John mentioned the television in several of his solo songs, (“I’m Steppin’ Out” and “Dear Yoko”), and he often wrote his lyrics in bed while the telly droned on, in the background…lyrics, perhaps, like these:

“There are places I’ll remember,

All my life, though some have changed,

Some forever…not for better…

Some have gone, and some remain.

All these places had their moments

With lovers and friends I still can recall.

Some are dead, and some are living…

In my life, I’ve loved them all.”

With love…

Happy Thanksgiving!

Jude Southerland Kessler is the author of the John Lennon Series: www.johnlennonseries.com

Jude is represented by 910 Public Relations — @910PubRel on Twitter and 910 Public Relations on Facebook.

Turn, Turn, Turn

By Danny Abriano

I can still hear The Byrds’ crystalline, jingle-jangle sound as they brought Old Testament wisdom to life:

“For everything,

Turn, turn, turn…

There is a season,

Turn, turn, turn…

And a time to every purpose under heaven.”

The year that they took “Turn, Turn, Turn” to Number 1 on the charts, my mother was a Home Economics teacher at Bolton High School, Alexandria, Louisiana, and I was in the 6^th grade, where I spent my days madly in love with The Beatles. For me, the Byrds’ song had a gorgeous melody and a real hook, but honestly, the words were kind of…well, scary. “A time to break down” made me uncomfortable. “A time to weep,” when gruesome reports of Vietnam filled the nightly news, scared me. And “a time to be born, a time to die” was terrifying. The lyrics were so foreign to me then, so far removed from the childlike emotions I understood.

But now, “a time to die,” has become all too real. I lost my remarkable mother five years ago, and my dad, three years after that. Three of my dearest friends in The Beatles World are mourning the loss of their moms right now. And many others of us have losses fresh in our memories. Our sweet Carol Lapidos, for example, posted on John Lennon’s birthday a “Happy Birthday!” to John and Sean…and to her dearly departed father-in-law, Mark’s dad, as well. All of us are missing someone cherished. All of us are learning — first-hand — about the complicated emotions intertwined in loss, mourning, and remembrance. All of us are finding our way in this new season.

In 1965, when I first heard the Byrds’ lovely and haunting rendition of the words from the book of Ecclesiastes, I knew so little about death. I had only lost a grandfather whom I had never had the opportunity to really know. But a year later, I lost my quiet and faithful companion, my sweet cocker spaniel, Beau…and the reality of “a finite existence” began to sink in. Separation and acceptance became more tangible than they had ever been, and I started to value the importance of memories. In 1966, I learned to grieve.

And at a mere 13-years-old, the one healing unguent that got me through the pain of loss was The Beatles. Their music made sadness bearable. Their sound assuaged pain. Getting lost in the melody of “This Boy” or “In My Life” stopped the tears. The Beatles were a panacea.

And you know what? Very little has changed. Today, my friends and I (all ardent Beatles fans) are calling upon the same balm to tend our wounds. Fifty years later, we are still turning to the soundtrack of our lives as we — the ones left behind in this place called Earth — recall, remember, and re-target our lives. The Beatles still seem, somehow, to understand as John spools out his own heartbreak in “Yes, It Is.” As the boys seem to offer “a way forward” in “I’ll Follow the Sun.” Their lyrics, though written for them and about them, somehow fit our lives so well. We feel an inexplicable kinship with these four lads from Liverpool, lads we’ve never met and yet, have always known.

In that vein, I sat down a few years ago and wrote a poem for a friend who was walking through her own “Valley of the Shadow.” I so hoped that the words would strengthen her heart, and today I hope that wherever you are on your journey, she and I can share them to touch your spirit as well.

They were

My safe place,

My known against the unknown,

My run-to, go-to shelter after midnight,

My flickering light up in the window,

Home.

Far back as I can go,

Far forward as I can imagine,

Reverse and forward,

Stop and pause…

They were always there:

A net beneath me,

A hiding place,

A room sequestered from the world

A vault where I could hide.

I huddled close beside them

And deftly hid my head,

With

Nowhere Man and Silver Hammer,

Mr. Moonlight, Lovely Rita,

Celebrated Mr. K

Performing feats on Saturday…

And standing in the gaps

Of the Helter Skelter in my brain.

Pretty little policemen, guard me.

Octopus’s garden, hide me.

I’m on my way home,

I’m on my way home…to you.

In the play-out tracks,

I heard they had a message

(Backwards perhaps and not in tune)

And I am there as well,

Covered in music,

Wrapped in lyrics,

Invisible…

Camouflaged…

Protected.

Sheltered in their sound

You can find me.

I am there,

Buffered.

If you are there with me…

Turn up the music. Turn up the hope. Turn up the volume and shout aloud these words that I would love to say to you in person: “You are not alone. Not today. Not tomorrow. Not ever.”

Winston Churchill said to all of us, “Success is not final, failure is not fatal: it is the courage to continue that counts.”

Remember that seasons change. Nothing stays the same. If you are in a season of distress, it will dispel. If you are in a season of pain, it will fall away. If you are in a season of sadness, hang tight. We are a Beatles family, and together, we can do what we need to do.

Turn, turn, turn…you can go on.

Jude Southerland Kessler is the author of the John Lennon Series: www.johnlennonseries.com

Jude is represented by 910 Public Relations — @910PubRel on Twitter and 910 Public Relations on Facebook.

And the Favorite Beatle is

By Danny Abriano

By Jude Southerland Kessler

Over the last nine months, Recipe Records author Lanea Stagg and I have been asking our guests on the She Said She Said podcast one “bonus question” at the end of each interview: “Tell us who your favorite Beatle is and why?” And in posing this query, we’ve stumbled onto a trend.

Our female guests have all instantly piped up with a specific choice — generally Paul or Ringo, although once in a while, George, and even more infrequently, (the best Beatle!!) John. Our male guests, however, have tended to respond with a pause and then a response something like this: “Welllll, I don’t really have a favorite.” Or: “Hmmmm, it’s hard to separate the group. I mean, it takes all of them to make the music, right?” This “choosing a Beatle” question almost seemed foreign to them.

A month ago, I wrote an article for Culture-Sonar discussing the disappointing number of times that John Lennon’s songs are being aired on many Beatles streaming and radio stations…bemoaning the current “disappearing act of John Winston Lennon.” And the Facebook responses to this article’s observations were truly educational for me. Female readers answered with, “I’ve observed the same thing, and it’s aggravating!!” Or: “Well, Paul’s catalogue is much larger, so of course, he’s going to get more air time!” Or: “What if you were a George fan?! George was rarely heard from in the ‘fab days,’ much less now!!!!” You get the drift.

But my male readers (though not all!) saw my observations as rather “divisive.” One particularly well-written and insightful comment stated, “Interesting article, but I hate to hear the segregation of the songs through ’embryotic’ ownership. Beatles songs are Beatles songs. Start cutting them up and dishing them onto separate plates, and that is not how I want to remember them.”

This comment really set me on my heels. It made me stop and think. Because “in my life,” as it were, The Beatles have always been very distinct individuals, openly competing with one another, and good-naturedly vying for the attention of their fans. (Think, for example, of John “hmphffing” disgustedly on Live at the BBC Vol. 1 when he reads aloud a piece of fan mail that says, “Love to the boys…especially Paul!”) From the very first day that I was introduced to The Beatles and was given, by my elementary school friends, only two hours (“until recess”) to “fall in love” with one of them, The Beatles have been quite separate and very individual. I have never thought of them as one indivisible unit.

In August, as I drove cross-country to the Chicago Fest, I mulled over my lifelong devotion to one particular Beatle (clearly, John) and about that similar “singular Beatle” response from my friends throughout junior high and high school. I smiled remembering that my friends and I, back “in the day,” readily identified ourselves as “John girls” or “George girls,” etc. And even as adults, little has changed. In fact, not so long ago, Lanea Stagg and I aired a well-researched “John vs. George” debate on our She Said She Said podcast, discussing four of John’s songs from the White Album in contrast to four of George’s. And we saw nothing amiss in the act of adamantly “standing by our man.”

Terry Crain, author of NEMS and the Business of Selling The Beatles in the U.S., 1964-1966, will tell you that merchandisers realized this “Favorite Beatle” phenomenon from Day One. Indeed, the entire purpose of selling “I LOVE PAUL” or “I LOVE RINGO” buttons was to make money off of female fans who quite definitely connected with one particular Fab.

Going back now to re-watch YouTube videos of The Beatles landing at various locations throughout the 1964 North American Tour, I see scads of female fans holding signs lauding one Beatle over another. I see girls passionately screaming not the word “Beatles!!!!!!!!!!!” but weeping and shouting, “George!” or “Ringooooo!” or “John!” or “Paul!” And I see those same girls wearing sweatshirts, T-shirts, buttons, and hair bands with their favorite Beatle boldly emblazoned on the garment. From these earliest days of Beatlemania, the great majority of female fans (though not all) were unashamedly choosing one Beatle and his songs over the others.

Once ensconced at the Chicago Fest last August, I began asking those who visited my booth in the Marketplace one question: “Do you have a favorite Beatle?” And just as I had begun to surmise, less than 10% of male fans identified with any Fab in particular. In fact, they looked at me with befuddled expressions and said things such as, “Well, I’m a drummer, so I guess I’d have to say, Ringo…but uh, really, I like them all.” Or: “Well, I like John’s straightforward approach to life, but I mean, I don’t have a favorite Beatle, per se.” The majority of them simply stated, “Nope, I like them all.”

Beatles historian, Sara Schmidt (author of Happiness is Seeing The Beatles: Beatlemania in St. Louis), who is currently writing a book on the Beatles Fan Clubs in America, recently told me, “At the Fests and other places, I usually give those attending my talks a free photo of one or all of The Beatles at the end of my presentations. And what I’ve discovered is: women almost always select a photo of one particular Beatle. They don’t bat an eye when I give them a choice. They say, “I’ll take George.” Or “Give me Ringo.” But men generally select a photo of the entire group.”

The Beatles knew this. In fact, in 1965 when 16 Magazine’s editor, Gloria Stavers, flew to the Bahamas to interview The Beatles on the set of “Help!”, she asked John Lennon, “To what do you attribute your incredible success with these scads and scads of female fans?” And John’s very direct response was, “Well, I’m a man, aren’t I?” Yes, indeed.

Undeniably, a sociological, sexual connection does exist between the four handsome, charismatic, and often flirtatious young men known as The Beatles and their female fans, while a great many male fans (though certainly not all) tend to be drawn to Beatles gear, Beatles discography, and that creative collective known as The Beatles who created Beatles music. That being said…The Beatles World is varied and colorful in its many textures, shades, and hues, and there are all sorts of variations in between the majorities. There are plenty of women who like the Fab Four for their music only and plenty of men who find The Beatles attractive.

And all of us, despite our unique vantage points, can agree on this: A song without Ringo’s “Match 10” force and power would be lacking. A song without Paul’s bass brilliance would miss something wonderful. A song without George’s magical lead would fall short. A song without John’s grit and extemporaneous genius would be ho-hum. The Beatles are undeniably different but equal.

And so are we. It takes the different but equal outlooks of males and females to create the extensive, over-awing fan base that has kept The Beatles “front and center” for nigh on 60 years now. We may view them in slightly different ways, but our devotion is the same. And when I raise objections about the small quota of John’s songs in the film Yesterday, it doesn’t negate my pride in the fact that a 2019 film is still lauding “The Boys” as unparalleled. Whether you view The Beatles as an inseparable group or as a once-in-a-lifetime gathering of unique, individual musicians, it matters not. In fact, what a “blah” world this would be if we all saw things identically. Like the horrid, same-same world that Charles Wallace, Meg, and Calvin encountered in Madeline L’Engle’s Wrinkle In Time, such an existence would be terrifying.

Let’s celebrate our differences and enjoy The Beatles as we will. There is no right way to sing “yeah, yeah, yeah.” There is no one direction to Strawberry Fields or Blue Jay Way. There is no single ticket for the Magical Mystery Tour. And thank goodness, there is room on the bus for everyone.