Original subtitles

To all Americans, I say that a supreme national effort

will be needed in the years ahead

to move this country safely through the 1960s.

Those who came before us made certain that this country

rode the first waves of the Industrial Revolution,

the first waves of modern invention,

and the first wave of nuclear power.

One hundred years of delay have passed

since President Lincoln freed the slaves,

yet their heirs, their grandsons,

are not fully free.

And this nation will not be fully free

until all its citizens are free.

This generation does not intend to founder

in the backwash of the coming age of space.

We choose to go to the moon in this decade

and do the other things,

not because they are easy, but because they are hard.

Because that challenge is one that we're willing to accept,

one we are unwilling to postpone,

and one we intend to win.

♪ Close your eyes and I'll kiss you ♪

♪ Tomorrow, I'll miss you ♪

♪ Remember I'll always be true ♪

♪ And then while I'm away ♪

♪ I'll write home every day ♪

♪ And I'll send all my lovin' to you ♪

Look, he's separate from him. There's no cable joining them.

They're in perfect synchronization.

- Are they? - Yeah.

Listen to it. Listen to that, George.

Listen to it. Hang on.

- Excuse me, David. Excuse me, Al. - John?

- Yeah? - I think he's got a watch, too.

- The voice, that's weird. - Through his what?

Watch.

John?

- The electric watch. - It's a radio!

Can you get Mars on that?

- Are you filming now? - Yeah.

- He never stops. - But my arm was in the way.

Without looking?

- He made that camera. - He's looking through that.

- Did he? - Made it himself.

He's gonna have a great eye at the end of this tour.

Cost him 15,000 dollars to make.

God. Say something then.

Hello?

It comes a bit later. Yeah.

And then what do you do?

- Do you battery it? - It's on?

- George? - Is that batter...

- Talk. Talk? - Camera didn't go off.

Who's talki...

What?

Oh, you can hear your own voice talking!

Only it's delayed though.

Hello. How you doing, Ringo?

I'm all right.

Where'd you get that hat?

I got it off a girl. Where'd you get yours?

- Not telling. - It's in sync now.

- Aye. It's great. - It's marvelous.

It's right, that.

♪ She loves you Yeah, yeah, yeah ♪

♪ She loves you Yeah, yeah, yeah, yeah ♪

♪ You think you've lost your love ♪

♪ Well, I saw her yesterday ♪

♪ It's you she's thinkin' of ♪

♪ And she told me what to say ♪

♪ She says she loves you ♪

♪ And you know that can't be bad ♪

♪ Yes, she loves you ♪

♪ And you know you should be glad ♪

♪ She said you hurt her so ♪

♪ She almost lost her mind ♪

♪ But now she says she knows ♪

♪ You're not the hurtin' kind ♪

♪ She says she loves you ♪

♪ And you know that can't be bad ♪

♪ Yes, she loves you ♪

♪ And you know you should be glad ♪

♪ Ooh ♪

♪ She loves you Yeah, yeah, yeah ♪

♪ With a love like that ♪

♪ You know you should be glad ♪

♪ You know it's up to you ♪

♪ I think it's only fair ♪

♪ Pride can hurt you, too ♪

♪ Apologize to her ♪

♪ Because she loves you ♪

♪ And you know that can't be bad ♪

♪ Yes, she loves you ♪

♪ And you know you should be glad ♪

♪ Ooh ♪

Can we please have quiet?

Quiet, please.

- Quiet! - Quiet!

Howdy har.

Questioners, can you be quiet please?

Would you please sing something?

No.

- Sorry. - Next question.

There's some doubt that you can sing.

No, we need money first.

A psychiatrist recently said you're nothing but four Elvis Presleys.

- He must be blind. - It's not true, it's not true.

What do you think your music does for these people?

Um, well...

Pleases them, I think.

Well it must do, because they're buying it.

Why does it excite them so much?

We don't know, really.

If we knew, we'd form another group and be managers.

I...

For the young fellas, what's your ambition in this?

- Uh... - To be rich.

To come to America.

♪ She said you hurt her so ♪

♪ She almost lost her mind ♪

♪ But now she said she knows ♪

♪ You're not the hurting kind ♪

♪ She says she loves you ♪

♪ And you know that can't be bad ♪

♪ Yes, she loves you ♪

♪ And you know you should be glad ♪

♪ Ooh ♪

December of '63,

um, my sister had the radio on, and I heard "She Loves You."

It's like the light came on.

It's like the light came on.

It's like total darkness, and then the light comes on.

I was like, "Oh my God, this sounds good."

"Something for us."

Here's this thing that comes out of nowhere.

One of the things that was so great about them was

they were from Liverpool.

We didn't even know where Liverpool was.

I mean, they could have been from Mars.

We want The Beatles!

The British Beatles broke out here in New York

on top of an epidemic of the German measles.

Unlike measles, Beatles strikes teenagers almost exclusively,

fever and an itching rash

that produces contortions on the part of the victims.

They play electrified guitars, banjos, and other things.

They also sing, but this is not regarded as essential

because the bobby-soxers in the audience provide most of the sounds.

The arrival of The Beatles suggests another matter

for Anglo-American cooperation.

Both countries have a society for the prevention of cruelty to children

as well as one for the prevention of cruelty to animals,

but neither has a society for the prevention of cruelty to adults.

But that's one of the nice things about this exhibition.

You're seeing stuff that you'd forgotten

or you just hadn't taken it in.

This is my house in Liverpool in Forthlin Road

with the fancy wallpaper.

Me and John could just sit around, writing stuff.

We'd written the song "She Loves You"

in the next room, and my dad was in the other room.

So, we came in to play it to him, first time, you know?

♪ She loves you Yeah, yeah, yeah ♪

And he's going... And at the end of it, he said,

"Boys," he said, "It's nice. Very nice,

but couldn't you sing, "She loves you, yes, yes, yes?"

He said there's enough of these Americanisms around.

Coming to America, this was "Give me your huddled masses."

You know, this was, to us, the land of freedom.

It was funny, 'cause once we got here, we learned

it wasn't quite the story.

There they are.

How do you do, Gayle?

- Hello, Gayle. - Very nice to meet you.

It's not as though I know I'm being recorded.

Oh, I say, we're on the radio.

- TV. - TV?

Maybe that thing on his shoulder is not a parrot.

There's a lady with a golf stick here.

Hello, love!

The weight's getting him down.

- I need more, I need more. - Keep going.

What are you trying to record, actually?

You don't speak English? No.

She daren't talk. There's a woman here, you see,

with a little microphone, and she daren't talk,

and she's got a little paper with 28 on it. She keeps...

- Twenty-nine. It's gone up. - Take!

Twenty... Twenty-nine. Keeps going up every time.

Funny mic, though, that's what I say.

- Funny mic? - I say it's a funny mic.

If we could get the camera down on this mic, it'd be a great laugh.

How about... Go on, go on. Defy convention.

Go on!

- Down on it! Go on. Come on. - Get down on it.

- Hyah! Hyah! - Hey!

Ha! Ha!

Got it!

Move back! Go ahead! Come on!

Push back. Come on. A little more.

Why do you like The Beatles?

- They're beautiful! - Because they're fabulous!

- Especially Paul. Oh! - They're so cute. They're everything.

Oh, they're adorable.

You should see my room. There's nothing but Beatle pictures.

They should have Beatle wallpaper. That's all I have on my wall.

Oh, they should just have Beatle dolls.

Is there no American singer you like more now?

No!

No. They can rot for all we care.

Oh, they're... They're better than Elvis Presley.

- Elvis Presley's can go rot. - Elvis Presley stinks!

He stinks. He's so old anyway.

The words were beautiful,

all about love and, you know, "hold my hand,"

and just when you're growing up, it was just... it was emotional.

It was just like a crazy love.

It was a crazy love.

And we all had different people we loved. Like it was...

Mine was George, my friend was Paul, the other one...

Go figure. It's the spirit that puts you,

you know, your spirit for another spirit...

connects.

Why we were like screaming frenzy?

I can't really understand it now.

But then, it was natural. It was a natural thing to do.

It was like we couldn't contain ourselves.

George likes to relax so we bought him a pillow.

And Paul likes to sketch and paint so we bought him

a sketch pad with charcoal.

You didn't chip in for it, Alice.

- I know I didn't. I didn't even... - We bought, um...

We bought John an ID. With our names engraved?

Yeah.

- And we bought, um... - We're gonna buy...

We bought Ringo two science fiction books.

And we're gonna buy him the record "My Boyfriend Got a Beatle Haircut."

We should buy him a pair of dark sunglasses.

See, we don't usually like... We don't like rock and roll.

- Yeah. - But we think they're just great.

What's your music?

Oh, well, um, I go to Juilliard.

- What's this for? - That's classical.

- It's all classical. But I... - Yeah, what is it?

This is, uh, Italian arias and things,

but I just think they're the greatest.

They seem to be here. Do you want to have a look?

We would go down to the Plaza Hotel

and they were selling, uh, pieces of towels

that The Beatles... ...that they used.

So, we... we did that.

Did you buy

- a piece of towel? - Of course.

- I bought a piece of towel. - Do you remember how much?

It was like two dollars, a dollar. I don't know.

We would want our hands on anything Beatles,

so, you know, pieces of towel,

photographs that are real photographs, you know.

So, we bought everything, anything we could find.

Everyone needed to be a Beatle

so they had to have a Beatle wig.

I don't even know what that would look like

on your head.

You never put it on?

Well, yes we did.

And not that I wore them, but, like, these are nylons...

...that have images of The Beatles on...

you know, nylon stockings and...

Why would you buy it?

Why? That's a good question.

Uh, I ask myself that.

And you were 10 when you bought it?

Yeah. And this is a dress. I didn't wear this either.

You can tell I didn't wear it. Um, look at these.

These are cool.

Beatle sneakers.

Look at this. Beatle talcum powder

with the original powder inside.

You know, we need this.

They were tearing down Shea Stadium,

and I went to the head engineer and I said, "Would you mind..."

Um... This is wacky.

I said, "Would you mind cutting off my seat

where I sat at Shea Stadium?" And the guy said, "Yeah."

So, like this, 39-D, is like my ticket.

So... Obsession? Yeah.

- Have you kept memorabilia? - I keep everything.

No, I do. I'm a hoarder.

And I, you know,

I've saved all my clothes through the years,

and I thought, you know, "It always goes around,

the kids would love this."

But the only time they ask me for any clothes

is if there's a fancy dress party.

You know, they have all the hippie stuff on.

"Hey, we're going to a fancy dress party. Let's ask Dad."

Would you do me a tremendous favor?

I'm not going to kiss you like Elizabeth Taylor.

- Anyway... Oh, okay, Here we go. - Who's this.

Oh, Dougie Millings, that's the first one.

- Ah. - He started making all our suits for us...

in London.

I think this may even be his.

Maybe not. This could be Mr. Fish.

"Hung On You."

It's from... It's from Hung On You.

- King's Road was great in those days... - Yeah.

...because it was just guys in the back room

- and, you know girls... - Oh, yeah.

...designing and sewing them up

- and, you know, we'd go around... - Yeah, yeah.

...looking at them all, spend the day at Ossie Clark.

- All those people. It was great. - My God.

You guys sort of like New York?

Coming into New York, like all the old noir films?

No, mainly for the music.

- Ah, okay. - I felt an octopus...

- I'm full of octopuses. - Yes.

- Grabbing the plane and bringing me down. - Okay.

Yeah, it was so great. We were...

We were just like, "We're in America!"

"America, New York!"

I went up to the 12th floor and they were there

and the policeman kicked me out.

What? No!

I couldn't see... The policemen...

The policemen kicked me out before I could get to-

get into see them to give them the petition.

What about the petition?

They wouldn't let me give it to them.

- Can't you give it to anybody? - No.

Oh, darn!

It was so visceral,

the reaction to The Beatles' music.

You know, something we couldn't explain in words.

That's why we screamed,

because it was just coming out of some nonverbal place.

My favorite Beatle was George Harrison,

because he was so handsome,

and he was kind of sly, and I thought he was very sexy.

I dreamed that I was at a dinner table,

seated next to George.

And George looked over

and noticed that I was wearing a bra.

And he leaned over and kissed me on the cheek.

And when I wrote down this dream, I wrote, "But real suction."

Because he was so proud of me that I was wearing a bra.

I'm having these sort of, you know, crush feelings

that are associated with a later,

more erotic stage of life.

But the eroticism is so primitive

that he's just giving me this kiss on the cheek.

Pretty soon thereafter, I switched to John Lennon

for the rest of time.

What I loved about John was that he...

he had an edge to him.

You could tell he was a little bit of a troublemaker.

Did you see them?

Yes, I touched Paul.

- You did? - Yes, I went up to him and I touched him.

What did he say to you?

Oh, nothing, I just said, "Take my hand,"

and he put his hand in mine.

And I took it.

What does he feel like?

- What does Paul feel like? - Oh, I don't know.

I was too excited. It's great!

"I for one want to object to this misleading assumption

that Shakespeare's influence is positive on each individual."

- Tell us another story, friend. - It's French, it's imported,

it's Clicquot champagne.

Well, aren't we going out?

Yes, later.

We were already friends with them from England.

George was dating Estelle, my sister,

so it was very simple.

When they got here, first thing, pick up the phone...

"It's George, love. What are you doing, love?"

You know? So, they right away called us

because they knew no one in America.

Hey! Ave!

Ave!

Who cares if they...

John called me at my house and he said,

"Ronnie, we're prisoners. We can't get out.

The whole place is surrounded by girls

around the whole Plaza building."

So, what did I do?

I came down with the two Ronettes.

We went upstairs. Murray the K was downstairs.

"You gotta get me upstairs to meet The Beatles."

So, we're upstairs having finger sandwiches on the floor,

listening to 45s, having a great time

with all the Beatles And then...

every minute, The Supremes came in, Jay and the Americans.

They would say, "Damn it, we have to get up and take pictures."

They wanted to know everything about America:

the food, the groups, the dancing.

They asked us everything about Little Richard,

uh, Chuck Berry, The Marvelettes.

You know, so, they'd say, "What did they do on stage?"

And I'd say, "Well, when this one did the split,

or when, um, Little Richard went "Whoo!"

You know, and Paul said, "Ah! Whoo!"

You know? So, everybody was going, "Whoo!"

I'll tell you the truth. They had to escape.

They were prisoners. So, then I got a limousine,

we went down the back stairs and went to Harlem.

I said, "I'm taking you to Harlem. Nobody will notice you up there."

And they didn't. They thought they were a bunch of Spanish dorks.

Because it's Spanish Harlem.

So, they didn't pay them any mind.

We went into Sherman's BARBQ, it was called, 151st and Amsterdam.

They went in and they loved it because nobody recognized them.

You know, the Black guys are eating their ribs

and the Spanish guys...

And nobody paid them any attention.

And it was great. They loved that, that nobody paid them any attention.

See how sweet they were? They didn't... They didn't care about stardom so much.

"Oh, we're going to be on Ed Sullivan."

They said, "Ronnie, who's Ed Sullivan?" You know?

Hello, John.

Hello, Brian. Oh, hello.

Hold on, they're putting me in front of a mic.

Yeah, that's a good idea.

What are your first impressions of arrival in America?

They're wild.

They're all wild. Does it seem to you?

Wilder than they are here in England?

Well, It seems like it. Maybe it's just the first impression.

Is there anyone you're particularly looking forward

to meeting in New York, Paul?

We met The Ronettes again tonight,

and one of the DJs has said he's thinking...

He's hoping that he can fly The Miracles in.

They're great idols of yours.

Great, and The Isley Brothers are in town.

- Murray the K. - Fantastic, you know,

we can't wait to see them.

Now, what sort of things do they want to know

at the press reception?

Oh, all things. Are we bald?

You know, and what do we do with our money?

- All the usual things. - You proved that you, uh,

- don't wear wigs, I hope. - Yes.

What did you do?

We took them off.

- Hello, George. - Hello.

- How are you, Brian? - Fine, thanks.

- How are you? - Uh, not so bad.

The first thing you'll be doing over there

is The Ed Sullivan Show, isn't it?

Yeah, we rehearse that tomorrow.

Do the show on Sunday.

How many of your records are in the American Hit Parade

at the moment?

You know, in New York,

the, um... Three records.

Uh, "Please Please Me," "She Loves You,"

and "I Wanna Hold Your Hand" are all number one.

The Huntley-Brinkley Report!

Have you been watching the newses?

No.

Can we please have quiet?

Brian?

Howdy har.

"Can you sing?" Answer, "We need money first."

Who said that?

- No monies. - "What do you have that nobody else has?"

Answer, "Press agents."

There's something quoted in the Daily News today saying that...

- Daily News? What's that? - Yeah.

- In the New York Daily News. - Oh, the New York one.

He says, um, "We don't like The Beatles because, um, they scream."

We got over this with Elvis Presley.

We just like them because they're English."

Do you think you're very English?

I think we're jolly English, actually.

I don't know, you know. There's always some...

Somebody telling me, "You're funny," you know.

Hmm.

I don't care... about him anyway.

Who is he? What's his name?

Beethoven or something.

♪ Come on Please, please me, whoa, yeah ♪

♪ Like I please you ♪

♪ You don't need me to show the way, love ♪

Back end, please.

No, I have friends up there. No, really.

Not gonna let you by.

How can we get in touch with him?

Just came down. Told us to come up.

♪ Come on, come on Come on, come on ♪

He says no.

- I bet you know Frank. - We just did!

Al... Frank... Al and Frank.

There was just this joyous quality to the music.

I have to assume that one of the reasons they made joyous music

was 'cause they grew up in England in the 1950s, which was hell.

I mean, you know... England was flat on its back.

My buddy, Eddie Leonetti, I said to him, you know,

"We should go to Liverpool and really, like, do it.

Let's go there. It'll be an adventure."

We'll bring our guitars. We'll hang out at The Cavern.

To get to Liverpool by tramp steamer was 112 dollars.

We went down the Irish Sea and I had a little radio

and I heard pirate radio and I went out of my mind.

This is Radio Caroline on 1-9-9.

England's first commercial radio station.

♪ Don't let the sun catch you cryin' ♪

♪ The night's the time for all your tears ♪

There was the real sound of Mersey.

I said... ...that's Liverpool. I could smell it.

It was really the smell of diesel oil...

- ...- and dirt, you know, grime. - But it was...

We pulled into port and, uh...

and Immigration came on board.

"And what are you two lads doing here?"

And we said the wrong thing. "We've come to play."

"Do you have a visa? At all?" "No."

"When this boat leaves in five days, you will be on it."

I was in the port of Liverpool.

You know, I had to do something.

So that night, crew member was sleeping.

I took his coat and his cap

and walked down the gangplank. Now, I'm going to escape.

I saw a bus that said "Central Liverpool."

And when I got off, and I looked across the street,

and there was a record store,

a brand-new album had just been released.

And they had listening booths.

About six people

who couldn't afford to buy a record followed me in,

so I could listen to the record in the booth

with these six Beatle fans,

just dreaming and listening and thinking,

"This record is revolutionary. Listen to this.

How different it is from the stuff that came before.

This means something."

♪ 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 ♪

I was not interested

in any kind of organized religion whatsoever.

Music... that went to my soul and it gave...

And it felt to me like, that's how you touch God.

- Oh, never. - No, this is embarrassing.

Can't we just see The Beatles, please?

- Where are they? - I don't know.

Could you just tell us where they are so we know?

- Oh, this is... - What are you gonna do?

- We're just going to say hello. - I got a camera on me.

How do you get past the policeman?

We didn't come downstairs. We came in the other way.

We came in the other way. Through the, uh, drugstore.

What do you think of The Beatles?

They're okay.

In all honesty, they're all right.

They sing good. Come on.

- Who's Mister... - Plaza Hotel.

"Is this better than Jelly Babies? Good luck."

"Fan, Rachel Barrett... Bennett."

Ringo, want a candy?

Uh, no, I'm just smoking, uh...

...a Winston cigarette.

Could you just tell us where to go?

We made it. Ha, ha! We got up here. Ooh!

Well, this is as far as you're going.

It's okay with him.

Who... who said it was all right?

No, they know, uh...

the, uh, Epstein.

No, I'm sorry. That's all.

You can't go any further than here.

We just really need to see them.

No, please take the elevators and go down right now.

We'll have to gather our stuff first.

Well, where is it? What room?

- Um, the other room around the corner. - All right. Come on.

I don't have a very good memory for numbers.

Are you registered in the hotel?

- Yes we are. - What room?

We don't got a room here.

All right, come on with me. Let's go.

- Can we get our stuff? - No.

- Where is your stuff? - In the bathroom.

Well, get it out of there fast

before I throw you down the stairs.

Back in 1964, uh, after the...

cataclysmic arrival of The Beatles

here in the United States and the great popularity

you had on the Ed Sullivan program and others,

there were many people who did not really understand

what you were doing. And they thought then

that your hair was long and that you looked modish, you know...

- Hmm. - ...and you were revolutionary.

Uh, does it surprise you at all that it took so many of us

such a long time to get into your act and to realize what you were doing?

Uh, no, it was mainly parents,

and they were against rock and roll, you know,

anyway, before The Beatles came along.

I mean, people have been trying to stamp out

rock and roll since it started.

Why do you think that is? What are they afraid of?

I always thought it was because it came from Black music.

And the words had a lot of double entendres

in the early days.

And it was sort of, you know,

"The White kids, our White nice WASPs

are going to go crazy with all this moving their bodies."

You know, and the music got to your body.

And The Beatles just carried it...

a bit further, made it a little more White, even than Elvis did...

- Mm-hmm. - ...because we were English, you know?

♪ Wop bop a loo bop a lop bom bom ♪

♪ Tutti frutti, oh rootie Tutti frutti, oh rootie ♪

♪ Tutti frutti, oh rootie ♪

♪ A wop bop a loo bop a lop ba ba, ow ♪

♪ Wop bop a loo bop a lop bom bom ♪

♪ I got a gal, her name's Sue ♪

♪ She knows just what to do ♪

♪ I got a gal Her name's Sue ♪

Pat Boone covered that song.

For those that don't know what "cover" means,

he actually took your song, recorded it himself,

and put it out and had a hit with it.

The white kids would take my record home,

and their mothers wouldn't want my record in the house.

Well, they called my... I was too raucous.

And they said that my records was evil and demonic,

and that, uh, I was too wild.

And Pat Boone had the clean-cut image with the white bucks on.

- Right. - He looked like he was sent from glory...

...you know, to tell a story. Uh... uh...

What did you think of his version of "Tutti Frutti"?

Uh, I thought it was very weak.

You know what I thought, Rick? You know, I call a spade a spade.

I thought it was weaker than weak.

Because he said...

..."Wop bop a loo bop a lop bam boom."

And "tutti frutti, oh rootie." And I said,

♪ Wop bop a loo bop a lop bom bom, tutti frutti, whoo! ♪

Do you like The Beatles?

Oh, yes. I think they're very nice. Very nice.

What do you like about them?

Well, they're...

The versatility, they're... they're original, you know.

I like anything that's original.

Do they compare with Smith? Who's on at the Apollo now, Jimmy Smith?

Comparison?

Uh, no, I wouldn't say so.

What do you think of The Beatles?

I guess they're okay.

- You like the Beatles? - They're okay.

What do you think of the Beatles?

- Oh, I love them. - Yeah, yeah.

Oh, I love them. They're great.

Especially their hairdo.

- Yeah. - And all their songs are nice.

The Beatles deserve all of this.

And I'm glad they're very welcome here in the town.

- Yeah, they're supposed to be... - They deserve to be among the best.

- At least they're different. - Yeah.

Um, I think they're disgusting, myself.

Why?

I don't know. Every time I turn on the radio, you know,

it seems like that's all I hear is The Beatles.

- I think they're disgusting. - Who's your favorite group?

My favorite group?

Well, I like Miles Davis Quartet,

- John Coltrane Quartet. - Oh.

Whereas, you know, you couldn't...

There's no comparison whatsoever.

- Seagull... - Huh?

...what do you think is wrong with their hairstyle?

That's the first time I've seen, you know, a group with hair like that.

I think that's the reason they're making their money.

How many have you sold today?

How many have we sold? Oh, a couple hundred.

They're doing all right.

Are they in the good tradition, do you think?

Yeah, all right, doing very good.

What's the most popular record here today

- in this shop? - "I Wanna Hold Your Hand."

Our early songs are all songs direct to the fans.

So, it's all "Love Me Do,"

"From Me To You,"

"She Loves You."

I think a lot of the fun we had making the songs and the records

communicates itself.

It was everywhere. I just remember

toddlering around the house singing, "I Wanna Hold Your Hand"

and "She loves you, yeah, yeah, yeah."

And those songs

were like in the carousel of my mind on rotation.

My stepfather was an evangelist who later became a pastor.

I wasn't allowed to listen to any music in the house

that wasn't gospel music

or considered acceptable music.

What's so incredible about The Beatles,

it would have come through the radio,

it would have come through just being around it,

constantly on people's transistor radios.

We go out to shops and you hear it.

It was... It just permeated that...

It means permeated so...

deeply beyond the crust

of the Earth's mantle, if you will,

that it even reached into the lives of people who...

for whom that music was forbidden fruit.

My memory is sitting in this place called Brothers

and there's a jukebox.

We're listening to "I Wanna Hold Your Hand."

The happiness that I felt listening to this song

and, uh, feeling that I... I really related to it.

I just felt immediately a connection

between these people who were singing and myself.

And I had never felt that kind of connection before

to a pop song.

I didn't understand Elvis. The sexuality turned me off.

I didn't get it somehow.

It didn't touch my heart.

I felt in some way that I could relax...

...because the Beatles existed.

They were definitely boys, but they were soft.

They were... There was their clothing and their hair.

There was a softness, often, in their voices.

The whole notion of male versus female is not prominent.

They're... they're sort of in between,

or they don't emphasize the, you know,

the masculine versus the feminine at all.

It's... It's very inclusive in some way.

Oh, come on, come on. I got an idea.

The Beatles were very... I mean, they actually were funny.

Everybody in Liverpool thinks they're a comedian.

I mean, that's a well-known fact.

And all you have to do is drive up there

and go through the Mersey Tunnel and the guy on the toll booth

is a comedian, you know. They all are.

Um, we had that kind of bred and born into us

and, uh, when you just transposed it into New York or somewhere,

it was... it was great.

I mean, we were just being hard-faced, really,

and, uh, they loved it.

And do you think it was being made even stronger

by the fact there were four of you bouncing off one another?

Absolutely, yeah.

You just dried up and somebody else was already there with another fab quip.

Yeah. That's right. That's it.

Why don't you guys walk back

and show some snow on the ground?

Get a picture that looks like something.

Why don't you go back?

Take that movie camera down, will ya?

Come on. Keep goin', keep goin'.

Look at that tree.

Where did the birds fly?

Up there. That's it. Yeah, yeah, yeah.

Let's get boats out.

Hold it, hold it, hold it.

- Hey, Beatles. - Say Beatles.

Hey, Beatles.

- Say, Beatles. - Say Beatles, this way!

Hey, Beatles, this way.

Hey, fellas!

- Right. Don't shoot. - Ringo! This way.

Ah.

In fact, ladies and gentlemen, for the continuity of the film...

...I'd like, once more,

to reintroduce the radio.

♪ Yes, she loves you ♪

♪ And you know you should be glad ♪

♪ Ooh ♪

♪ She loves you Yeah, yeah, yeah ♪

♪ With a 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, Ringo?

Okay, good. Now, I'm going to introduce you.

Triple play, three in a row, but before we get to the second one,

we've got someone new ready to go with us.

Ringo. Ringo of The Beatles. Take over, babe. Say hello.

- How are you doing, Murray? - I'm doing great, Ringo.

- What's happening, babe? - You're what's happening, babe.

- And you're happening, too. - Okay, we're both happening.

The Beatles are happening. Murray the K,

that's what's happening here in 1010.

He wasn't obnoxious to us. He was loud.

"How are you doing?"

Yeah. Just sort of felt he was New York-ish.

You know.

- Well, yeah. - Because they are quite...

- Loud, yes. - ...loud and direct, and...

If you want to get any more of that, go to Liverpool.

We're going big, we're going strong. I want to ask you something.

- Yes? - How much time do you get to socialize?

I mean, now, you're on the go.

You're moving from one town to one city.

Do you get a chance to... to meet anybody,

to go with anybody for any length of time?

Um, we don't do so bad, you know. It's okay.

We're having a good time. That's the main thing.

And, yeah, yeah, kinda... You're not thinking about marriage right now?

No, no, not yet.

Listen, we've got one of your big favorites here,

and I think this is the one that you wanted to hear.

It's by the one and only crew that's always with us.

It's The Miracles for you.

"I've Been Good to You"?

Have you? You have been, Ringo.

I've been good to you. You've been good to us, too.

- You've been good to me. - You've been good to us.

- You've been better to me. - I'll let you play the record!

All right.

♪ You made a fool out of someone ♪

I remember the first time I heard The Beatles

because I heard The Beatles before they were "The Beatles," you know.

Um, The Miracles and I were performing in Europe,

and we did a stint in the UK, and we went to Liverpool.

And many times at night after the concert's over,

the promoter will take the artist to the "in" club in that town,

you know, just to kick back and dance

or whatever we want to do after the concert, you know.

And The Beatles were playing at this little downstairs club,

and they were just the band in there.

And The Miracles and I met them then.

They got my attention.

They were playing music that you were familiar with,

but they played it as The Beatles or like The Beatles

would... would sound on it, you know?

And, uh, they were between rock and pop and rhythm and blues

all together, you know?

♪ I don't like you ♪

♪ But I love you ♪

♪ Seems that I'm always ♪

♪ Thinking of you ♪

♪ Oh, oh, oh ♪

♪ You treat me badly ♪

♪ I love you madly ♪

♪ You've really got a hold on me ♪

There are a billion songs on Earth, man.

To have somebody like The Beatles,

who are great songwriters themselves...

out of that billion songs,

to take one of my songs... ...and record it,

I can't beat that as a songwriter.

It's my dream come true. It's my purpose as a songwriter.

So, I was very excited

when they recorded "You Really Got a Hold on Me."

I didn't know that they were going to record it.

I had no idea until the record came out.

But I was elated.

They were the first White group that I had ever heard in my life.

The first White artist ever of their magnitude

that I ever heard in my life,

say, "Yeah, we grew up listening to Black music.

"We love Motown.

"We listen to Black music. We know this person, this person..."

No other White artist had ever said that.

Not anyone of magnitude, until The Beatles said that.

There was a lot of segregation going on,

especially in the South at that time for shows.

I've been shot at for wanting to go to the toilet.

You know what I mean? So, it was like that. You know?

And the saving grace was the music.

Because it gave those kids a common love.

It gave them something that they both loved

and they both enjoyed, you know?

So when we first started going there, we would play these big arenas,

and there'll be a rope down the center of the arena

and White kids on one side, Black kids on the other side.

And after they start hearing the music,

and we go down there a year later,

you see White boys with Black girlfriends and Black boys with White girlfriends

and they were all dancing together

and enjoying that music and having a good time.

Music is the international language.

It's the barrier breaker.

♪ Yesterday ♪

♪ All my troubles seemed so far away ♪

♪ Now it looks as though they're here to stay ♪

♪ Oh ♪

♪ I believe ♪

♪ In ♪

♪ Yesterday ♪

- ♪ Oh, why ♪ - ♪ Tell me why ♪

♪ She had to go ♪

♪ I don't know ♪

♪ She wouldn't say ♪

♪ Oh I... ♪

♪ Did something wrong ♪

♪ Now I long ♪

♪ For yesterday ♪

Women make the show business world happen,

okay?

'Cause they're emotional, and they don't mind

displaying their emotions.

Men, we're laid-back. We're not supposed to be emotional.

We're not supposed to cry.

We're not supposed to be emotional about things,

and so, be strong and, you know... Bull.

You know what I mean?

So, I appreciate the fact that women are out like that,

and that they express themselves in that manner.

Because, like I said, I'm a guy in show business,

and it comes with the territory.

So, I'm very happy to know that and to receive that.

What do you like about The Beatles?

Everything! Everything! Everything.

Are The Beatles records back there?

Where are they?

Is there just one song on this?

- It's one song? - You're kidding.

What's on the other side of "I Wanna Hold Your Hand"?

"I Saw Her Standing There."

Anything.

Hello. It's for me.

- Good... - Hello?

Excuse me.

Oh, hello. Yes, who do you want? Quick, speak up.

It's me, you know me. Yes.

- Maybe it's London. - Is it?

No, we're waiting for the very important call from London,

which you're blocking the line on.

Now, Ringo,

stay where you are. Keep your head roughly where it is.

Now move that head, baby.

- One, two... - Whoo!

Here we go.

- What do you think I am, a monkey? - Again.

Let me on. Let me on it.

No, let me!

- Me! Me! - Me! Television! Me!

Oh, I love this place, America, reet, go on.

Me record's on the radio. Lovely.

♪ No, I never heard them at all ♪

♪ Till there was you ♪

♪ There were birds in the sky ♪

And tomorrow night at seven,

The Beatles read their own poetry on a documentary, "Meet the Beatles."

- Oh, oh! Oh, really? - I don't get that.

- I don't understand this. - Tomorrow night

from seven to eight...

♪ Then there was music ♪

♪ And wonderful roses ♪

- Miss the kids. - How are we gonna get in?

Hang on. Missing the kids?

Hey, how are we gonna get in then?

♪ There was love all around ♪

- ♪ But I never heard it singing ♪ - Hi, girls.

♪ No, I never heard it at all ♪

Hi.

♪ Till there was you ♪

♪ Then there was music and wonderful roses ♪

♪ They tell me in sweet fragrant meadows ♪

- It went well. - Just a minute. Brian!

- Yes? - Can we film some of it?

- You rolling now? Bobby? - Right.

We'll just let him speak to the people first.

Sure, sure. Okay.

Can they do it from back here?

- Yeah, back here, right. - Yeah.

And then he'll speak to the people.

I don't think they're gonna allow any movie shooting.

- I'm playing. - You better stay off on that side.

We did a sound check in the afternoon,

and we chalked all the knobs, probably five of them,

and then we went off to have a cup of tea somewhere,

and the cleaning lady come in and cleaned everything off.

Oh, no.

But nobody knows that. It still went good.

Who's gonna introduce this one?

You wanna? This is the James Ray record.

You wanna introduce it? Come on, George.

Okay, this is the James Ray singing, uh...

- "The James Ray." - ..."Got My Mind Set on You."

Thanks, George.

There's a call on line two.

I've often wondered, I asked Neil Aspinall about that,

how come Murray, you know, just because

he kind of barged in the room and, you know, and then he

kind of hung out with us for the entire trip.

It's funny, really.

I never quite understood how... how he did that.

Uh, hello, W-I-N-S 1010.

Atta way, baby. And let's see, we got Ringo.

Hi, baby. This is W-I-N-S.

WINS on 1010.

Ringo from The Beatles talking.

- All right, we've got George. - Dropped your English...

- I can't do it. I can't. - Hello there, everybody.

W-I-N-S. Here we go.

And we've got Paul over here. Paul?

How do you do, everybody? W-I-N-S, uh, Winston Churchill.

Winston Churchill is right, I say.

How do you feel about... How do you like working over there

on the Ed Sullivan Show?

It's great. We're having a great time. Ed's a great fella.

But play some swinging records, will you? None of that drag stuff.

You hear that?

He doesn't want any of that...

He doesn't want any of that soft stuff. He wants the beat.

How are they now, Murray?

Are they kind of excited about their appearance on the TV show tonight?

Or are they taking that in stride, too?

Well, no, they... they're excited about it,

but they're also taking it in stride.

- Yeah. Cool. - And, uh, they're perfectly okay.

I mean, I think they're in pretty good shape.

Wake up, John. John, wake up.

- John, John. Wake up, John! - Okay!

We've got to go on soon.

- Okay, Murray! - All right. Okay, babe.

Do they all say "dooble" for "double"?

- Double! - Double!

Double, can't you say double?

- Dooble! - Not, not "dooble," "double."

- Dooble. - No, D-U-B. Double.

- Dooble. - "Dooble," he said.

He's saying, "Dooble."

♪ Wee deoch an' doris Wee deoch an' doris ♪

- See you there. - Give us another drink!

Yes!

They're having a ball.

Yeah, so now I think that gives you an idea, Paul,

in how loose, uh, they are.

They're loose like a goose. They're hanging in there.

Yeah, they're swinging fellas.

They got some... They put some

ice cubes in their pocket. They're staying cool, man.

- Yeah. - They're what's happening, Paul.

You know, John didn't even remember

the bit he did about that poetry,

so he'll get a little reminiscing...

a little reminiscing to do

about the poetry he reads on Monday.

Yeah, we'll all be able to hear that on the documentary

at seven o'clock just a little bit from now.

Yeah, do you got something lined up there? How about "Love You Do"?

- Oh, well, that... - "Love Me Do"!

Paul, you're not happening. "Love Me Do."

You're fired.

Now, I got news. "Love Me Do"?

- Yeah. - What's the name of it?

Uh, pardon?

What... What's the name of that song, mate?

"Love Me Do," wacker.

I see.

Ah, this is the wacker speaking here.

The wacker over here.

- Wacker the K. - Wacker the K.

Let's hear The Beatles sing it, baby.

Okay, Murray, here we go.

What kind of interview do you want?

I'm the manager of The Beatles. What do you want?

Do you have credentials?

- Credentials? - Yeah.

- Yes. Prove it. - I have no credentials.

We're just trying to find out

- the different reactions... - Just comments.

You mean of The Beatles?

No, of the people, about The Beatles.

Well, I'll tell you what's happening.

These kids formed this morning, about 10 of them came

about, I'd say 6:30 when I left the hotel.

To me, they're all obviously lower-middle class,

highly illiterate,

unintelligent, wild kids

seeking a little fun and pleasure.

Uh, I would say by and large that, uh,

most of them probably, once they get here,

find that there's a lot of excitement, a lot of screaming,

a lot of yelling. People like to be in crowds.

Uh, I think there's something very strange about it at the same time,

something very sick.

Uh, I think it tells a lot about the nature of American society

that kids like this would come down here to see four,

you know, singers who they've never seen.

You blame it on American society?

Four singers that they've never seen before.

I don't know exactly what the reason is.

I'm sure that sexual reasons have something to do with it,

that they find The Beatles sexually attractive

and they've made some kind of psychological,

sexual tie with them.

Uh, I think the whole thing's a little bit frightening and quite sick.

You're not really a manager are you?

No.

- Just the brother of one of them. - Yes.

Yeah. Well, my last name's Vanderbilt,

- so it's nice meeting you. Goodbye. - Okay.

Enjoyed it.

A lot of people called about me throat.

Well, me throat's okay now, you see.

Well, yeah, it's fine. Thank you.

- How's yours? - How's your throat?

- Mine's fine. - Is it?

Yeah, it's always been, George.

- Prove it. - Like how?

- Uh... - Sing it, baby. Sing it.

- Sing it, baby. Yeah, sing it. - No, George.

Why do you think all these kids

come out here and yell and scream?

Because they do it for Frank Sinatra and they do it for Elvis Presley.

- Yes, but why? - I think it's the way they are.

Well, it's part of their age.

- Sure. - You know, like getting crushes.

- We did it when we were their age. - You know, or...

It's the thing they do at their ages, I think.

You know. But, uh, it's kind of fun for them,

and it's sort of fun for us,

except I feel sorry for the old ladies who live here, who are disturbed.

- Right? - Thank you.

What do you think of The Beatles?

Not interested.

Cyn. Cyn.

Eight o'clock, channel two and three.

Do you want to borrow this?

Channel two.

Ready, five, six.

Time to get on channel two.

You know, we're on this thing now in a minute.

Ready, fellas? Let's go. We're late.

It's all happening, baby,

♪ Get the feeling that my love ♪

Come on, then. Let's go.

Look, do you want to plug into this plug instead?

Where's Nell and all the other doves?

Who? Where... Who?

Come on, let's go, eh?

Nell, come on, we're supposed to be there.

We're meant to be there now. What're you doing?

He's just like,

"Now, cut this film out. Come on, son.

We told you. We told you once, haven't we?

We told you before."

Play with some wide angle.

Good evening, ladies and gentleman.

Tonight, live from New York, The Ed Sullivan Show!

I come from a 19th century country, Canada,

and this gives me a great advantage

in looking at the 20th century.

The 20th century is the age of electric technology.

It's the most dominant tool of our time.

And re-evaluate every thought and every institution

you formerly took for granted.

Kennedy came into office as the first TV president

with a resulting involvement on the part of all age groups

in his whole, uh, presidency

that was quite unexpected,

and so that his assassination

created a corresponding violence of response.

♪ Well, she was just seventeen ♪

♪ If you know what I mean ♪

♪ And the way she looked was way beyond compare ♪

♪ So how could I dance with another? ♪

♪ Oh, when I saw her standin' there? ♪

♪ Well, she looked at me ♪

♪ And I, I could see ♪

♪ That before too long I'd fall in love with her ♪

♪ She wouldn't dance with another ♪

♪ Oh, when I saw her standin' there ♪

So fun.

♪ Well, my heart went boom ♪

♪ When I crossed that room ♪

♪ And I held her hand in mine ♪

♪ Oh, we danced through the night ♪

♪ And we held each other tight ♪

♪ And before too long I fell in love with her ♪

♪ Now, I'll never dance with another ♪

♪ Hey ♪

♪ Oh, since I saw her standin' there ♪

♪ Yeah, yeah ♪

My father just said,

"You're not gonna watch The Beatles on Ed Sullivan. Full stop.

"I'm commandeering the television. You're not going to watch it."

It's like, you're such a fucking dick.

Now, my father was an abusive alcoholic and he beat us a lot,

but not letting us watch The Beatles was worse than that. You know?

You can get over beatings, but not letting us watch The Beatles?

So my uncle, who was a Republican,

none of us were Republicans,

he sort of knew this is a big thing for these guys.

So, um, I went over to his house on that Sunday

and I think my older sister went.

But The Beatles were, you know,

were... were kind of harmless and cuddly,

but not to adults.

Adults just saw this as the end.

They're gonna subvert our youth.

What's the subversion?

They're encouraging you to have a good time.

Many parents do try to escape this music

and even forbid it on the grounds that it is noisy,

unintelligible, or morally corruptive.

I have neither escaped nor forbidden it,

neither as a musician nor as a father.

I think this music has something terribly important to tell us adults,

and we would be wise not to behave like ostriches about it.

I watched The Ed Sullivan Show in our dining room

in our apartment with my family

because The Ed Sullivan Show came on at, what was it, eight o'clock.

Right in the middle of dinner.

And I insisted to my parents,

"I'm sorry, this is a very important moment

in my life, let alone in history..."

"...and we have to watch this on TV even if it's dinner time."

And then so I was allowed to drag in,

wheel in the little TV set

from the library down the corridor

and into the dining room and, you know,

arrange the antenna so that we could pick up the signal in there

and it wasn't coming in very well,

but it came in on our little black and white TV set.

♪ Yeah, you got that something ♪

♪ I think you'll understand ♪

♪ When I'll say that something ♪

♪ I want to hold your hand ♪

♪ I wanna hold your hand ♪

And now ladies and gentlemen, a very fine novelty act,

Wells and the Four Fays. So let's bring them out.

Later, they said there was no reported crime.

Even the criminals had a rest

for like 10 minutes while we were on.

When you were in the dressing room after The Ed Sullivan Show,

where, my heavens, young people were just

almost flinging themselves on stage.

- Yeah. - Didn't you ever wonder,

"Are these people crazy? Are we that good?"

Uh...

We didn't think whether we're that good or not.

You've got to think you're good to do what we did, you know?

Uh, it was... it was like being in the eye of a hurricane,

and so we never... there was never a time when you thought...

you thought, "What's going on?"

That was about as deep as it got. "What is happening?"

You know, you'd suddenly wake up in the middle of, what,

a concert or a happening and think,

What? How did I get here?" You know?

- Mm-hm. - The last thing I remember

was playing music in a club and the next minute this.

But we never thought about it too much because it was an ongoing thing.

It was happening to us and it was hard to see, you know,

we were just in the middle being ushered from room to room.

What's your favorite song?

- Uh, uh... - "White Christmas."

Yeah, and... and, uh...

"God Rule the Wenceslas Kingdom,"

I like, is another one of my favorites.

- Did you say "White Christmas?" - Yeah.

- It's a good song. Specially at Christmas. - Not in rock and roll.

- It is. - Not rock and roll, but we like it.

Yeah, it is. You've heard it.

♪ I'm dreaming of a white... ♪

- God bless you, Mom. Thank you, Dad. - ♪ ...Christmas ♪

One, two, three, four. One, two, three, four.

♪ Money don't get everything It's true ♪

♪ But what it don't get I can't use ♪

♪ I need money ♪

♪ That's what I want ♪

Hey!

Smile to the camera, you're on it.

- Oh! - Hey!

Yes. Yes.

- How are you? - Harry!

I'm afraid I don't know this young lady's name yet.

- Not 'Arry. - No friend of mine.

Hey, he said his name's Harry. His name's not 'Arry.

- Hey, Paul. - Hi, Paul!

Murray, baby, I dig this scene so much, baby. Whoo!

I'm not influenced by this American scene, baby,

but I just love it.

I just love it out here, Murray, and I dig that hat.

Whoo! What are you doing at this hotel?

- What are you doing? - Media!

- I don't think they're here anymore. - Ah! Media!

- What are you doing? - Holy smokes!

You follow the girls and you'll find out where they are.

What are you doing?

Can I ask you what are you doing?

I ran after them and I got... fell on the ground ten times.

The cops kept pushing everyone

and, uh, I fell down. And she pulled me down.

You know, grabbing a hold of me and I was trying to pull her up,

and then, uh...

other kids fell right on top of me. Some kids were trying to be helpful.

They're still in there.

No, they snuck out a back entrance.

No, they're still there.

- They are? - I know they are.

- They're in there. - How do you know?

- We know. We saw them. - Who are you?

- Where are they? - They're down there.

- Down there? - Yeah, yeah, yeah. They're down there.

Yeah, well, I don't feel like getting ripped to pieces again.

You've got to chase them.

- You're serious? - They're still there. I'm not kidding you.

They're right down there?

- They're honestly down by Leon's? - Yeah.

Come on, let's go.

Could you see 'em with that thing?

Yeah.

Wait a minute!

Paul, what place do you think this story of the Beatles is gonna have

in the history of Western culture?

Western culture? Um, I don't know.

Oh, you must be kidding with that question.

Culture. It's not culture.

- What is it? - It's a good laugh.

And we're in our chauffeur-driven Rolls Royces.

Yeah.

It's all right, Bertie. It's a nice Rolls Royce.

What do you think of the American TV?

- The American what? - TV. Have you been watching it?

I love it. I like TV anyway, you know, when we're...

When I've got a night off.

It's just funny half the time here.

And... and everyone's so used to it

that it doesn't look funny anymore in America.

There was this fella,

and he's just doing the news at the end of the night,

and he said, "And so, that is the end of the news."

No, he didn't even say it was the end of the news.

He said, "And in China, the situation is very bad...

Have you ever wondered when you're eating at home?"

And he just pulls it up from underneath the table.

God, it was a scream.

- You're a good lad. - Where's Dezo?

- Oh, it's upside down. - I'm gonna put this color film in.

Remember, there is already plenty exposure, you know,

so that you don't go crazy and over-draw it out of the cassette.

- Okay. - Hit it.

Wait, let, uh, George, you haven't had a...

John, you haven't had a, uh... You haven't had a slate yet?

- A slate? - Putting people to work.

Knock the thing, and shout the number.

- Okay, what's the number? - Two-four-four.

Two-four-four!

I noticed outside the Ed Sullivan theater

when that guy caught you out there

television interview

Talked about the new hair style.

And you said to him

"You haven't caught on to it yet."

- He was bald, wasn't he? - Yeah, he was.

But he wasn't really with it. I mean he asked you,

what's your favorite number, and you said "White Christmas."

- Yeah. - And he said, "That isn't rock 'n' roll."

No.

That's how it goes, you know. That's how we...

That's the only way we can get our laughs.

Yeah, yeah. Would you say the British reporters are a bit sharper?

Good, folks.

Hi! It's great being here in New York. Okay?

- Washington. - Oh, is that the place?

I don't know. Washington. I'm just moving so fast.

And now, from the Washington D.C. Coliseum.

Capitol Recording stars, The Beatles!

In case you don't know who this is, that's Ringo Starr!

But look how small it was.

I know, as I'm looking at it.

And I did that so I'd be more with the band.

- Mm-hm. - You know, usually the drummer's

miles away on the floor,

and you... you know, if anything goes wrong...

Watch any band, if anything goes wrong, they go...

- What? - They all blame the drummer.

You gotta get used to that.

And if you do this... sounds great.

I just always wanted to be in the band, not like, "Oh, I'm over here."

Ladies and gentlemen...

Paul McCartney.

Hello.

In Washington, you know, the stage went round.

- Turned, yeah. - It was full...

And as it went round, I'm here playing.

You two are John, and Paul, and George.

And we're all going...

But suddenly I'm here, and you are all going round.

- Because my rostrum stopped. - Oh.

But we're from Liverpool.

We jumped off, tried to move that bugger.

And people ran out.

One, two, three!

♪ Da da da, da da, dum dum da ♪

♪ If there's anything that you want ♪

♪ If there's anything I can do ♪

♪ Just call on me and I'll send it along ♪

♪ With love, from me to you ♪

♪ I've got everything that you want ♪

♪ Like a heart that's oh, so true ♪

♪ Just call on me and I'll send it along ♪

♪ With love, from me to you ♪

♪ I got arms that long to hold you ♪

♪ And keep you by my side ♪

♪ I got lips that long to kiss you ♪

♪ And keep you satisfied, ooh ♪

♪ If there's anything that you want ♪

♪ If there's anything I can do ♪

♪ Just call on me and I'll send it along ♪

♪ With love, from me to you ♪

♪ From me ♪

♪ To you ♪

♪ Just call on me and I'll send it along ♪

♪ With love, from me to you ♪

♪ I got arms that long to hold you ♪

♪ And keep you by my side ♪

♪ I got lips that long to kiss you ♪

♪ And keep you satisfied, ooh ♪

♪ If there's anything that you want ♪

♪ If there's anything I can do ♪

♪ Yeah ♪

♪ Just call on me and I'll send it along ♪

♪ With love, from me to you ♪

♪ To you, to you, to you ♪

It was an incredible time because they had these songs

basically vomiting out of them.

Just one after another, another, and they were all good.

On the way out to America, they were telling jokes

in the first half of the trip, but then they got serious

because they weren't sure what kind of reception.

They were a bit apprehensive. They were a bit worried.

Part of it was because John, he read the papers.

He was a bit afraid. He used to speak about,

of all things, Lee Harvey Oswald.

You know? He would speak about the Kennedy assassination.

He was a bit worried of violence here, you know.

He said, "Oh, it can change, Harry, it can change,

"going from a good situation into a bad one."

♪ Whoa, love me do ♪

♪ Love, love me do ♪

♪ You know I love you ♪

Do you feel, do you feel a sense of national pride?

Um, no, not really.

I'll give them this...

Were you surprised at all

at the reception you received?

Uh, yeah. Yeah. It was louder.

- Louder? - Yeah.

Because we'd never done that kind of a show before,

where you gotta play in the middle of a sort of wrestling ring.

We didn't know what to do, you know, to get someone to swap around...

The British Embassy gave them a cocktail party.

And the British Ambassador welcomed them very warmly,

except the staff of the embassy treated them terrible.

They were calling them scruff,

and the Beatles were in shock about it.

That some of the staff would call them yobbos,

and say disrespectful remarks

that...

that George Harrison were near tears.

We kind of got used to it.

We're working-class guys.

If you came up against posh people,

you figured they're gonna probably look down on you.

But you know what?

We didn't give a flying fuck.

They're working at an embassy. We're on the road rocking.

It got that, you know,

people were sort of touching us as we walked past,

that kind of thing, and whatever.

We were supposed to put up with all sorts of shit from lord mayors

and their wives, and be touched and pawed

like "Hard Day's Night" only a million more times now.

Like at the, uh, the British Embassy in Washington,

some bloody animal cut Ringo's hair, you know,

in the middle of... I walked out of that, you know,

swearing at all of them. I just left in the middle of it.

The chances of your understanding anything going on

in your own time are very small,

except through the means or media via provided by artists.

Artists are people who, uh, enjoy living in the present.

I was in high school. I lived in Alexandria, Virginia.

I was into rock and roll music, mainly Elvis Presley

who brought rock and roll music to the world, uh, to me anyway.

I ended up going to this concert.

I didn't really have any idea that it was the first concert.

I didn't. I don't know.

And it was... I didn't have any idea how big this event was.

And it was in a gigantic place where they had boxing matches.

The Beatles were in the boxing ring.

It was so loud, you can't believe.

Girls shuddering, crying, screaming their heart out.

It was phenomenal.

Music is the most... one of the most fantastic things.

Almost like fire, and water, and... and air.

It's like, it's like a thing.

And, um, it does so much.

It does a thing for the intellect,

it does a thing for the emotions.

And a certain kind of music

can swell the heart to almost burst.

Tears of happiness flow out of your eyes.

You can't believe the beauty that comes.

And it comes from these notes.

♪ I'm gonna tell Aunt Mary about Uncle John ♪

♪ He said he had the misery but he got a lot of fun ♪

♪ Oh, baby ♪

♪ Yeah, now, baby ♪

♪ Whoo, baby, some fun tonight ♪

♪ Yeah ♪

♪ I saw Uncle John with bald-headed Sally ♪

♪ He saw Aunt Mary comin' and he ducked back in the alley ♪

♪ Oh, baby ♪

♪ Yeah, now, baby ♪

♪ Whoo, baby, some fun tonight ♪

♪ I saw Uncle John with bald-headed Sally ♪

♪ He saw Aunt Mary comin' and he ducked back in the alley ♪

♪ Oh, baby ♪

♪ Yeah, now, baby ♪

♪ Whoo, baby, some fun tonight ♪

♪ Well, we're gonna have some fun tonight ♪

♪ Have some fun tonight ♪

♪ Everything's all right Have some fun tonight ♪

♪ Have some fun ♪

♪ Yeah, yeah, yeah, yeah ♪

♪ We're gonna have some fun tonight ♪

♪ Have some fun tonight ♪

♪ Everything's all right ♪

♪ Have some fun tonight ♪

♪ Have some fun Have some fun tonight ♪

When the Beatles came with that palpable energy of joy.

This was something that you wanted very much to be a part of.

That's my church. The church of rock and roll.

There was where the foundation of my faith lied

in the power of music to transform lives.

And I feel that as a son of the Beatles,

I owe them a significant portion of why I'm here.

I should also curse those bitches because

it's also so much suffering that we artists go through

because of Pied Pipers like the Beatles,

who say, "Come on, come on, come on. You can do it."

The elixir that they put together is so profound,

it wasn't just about the songs.

It was the energy that the songs were carrying forward.

I sound like a crazy fanatic fan,

but it was so important to me

to feel where that music came from.

I wanted to be able to share that...

to able to play it.

So, I went into the Liverpool Echo,

and I told the receptionist,

I said, "I'm an American musician

being held captive on a ship in the harbor."

They put us right on the front page.

The next day, the Echo had hired these girls,

and they came down, and they marched up and down

in front of the ship with signs that said, "Free the Yanks."

Immigration came back on board, and they said to us,

"We don't know how you did this. But people are calling us."

They're... they're like...

They're saying, "How could you do this?

These poor musicians, they just come here from America. Kids."

And so, they said, "We're gonna give you a 60-day student visa,

but no playing."

So, we got in a band immediately.

And we played, we hung out at the original Cavern Club.

It was intoxicating.

You could feel that the Beatles had been on this stage

not that long ago.

Around 11 o'clock after some little gig we played in a pub,

this guy came up to us and said,

"Aren't you the two Yanks in the papers?"

"Yeah, that's us."

"Well, my friend is parked around the corner,

and he'd love to get an autograph."

"No problem." We walk around the corner,

it was immigration police.

They threw us on the first ship in steerage back to New York.

This is what our film will be like.

Yeah.

The train days.

Am I supposed to be talking now?

Just take... take it easy.

Hi, Pam.

Quite charming.

We're gone... We're doing it, uh, for the film.

Well, go on then. What should we do?

- Uh, hi. - Uh...

- Where'd you get that hat? - Huh?

♪ Sha-la-la-la-la ♪

♪ It's not the way you smile that touched my heart ♪

♪ Sha-la-la-la-la ♪

♪ It's not the way you kiss ♪

Cut.

Take three.

♪ Whoa Many, many nights go by ♪

♪ I sit alone at home and I cry over you ♪

♪ What can I do? ♪

Excuse me! You're wrecking the film here!

♪ 'Cause, baby, it's you ♪

It's me!

♪ Baby, it's you ♪

You're just trying to get in on the movie, aren't you?

♪ Sha-la-la-la-la ♪

♪ They say, they say you never, never, never ♪

Excuse me, Madam. Excuse me, can I get through?

Exclusive.

♪ Whoa, doesn't matter what they say ♪

I'm not in a laughing mood even.

- ♪ What can I do ♪ - Cut!

♪ When it's true? ♪

Two-five-one.

♪ I don't want nobody Nobody, no ♪

♪ 'Cause, baby, it's you ♪

♪ Sha-la-la-la-la ♪

Hello? Mr. Hofer is here, yes. Sure.

Want pictures of Elvis Presley's cables...

Hello? Yeah, Paul?

You want pictures of Elvis Presley's cables for your film?

All right. Mm-hmm.

- Huh? - What did he say?

He congratulates me on my clients' appearance

on The Ed Sullivan Show.

- Right. - Which I think's quite funny.

You played at Carnegie Hall

when you returned to New York.

- Hmm. - Is that an unusual place?

We did some nice gigs like that.

I think this was kinda probably Brian's management skill.

Brian was a clever guy, and he was a showbiz guy.

People forget he went to RADA. So, he tried to be an actor.

You know, in other words, he wanted to actually be on the stage.

So, when he was watching us,

I think we could be his alter egos.

So, we would play some funny places

like Carnegie Hall.

I think it was just 'cause Brian saw an angle,

saw a certain sort of irony in the great hallowed hall,

the classical mecca,

and the Beatles will play there, you know, and sort of...

transgress the lines of, you know, all that stuff.

What were they expecting?

I had... When asked what are they like,

Mrs. Tesku who books the events at Carnegie Hall,

said, "Mr. Bernstein, what are these British boys about?"

I said, "They're a British phenomenon."

Now, they weren't expecting

what they heard and saw months later.

And after the afternoon concert, we had two.

Mrs. Tesku said,

"Mr. Bernstein, I thought when you said they are four boys

who are a British phenomenon,"

she said, "I thought they were a string ensemble."

She said, "Please, don't ever come back here again."

Four months later, after lots of bouquets,

and some boxes of flowers to make amends,

I got her to accept the Rolling Stones.

After that one, she says, "Don't ever come back. Ever, ever."

And for two years, I was barred from Carnegie Hall.

Here's the Newsweek review of The Beatles 1964.

Visually, they are a nightmare,

tight, dandified Edwardian beatnik suits

and great pudding bowls of hair.

Musically, they are near-disaster

that does away with secondary rhythms, harmony, and melody.

Their lyrics, punctuated by nutty shouts

of "Yeah, yeah, yeah"

are a catastrophe and preposterous farrago

of Valentine card romantic sentiments.

Those boys who are wearing their hair long are saying,

"No" to the masculine mystique. They are saying, "No" to that

brutal, sadistic, tight-lipped, crew-cut,

you know, Prussian, uh, big muscle, you know,

Ernest Hemingway, uh,

kill bears when there are no bears to kill,

and napalm all the children in Vietnam and Cambodia

to prove that I'm a man, you know, and be dominant,

and superior to everyone concerned.

And never show any... any softness.

Well, these boys that are wearing their hair long

are saying, "No, I don't have to be,

uh, all that crew-cut and tight-lipped.

Uh, I don't have to be dominant and superior to anyone.

I don't have to have big muscles

'cause there aren't any bears to kill.

I don't have to, you know, kill anybody to prove anything.

I can be tender, and I can be sensitive,

and I can be compassionate.

And, uh, I can admit sometimes that I'm afraid,

and I can even cry.

And I am a man. I am my own man."

And that man, who is strong enough to be gentle,

that is a new man.

- ♪ Well, shake it up baby, now ♪ - ♪ Shake it up, baby ♪

- ♪ Twist and shout ♪ - ♪ Twist and shout ♪

♪ C'mon, c'mon, c'mon c'mon, baby, now ♪

♪ C'mon, baby ♪

- ♪ Come on and work it on out ♪ - ♪ Work it on out ♪

- ♪ Well, work it on out, honey ♪ - ♪ Work it on out ♪

♪ You know you look so good ♪

♪ Look so good ♪

♪ You know you got me going, now ♪

♪ Got me going ♪

♪ Just like I knew you would ♪

♪ Like I knew you would, ooh ♪

♪ Well, shake it up, baby, now ♪

♪ Shake it up, baby ♪

- ♪ Twist and shout ♪ - ♪ Twist and shout ♪

♪ C'mon, c'mon, c'mon c'mon, baby, now ♪

♪ C'mon, baby ♪

♪ Come on and work it on out ♪

♪ Work it on out ♪

♪ Well, you twist, you little girl ♪

♪ Twist little girl ♪

♪ You know you twist so fine ♪

♪ Twist so fine ♪

♪ Come on and twist a little closer, now ♪

♪ Twist a little closer ♪

♪ And let me know that you're mine ♪

♪ Let me know you're mine, woo ♪

We heard it was a group in England,

imitating the Isley Brothers.

Then they sung "Twist and Shout."

♪ Shake it up, baby ♪

- ♪ Shake it up, baby, now ♪ - ♪ Shake it up, baby ♪

- ♪ Twist and shout ♪ - ♪ Twist and shout ♪

♪ C'mon, c'mon, c'mon c'mon, baby, now ♪

- ♪ Come on, baby ♪ - ♪ Come on and work it on out ♪

- ♪ Work it on out, ooh ♪ - ♪ Well, you twist you little girl ♪

♪ Twist little girl ♪

- ♪ You know you twist so fine ♪ - ♪ Twist so fine ♪

♪ Come on and twist a little closer, now ♪

♪ Twist a little closer ♪

♪ And let me know that you're mine ♪

♪ Let me know you're mine ♪

♪ Well, shake it, shake it shake it, baby, now ♪

♪ Shake it up, baby ♪

♪ Well, shake it, shake it shake it, baby, now ♪

♪ Shake it up, baby ♪

♪ Well, shake it, shake it shake it, baby, now ♪

- ♪ Shake it up, baby, ooh ♪ - ♪ Ooh ♪

And when they would do "Ooh, ooh," they'd, you know.

We were glad. We were so glad.

It was great for us, you know, that they did our songs.

Paul McCartney would often say,

"If it wasn't for the Isley Brothers, we would still be in Liverpool."

Well, we were kind of wondering

why couldn't we be on some of the shows that they were on.

Well, we should have been

on The Ed Sullivan Show doing the... you know.

The girls crying and that type of thing that was really...

What they crying for?

Crying and fainting, falling out, you know.

That was a new thing for us, you know.

Is there a lot of sort of craziness going on

within the band?

Not within the band. I think the craziness was going on in the world,

and in the band it was kind of,

the, you know, we were kind of normal,

and the rest of the world was crazy.

That's how it looked like to me.

Everywhere we went, there was...

The police were...

you know, the police were putting on their display.

You know, everybody got into the mania.

I mean, you could do 30 minutes of film

just showing how idiotic everybody else was

whenever the Beatles came to town.

Well, I think we were real lucky.

I think the only thing I ever lost in all those days of madness was, uh,

half of my scalp, a shirt, and a gold necklace,

which they gave me, back in New York.

We really weren't beat up too much.

Wales was the worst place I ever went.

What were they after?

They were after my head.

And, uh, you know, we had all these policemen,

you know, we walked down this like, corridor of policemen

and some hand just came through and just grabbed my head.

- This child would've died. - I never went to Wales.

I don't remember Wales.

It's before you joined the group.

Oh, yeah.

We got bathing beauties.

There must be... What is it, Miss...

Oh, that's Beatles. Oh. Miss Beatle.

We see here... This...

I still don't know, is it a guy?

But he certainly got a chimpanzee.

When we came, America had been in mourning.

It was quite shortly after Kennedy had been assassinated.

Maybe America needed something like The Beatles

to lift it out of mourning,

and just sort of say, "Life goes on."

The joy you see in these audiences

is like they're being lifted out of sorrow.

♪ She said, "You don't understand what I've said" ♪

♪ I said, "No, no, no, you're wrong" ♪

- ♪ When I was a boy ♪ - One, two, three. One, two, three.

♪ Everything was right ♪

♪ Everything was right ♪

We were having a chat about...

the role of frustration in creating

aggression, bigness, and war, if you like.

But, um, frustrated people feel the need to get bigger and stronger.

Your music is, um, not the frustrated kind, eh?

Yeah, the net result is, uh,

content... contentment,

but we get rid of frustration through the music, obviously.

- Mm-hm. - And like we were saying

before it ran out,

The Beatles and their ilk

were created by the vacuum of non-conscription

for the army, you know.

- I'm... I'm not aware of that background. - Well, it certainly ended

in Britain. They were, when I was still 16,

I was looking forward to hiding in Ireland...

- Mm. - ...because they still had conscription,

and then it was all over, I just missed it in 1940.

- Mm. - And then from then on,

the whole music thing burst out.

And we just knew we were the army that never was.

You know, we're the generation that were allowed to live.

- Thank God. - And, uh, the music came out of that.

The idea that television, computers, and the rest

are just tools that we use for better or worse, isn't true.

The way you react to them is what's important.

How you use your eyes to see,

your ears to hear,

brings about new forms of human association and action.

♪ It won't be long, yeah, yeah, yeah ♪

The Beatles came!

The Beatles want my autograph!

♪ Every night when everybody has fun ♪

I'd say you got The Beatles and, uh, next it'll be The Spiders.

I'm gonna get out of show business before they fumigate.

Live from Miami Beach, The Ed Sullivan Show!

That's Miami. There's a piece of plywood,

'cause you're gonna fall off the platform.

- Look how close, yeah. - Yeah.

Yeah, well, you don't think about those things, I'm afraid,

when you're, you know, excited.

Yeah, I only ever fell off the rostrum once.

- Oh, where? - In Canada.

- Hmm. - I mean, looking at it now,

it looks pretty dodgy.

Yeah, definitely.

They've extended it by two nails and a piece of wood.

♪ That boy ♪

♪ Took my love away ♪

♪ He'll regret it someday ♪

♪ But this boy wants you back again ♪

♪ That boy ♪

♪ Isn't good for you ♪

♪ Though he may want you too ♪

♪ This boy wants you back again ♪

♪ Oh, and this boy could be happy ♪

♪ Just to love you ♪

♪ But oh, my ♪

♪ That boy won't be happy ♪

♪ 'Til he's seen you cry ♪

Liverpool guys, 15 years after World War II,

and we're now here in Miami.

This is the one that sums up the good life in Florida.

He's got his shades on,

he's got the sunshine,

he's got his drink,

and he's got the girl in the yellow bikini delivering it to him.

♪ When I get up in the mornin' Gonna die ♪

♪ Get to bed at eight o'clock ♪

♪ Comin' home, I'm back again ♪

♪ Here he comes, Arthur Pem! ♪

♪ Singing guitar blues ♪

Yeah, yeah, yeah.

- You got a pick? - Kinda wacky.

♪ Up in the morning Out to the sun ♪

♪ Nobody knows when we're gonna come ♪

- Okay. Good morning. - Okay.

Oh, it's out of tune.

That's why I'm not singing.

What chance have I had of tuning it up?

Very crummy guitar anyway.

Yeah.

What would you say

to John or to George if they were here today?

I would say, "I love you."

'Cause growing up in Liverpool, you never said that.

You never told a guy you loved him.

Unless he was like your brother or something.

And they were brothers.

Good evening, sir.

Wow, look who's here.

You're on our flight?

Yeah.

And where are you going?

- He's sitting right there! - You're goofballs.

Leave us alone. Leave us alone.

Uh... push the drape back a little bit. Look.

I got a job down at the Record Plant

and worked my way up.

Me, editor. Now, I go in there.

Um, it's the "Imagine" album. I'm in here with these tapes.

It's all fucking magical.

And the door opens up,

and there's Lennon standing in the doorway.

And he looks at me and he says, "Do you mind if I come in here

and just hang out for a little bit?"

'Cause it was quiet in my room.

And my... And my heart, I almost peed myself.

There he was in person. And he said, "Can I sit down?"

And just, I said, "By all means. I'm the guy editing your stuff."

He said, "Yeah, yeah. Thank you. You're doing a great job."

And he sat on the other side of a console.

And then finally, after a few minutes,

I said to him, "I've been to Liverpool."

Now, his head popped up.

And he looked at me, and he said, "Where are you from?"

I said, "I'm born and raised, really, in New York, New York area."

"So, why, uh, would you want to go to Liverpool?

Everybody there wants to come here,

including me. I'm here now."

You know, um, "And it's not a great place, like, not a tourist spot."

No, I said, "No, I was a musician,

and... and everything was happening there.

The music for me was... that was the source.

So, he said, "Well, how did that work out for you?"

And I said, "Well, good and bad."

I said, "Bad, I was deported."

He looked at me and I said, "But good, I made a lot of noise

before they threw me out."

And he looked at me, and he said...

"Were you one of those two crazy Yanks that were in all the papers?"

And I said, "Yeah, that was me."

He said, "We release a record,

and in our hometown paper, you were on the front page."

I said, "Sorry about that."

He goes, "No, no, we had all a good laugh about it."

He said, "This is really amazing."

He said, "Of all the places I come...

I run into this guy that we kind of had a feeling for.

So, what do you do?"

"I... I'm editing this."

He goes, "Nah, you're one of the engineers now."

I asked him once, I said, "Why, of all the people you could ask

to produce you, why me?"

And he went like this.

I said, "What's that?" He said, "Good antenna. That's all it takes."

I can't listen to the Beatles in a casual way.

If I'm in the supermarket, and they have some

Muzak version of a Beatles song,

it's like I have to stop in my tracks,

and just put my head down,

and wait for it to be over. It's like I can't think,

I can't live if Beatles music comes on.

It's too personal.

Van Morrison always talks about music as healing.

That's what music does.

It stops the bleeding.

My father never recovered

from Kennedy's assassination, but we did.

Running.

- George. - Yeah?

George, your fans obviously enjoyed it over there.

I... I assume the press enjoyed it. Did you enjoy it?

Yeah, it was marvelous. Yeah, yeah, everything.

Every bit of it was a knockout.

Even the work?

Yeah, we enjoyed it, you know. It was different.

- Yeah. - Working in different places

with the audience all around us, and you know,

it was a novelty.

It seemed that you did minimize

a little bit what the effect was and

its value, its lifestyle, and all that.

You said that there was almost nothing left of Beatles.

Well, yeah, I get bitter, too, you know.

And, uh, also, it was always the insistence that the Beatles led...

something, you know.

And if anything, they were figureheads, you know.

And the thing I didn't like

was the insistence that we led something, you know.

So, my, uh, picture of it now is there was a ship

going to discover the New World, you know?

And The Beatles were in the crow's nest

on the same ship.

You know, maybe The Stones were up there, too, or whoever,

but let's say Beatles were up in the crow's nest.

And we just said, "Land ho!"

♪ We're gonna write a little letter ♪

♪ Gonna mail it to my local DJ ♪

♪ It's a rockin' little record I want my jockey to play ♪

♪ Roll over Beethoven I gotta hear it again today ♪

♪ You know my temperature's rising ♪

♪ And the jukebox blows a fuse ♪

♪ My heart's beating rhythm

♪ And my soul keeps singing the blues ♪

♪ Roll over Beethoven Rocking in two by two ♪

♪ Well if you feel it and like it ♪

♪ Get your lover and reel and rock it ♪

♪ Roll it over and move on up ♪

♪ Just a trifle further and reel and rock it ♪

♪ Roll it over Roll over Beethoven ♪

♪ Dig to these rhythm and blues ♪

♪ Well, early in the mornin' I'm a-givin' you the warnin' ♪

♪ Don't you step on my blue suede shoes ♪

♪ Hey diddle diddle gonna play my fiddle ♪

♪ I ain't got nothing to lose ♪

♪ Roll over Beethoven Tell Tchaikovsky the news ♪

♪ Well, she wiggles like a glow-worm ♪

♪ She dance like a spinning top ♪

♪ She got a crazy partner ♪

♪ You should have seen her reel and rock ♪

♪ Long as she got a dime The music will never stop ♪

♪ Roll over Beethoven ♪

♪ Roll over Beethoven ♪

♪ Roll over Beethoven ♪

♪ Roll over Beethoven ♪

♪ Roll over Beethoven Dig these rhythm and blues ♪

This afternoon in our Paris studios,

we're visiting with four young men.

And if I just mention their first names,

such as Paul, and George, and Ringo, and John,

I doubt if you'd know about whom we're speaking.

But if I said we're here this afternoon with the Beatles,

and if we were in England,

I think we'd get a great big rousing "Hurrah!"

- Wouldn't we, boys? - Oh, yeah.

George, what is the Liverpool sound?

Oh, it's more like the old rock.

It's just, you know, everything's a bit louder.

More bass and bass drum.

But we don't like to call it anything,

but the critics, you know, they have to call it something.

Uh, Ringo here. Now, you're the drummer.

We caught your act at the Olympia the other evening.

How long have you been beating those skins?

Oh, about five years now.

How about the French girls

compared to the British girls?

Oh, we haven't seen any yet.

I think they don't let the girls out

at night.

Let's ask John Lennon this.

Do all your songs have a basic theme

or story or message?

Um, no.

Well, that's a quick one.

That was a quick answer!

Since you boys have gained, uh,

your current popularity,

have there been many other organizations trying to imitate you

or perhaps take the, uh, thunder away from you?

Uh... Well, I suppose, a couple of people

have jumped on the, uh... railway carriage.

I mean, the bandwagon. But it doesn't really matter, you know,

because it's flattery and...

and it sort of promotes the whole idea

of us if we're away, and there's a few little Beatles

still going to remind people of us.

Well, Paul, what do you think

of your trip to the States?

I understand in about a week or ten days

you're going to be on The Ed Sullivan Show.

Yeah, that's right.

We're gonna do Ed Sullivan's show in New York.

And we're taping one for later release, or something.

And we're looking forward to those,

then we go down to Florida, Miami.

Can't wait. And we do another Ed Sullivan there,

but I think before that we do, uh, Carnegie Hall, don't we?

Yeah.

Perhaps when you get to The Ed Sullivan Show

there will be, uh, more girls for you.

- Ah, hope so. - Hope so. Yeah.

So, it's on the line. Back to you, Jim, from Paris.