(footsteps echoing)
(knocking)
PAUL: Ringo.
RINGO: Wait till we get on there and it dies a death.
JOHN: You all right, George?
(George murmuring)
JOHN: (mumbling) ...so when I bend down,
I hope they don't split open.
JOHN: Paul's all right, he's got his jacket on.
(murmuring)
(drumming)
JOHN: I get something in me head, you know,
and all the walls of Rome couldn't stop me.
All right, pickled onion.
PAUL: I remember so vividly showing up at the show,
and you'd be in your ordinary clothes,
and then you'd take out of your little suitcase
your suit and your shirt,
and put 'em on, and then finally your Beatle boots...
and you'd stand up, and you just looked at each other,
like, yeah, there we are.
(crowd screaming)
* 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 said she loves you
* And you know that can't be bad
* 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 hurting kind
* You know that can't be bad
* She loves you and you know you should be glad
* Ooh
* She loves you, yeah, yeah, yeah
* She loves you, yeah, yeah, yeah *
Yeah, yeah, yeah.
Those are the Beatles, those are,
and this is Beatle Land, formally known as Britain,
where an epidemic called Beatlemania
has seized the teenage population.
MAN: Confusion here at London Airport.
Hundreds and hundreds of young Beatles fans.
The younger generation is going to hell.
Just gorgeous.
- MAN: They're what? - They're gorgeous.
Their haircuts and clothes, they're setting a new fashion.
The various things, their clothes, their hair.
They sound different.
They're confident, they're natural.
They sort of represent the teenage people.
(audience screaming and cheering)
* Yeah, yeah, yeah
* Yeah, yeah, yeah, yeah *
PAUL: By the end, it became quite complicated,
but at the beginning, things were really simple.
Thank you very much, everybody.
Thank you.
Thank you very much!
PAUL: A lot of people thought we were
an overnight sensation.
We weren't.
People didn't realize we had all this development.
They just saw these four things
that looked alike with this haircut,
and they knew how to play.
And they were a bit of a laugh, you know,
because that's what we'd been doing
all those years previously.
JOHN: I had a group.
I was the singer and the leader.
I met Paul and said, do you wanna join me band, yeah,
and then George joined.
We were great live performers then.
I don't think anybody in the world ever saw us
outside of Liverpool and the few places
where we traveled to, because that's when
we had to perform live to a small audience
in the dance hall. We had to hold them.
PAUL: We were just playing all the time.
Then we went out to Hamburg, and that was a real slog.
We were playing, sometimes, eight hours a day.
I was right in the middle of the naughtiest city
in the world at 17 years old.
It was kind of exciting.
RINGO: I was with Rory Storm.
We were like the top band in Liverpool,
and for some reason, this guy in Hamburg
decided to come to Liverpool and take
all the bands to Germany to play.
Well, we went to see these punks, and that was it.
PAUL: I still remember that moment the first time
Ringo played with us.
Bang, he kicks in.
And it was an "oh, my God" moment.
I remember looking, and we're all looking at each other
like, yeah, this is it.
Whoo, I'm getting very emotional.
GEORGE: Once we got Ringo, we started to do better,
and sort of do it professionally.
RINGO: You know, for me, I'm an only child.
I felt like I suddenly had three brothers.
RINGO: We just wanted to play.
Playin' was the most important thing.
GEORGE: Hamburg was a bit messy, I mean, to sleep
all huddled together in one room.
There were no bathroom or anything,
but then we'd had practice because
we didn't have a bathroom at home.
JOHN: We used to have this saying that I used to chant,
and they would answer.
When they were depressed, you know,
thinking the group was going nowhere,
and this was a ( bleep ) deal,
we're in a ( bleep ) dressing room,
I'd say, where we goin' fellas? And they'd go--
GEORGE: To the top, Johnny.
JOHN: And I'd say, where's that, fellas?
And they'd say,
GEORGE: To the toppermost of the poppermost, Johnny.
JOHN: I'd say, right, and we'd all sort of cheer up.
We were always kinda a little nervous
before each step we went up the ladder,
but we didn't realize what was to come.
("Please Please Me" playing)
* Last night I said these words to my girl *
NEWSREEL REPORTER: The Beatles. In one meteoric year,
they've led the way from the cellars of Liverpool
to the national limelight.
REPORTER: Do you have any fears that your public
eventually will move on to a new favorite?
PAUL: It's stupid to worry about things like that.
ORGE: It's not worth missing your sleep for it.
- No. - No.
It could happen tomorrow,
and it could, you know, we could have quite a run.
(audience cheers and applauds)
I was living in Sweden, and the Beatles came to Sweden.
I remember, I went day after day
and stood outside the hotel at the end of school,
and I just remember seeing their figures on a balcony.
Once a day, the Beatles would come out and wave.
PAUL: Hello, my name's Paul McCartney,
and I play bass guitar.
GEORGE: Hello, people there.
I'm George Harrison and I play solo guitar, yeah.
RINGO: This is Ringo Starr, and I play drums.
JOHN: And this is John Lennon, and I play better guitar.
(laughter)
CURTIS: They were like a gang. Do you know what I mean?
They each had their little characteristic.
I mean, John was surprisingly fearless.
Paul was surprisingly cute.
Ringo was cheeky and irresistible.
And George was the one that my sister was in love with.
You're tremendously lively and full of zing on the stage.
How difficult is it for you to keep up this zest?
Well, we do the zest we can.
CURTIS: I've spent my whole career, in a way,
trying to recapture in things that I write,
the hilarity of four friends one drink down,
age 19, laughing at their jokes and all the new stuff
that they find really funny.
The Beatles were kind of the dream of how you might be
with your friends as you went through life.
Oh, screaming, screaming. That's reminded me, yes.
Why do they scream?
I don't know. I couldn't tell you.
(laughs)
If somebody scores a goal,
there's a louder cheer from all the people.
If we shake our heads, it's the equivalent
of scoring a goal.
That when they scream the loudest.
Do you see what I mean?
Yes, yes, I do understand.
You'll do that, and they scream.
(playing "Twist and Shout")
* Ah
* Shake it up baby, now
* Shake it up, baby
* Twist and shout
* Come on, come on, come on, come on, baby, now
* Come on, baby
* Come on and work it on out
* Work it on out
* Well, you twist, 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
* Shake it, shake it, shake it, shake it, ba, now
* Well shake it, shake it, shake it, baby, now
* Shake it up, baby, ooh
* Ah
* Yeah
(bells toll)
NARRATOR: This is the BBC Home Service.
Here is the news, read by Frank Phillips.
FRANK PHILLIPS: Thousands of teenagers
who had been waiting for more than 12 hours
in Liverpool to book for a Beatles show were disappointed.
At one time, the queue stretched
for over a mile, and the police had to seal off
side streets to traffic.
Ambulance men dealt with more than 100 casualties,
most of them suffering from exposure to the rain.
When the tickets ran out, many young girls
burst into tears.
More rain is forecast for...
LEONARD PARKIN: Hello, London, this is Leonard Parkin
calling radio newsreel from Washington.
President Kennedy and Governor John Connally
were shot today from an ambush
as President Kennedy's motorcade
left the center of Dallas, where the president
was on a speaking tour.
PAUL: It was disturbing for us.
It was a mixture of all these sort of strange things,
you know, where the world was at.
It was scary.
But in all truthfulness, we were more in our own heads,
you know, being in a band.
You know, we were lads.
RINGO: It was like, this is our journey,
and things have been put in place
outside of our consciousness.
Even the first trip to America.
There was no plan. You could not plan it.
PAUL: I'd been very fussy about America.
I'd said, we can't go to America and come back having failed.
If we ever get a number one there, then we can really go in,
and, you know, we'll be kings.
CARROLL JAMES: So, Marsha Albert has the honor
of introducing something brand-new,
an exclusive here at WWDC.
Marsha, the microphone here on The Carroll James Show
is yours.
MARSHA: Ladies and gentlemen,
for the first time on the air in the United States,
here are the Beatles singing "I Want to Hold Your Hand."
("I Want to Hold Your Hand" playing)
* Oh, yeah, I'll tell you somethin'
* I think you'll understand
* When I say that somethin'
PAUL: I remember, we were in Paris,
playing at the Olympia.
* I wanna hold your hand
A telegram came through, and it said,
Congratulations, boys. Number one in America.
"Hold Your Hand," it was like, ah!
We just jumped on each other's backs,
ran around and just partied round and round
this little room for hours, just screaming.
PAUL: It was, like, visas, passports,
America, here we come.
* And when I touch you
REPORTER: The Beatles were on their way to America.
Come back, Ringo, come back, all,
George and John, and come back, Paul.
* It's such a feeling
* That my love, I can't hide
RINGO: When we came, I know this for myself,
and I know because we talked to each together.
We were in America before the plane landed.
I could feel New York.
It was an incredible sensation.
It's like, come on down, boys.
* I want to hold your hand
REPORTER: The four Beatles have left the airplane.
They're standing on the stairway,
there's that fabulous hairdo.
And one of them is waving his finger!
Oh, look at him wiggle!
JOHN: We all knew America, all of us.
I mean, through all those movies,
whether it was Disneyland, or Doris Day and Rock Hudson,
or whatever, you know, James Dean, Marilyn,
everything was American.
REPORTER: Apparently they're gonna make
a concerted effort to get through into the building.
MAN IN CROWD: We love you, Beatles!
REPORTER: Where, in just a few moments,
a scheduled press conference will begin.
EDDIE IZZARD: America's always seen as the motherland
for British performers, for any performer in the world.
REPORTER: What about the reports
that you guys are nothing but a bunch of
British Elvis Presleys?
It's not true, it's not true!
What that is, is what any comedian would want to do.
The trick of dealing with heckles
is to say the first thing that comes into your brain.
And they'd already got to that place.
And they could all do it.
REPORTER: I got a question here.
Are you going to get a haircut at all?
- No. - No, thanks.
I had one yesterday.
That's no lie.
IZZARD: The Beatles were cheeky,
kind of where every kid wants to be,
where adults want to be,
being able to talk back to the people
who are telling you what to do.
They were cheeky, and I think people in the world like that.
It's not aggressive, it's not nasty, it's just brazen.
REPORTER: Why does your music excite them so much?
We don't know, really.
If we knew, we'd form another group and be managers.
RALPH PAUL: And now, here he is, Ed Sullivan!
(jazzy music)
(audience cheers)
ED SULLIVAN: Thank you very much.
Now yesterday and today, our theater's been jammed
with newspapermen and hundreds of photographers
from all over the nation, and these veterans agree with me
that the city never has witnessed the excitement
stirred by these youngsters from Liverpool,
who call themselves the Beatles.
Now tonight, you're gonna twice be entertained by them.
Right now, and again in the second half of our show.
Ladies and gentlemen, the Beatles!
* 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 *
WHOOPI GOLDBERG: We watched Ed Sullivan every Sunday night,
my brother and mom and I.
It wasn't even a question.
It's just, that's what we'd do.
And, man, I'd never seen anybody that looked like them.
* Close your eyes and I'll kiss you
* Remember I'll always be true *
It was like a revelation.
And when you're a little kid, you don't know
it's a revelation, but it was like the whole world lit up.
Suddenly I felt like I could be friends with them.
And I'm black. (laughs)
* All my lovin'
* All my lovin', ooh
* All my lovin' I will send to you *
GOLDBERG: People would say to me,
you think you wanna be white? You like those guys?
It's just like, I never thought of them really
as white guys, they were the Beatles.
They were colorless.
You know, and they were amazing.
(crowd chattering)
The Beatles gave me this idea that everybody was welcome.
If you weren't the hippest kid in the neighborhood,
it didn't matter, because you could be a Beatle fan,
and I liked that.
And that sort of carried me into these older days
where it's like, I am my own person.
I can look the way I want, I can be the way I want,
and it's okay,
>> HELLO AGAIN, FRIENDS.
I'M STU LEVITAN AND IT IS MY
PLEASURE TO WELCOME YOU TO
WISCONSIN PUBLIC TELEVISION.
WE'VE GOT THE MAGIC OF THE
BEATLESS, THE FABS, THE FOUR
AAGENTS OAGENTS OF GOD.
RON HOWARD'S SPECIAL ABOUT THE
BEATLESS.
IF YOU WERE LUCKY ENOUGH TO GO
TO ONE OF THOSE CONCERTS, THIS
IS LIKE YOU'VE NEVER HEARD THEM
BEFORE.
YOU'RE GOING TO LEARN THINGS
ABOUT THE BEATLES THAT YOU NEVER
KNEW.
AT THE END OF THIS EVENING
YOU'RE GOING TO BE SMILING IF
YOU'RE NOT ALREADY GIDDY WITH
THE JOY AT LOOKING AS WHAT WE
HAVE BEEN THROUGH OVER THE
YEARS, THE WONDERFUL MUSIC THAT
THEY HAVE MADE.
TONIGHT IS YOUR CHANCE TO SHOW
HOW MUCH YOU APPRECIATE IT.
DIANE IS GOING TO TELL YOU SOME
OF THE THINGS THAT YOU CAN GET
IF YOU JOIN THE FAMILY.
>> ABSOLUTELY.
THANK YOU, STU.
I'M DIANE AGANS.
THIS IS WHAT YOU'VE BEEN WAITING
FOR.
WHAT CAN I GET WHEN I CALL IN
AND MAKE THAT MEMBERSHIP GIFT OF
SUPPORT?
WHO DOESN'T LIKE A RON HOWARD
FILM.
"EIGHT DAYS A WEEK," THE TOURING
YEARS, THE BEATLESS.
WE'RE GOING TO BE GOING BACK IN
A FEW MINUTES.
FOR $8 A MONTH WE WILL SEND YOU
THE DVD, 106 MINUTES OF A
FANTASTIC DOCUMENTARY BY RON
HOWARD.
IT INCLUDES A BOOKLET THAT HAS
THE TICKETS OF ALL THE TOURS
THAT THEY HAD AND SOME
BEHIND-THE-SCENES INFORMATION.
WITH A GIFT OF $15 A HO, THIS IS
THE REALLY WONDERFUL SET HERE,
YOU GET THE DELUXE TWO-DVD SET.
THIS INCLUDES AN ADDITIONAL
BONUS DISC WITH ADDITIONAL
MUSIC, A 64-PAGE BOOKLET OF
BEHIND-THE-SCENES INFORMATION,
BUT 206 MINUTES OF JUST PURE RON
HOWARD TELLING US THE BEATLES
STORY.
WE'LL ALSO INCLUDE A CD, THE
BEATLES LIVE AT THE HOLLYWOOD
BOWL.
THIS HAS BEEN COMPLETELY
REMASTERED, A NEW RELEASE THAT
IS AVAILABLE.
WE'LL THROW THAT YOU WITH THE CD
AS WELL AS THE TICKET BOOKLET.
FOR $25 A MONTH WE'LL SEND YOU
THE TWO-DVD SET AS WELL AS THE
CD OF THE HOLLYWOOD BOWL AND
THEN THE TICKET BOOKLET.
WE HAVE A CO-BRANDED PBS BEATLES
THING OF A MUG AND TOTE BAG.
THERE'S A WHOLE CORNUCOPIA OF
FUN THINGS WITH A GIFT OF JUST
$25 A MONTH TO PUBLIC
TELEVISION.
GET YOUR BEATLES ON AND GIVE US
A CALL, 1-800-236-3636.
>> WE NEED YOUR PLEDGE VIEWER.
YES, YOU KNOW THAT TRUE.
HI.
I'M MARY ALICE, HERE TONIGHT.
I AM A HUGE BEATLES FAN.
YOU PROBABLY ARE TOO.
IF YOU'RE NOT BY THE END OF THE
SHOW, YOU WILL BE.
AND THE WAY TO GET THE BEATLES
AND OTHER GREAT SHOWS LIKE THIS
IS TO HELP SUPPORT PUBLIC
ONE OF THE FASTEST-GROWING WAYS
OF SUPPORTING PUBLIC TELEVISION
IS BY BECOMING A SUSTAINER.
EASY, QUICK, PAINLESS.
ALL YOU HAVE TO DO IS PLEDGE
MAYBE $8 A MONTH OR $15 OR
WHATEVER FITS INTO YOUR BUDGET.
IT'S QUICK, IT'S AUTOMATIC.
IF YOU CALL AT 1-800-236-3636,
THEY CAN TELL YOU HOW.
>> HONORED BY THEIR COUNTRYMEN,
DECORATED BY THEIR QUEEN,
BELOVED HERE IN AMERICA.
THAT'S HOW ED SULLIVAN IS GOING
TO INTRODUCE THE BEATLES LATER
ON TONIGHT.
YOU CAN SAY THAT ABOUT WISCONSIN
PUBLIC TELEVISION OR AT LEAST
TWO OUT OF THREE.
WE'VE BEEN HONORED BY MANY
DISTINGUISHED JOURNALISTIC AND
OTHER ENTITIES AND WE'RE
CERTAINLY BELOVED HERE IN
WISCONSIN.
YOU CAN JOIN THE WISCONSIN
PUBLIC TELEVISION FAMILY, SHOW
YOUR SUPPORT FOR TELEVISION OF
THE PEOPLE, BY THE PEOPLE AND
FOR THE PEOPLE BY CALLING
1-800-236-3636.
GOING ONLINE TO wpt.org.
THE MUSIC OF THE BEATLES IS
SOMETHING THAT HAS SUSTAINED
GENERATIONS.
WISCONSIN PUBLIC TELEVISION HAS
SUSTAINED GENERATIONS THROUGH
OUR INFORMATION, EDUCATION,
DRAMA, TRAVEL LOGS, HISTORY,
DOCUMENTARIES AND YOU CAN JOIN
AND SHOW YOUR SUPPORT.
>> OKAY.
THIS IS A SUPER SHORT BREAK
BECAUSE WE WANT TO GO BACK TO
"EIGHT DAYS A WEEK."
GIVE US A CALL RIGHT NOW.
WITH $8 A MONTH, WE WILL SEND
YOU THE DVD SET OF THE PROGRAM,
WE'LL ALSO INCLUDE A 60-PAGE
TYBLGHT BOOKLET.
AND THEN WITH A $15 GIFT A MONTH
YOU GET THE DELUXE TWO-CD SET OF
THE PROGRAM.
IT HAS BONUS FOOTAGE AND ALL
KINDS OF FUN STUFF AS WELL AS A
CD OF THE HOLLYWOOD BOWL.
WITH A GIFT OF $25 WE'LL SEND
YOU ALL OF THAT AS WELL AS A MUG
AND PBS TOTE BAG.
MALE ANNOUNCER: Fresh after their appearance on The Ed Sullivan Show,
where over half the country was watching,
the four English musical stars with their pudding-bowl haircuts
were mobbed by about 4,000 shrieking teenagers
when they got to the Plaza Hotel.
RINGO: We had the whole floor in the Plaza.
And the four of us ended up in the bathroom,
just to get a break from the incredible pressure.
Let me on it. Let me on it.
- No, let me. - Me!
Me, me!
Television, me!
- You. - Me.
- No, you. - Me.
- After you, sir. - Cut.
RINGO: But we loved it.
To pick up a small transistor radio--
it was the first time in New York--
and hear you comin' out the radio,
oh, it was mind-blowin'.
JOHN LENNON: Hey, this is John Lennon of the Beatles
on 1010 W-I-N-S.
MURRAY THE K: Now, we just wanna tell everybody,
this was the Beatles' station, they're taking over,
they're telling us what to play.
- (phone ringing) - WOMAN: Hello?
Yes, long distance calling for the manager of the Beatles.
May we have his name, please?
WOMAN: Their manager's name is Mr. Brian Epstein.
PAUL: Looking back now, it was Brian Epstein.
He was the guy who got us famous, really.
Brian was class.
That was what Brian was.
He was like Liverpool class.
When Brian was 27, he was a grownup, and he had a car.
The Beatles' parents were Liverpudlian,
working-class people that had been through a war.
Our playgrounds were bombsites.
His parents ran a record shop.
REPORTER: Seems a funny sort of world
for a young man like you to be in.
How did you get into it? How did you start?
I heard about them through a lad
who was asking for a record by them
in one of my stores, or my family's stores,
in October, 1961.
Growing up, my mom always wanted me to talk proper.
You know, all of us, really.
You know, like, I talk like I'm from Liverpool.
I'm tellin' you, don't give me any hard time.
PAUL: Whereas Brian was very well-mannered,
very well-spoken, so we felt we could trust him.
EPSTEIN: I went down to see them in Liverpool
at the Cavern Club.
EMCEE: The Beatles will sing "Some Other Girl."
(audience screams and claps)
(playing "Some Other Girl")
EPSTEIN: They were fresh, and theyere honest,
and they had what I thought was a sort of presence,
and there's this terrible vague term, star quality.
Whatever that is, they had it.
* Some other guy now
* Has taken my love away from me
* Some other guy now
* Has taken away my sweet desire, oh, no *
PAUL: He was looking at our stage presence.
In the early days, it was clear that he had
a vision of us that was beyond the vision
we had of ourselves.
EPSTEIN: At that stage, they were playing
around the clubs in Liverpool rather scruffily dressed,
black leather jackets and jeans,
and rather untidy stage presentation,
but having great fun.
But I don't think they would have bothered
to do anything about it,
because young, inexperienced people
are not really very good at presenting themselves properly
in the right sort of quarters.
He took us to a tailor...
Beno Dorn...
and we went to this guy,
and he made us up suits, you know.
I'm not sure exactly what time we'll be back in Washington.
We're going to Washington tomorrow,
and we'll be coming back on Wednesday.
Bye.
PAUL: Brian kept us together as a team.
REPORTER: What place do you think
this story of the Beatles is gonna have
in the history of Western culture?
You must be kiddin' with that question.
Culture, it's not culture.
- REPORTER: What is it? - It's a good laugh.
(screams and applause)
CARROLL JAMES: This is Carroll James,
and now, from the Washington, D.C. Coliseum,
the world's most exciting group,
Capitol recording stars, the Beatles.
PAUL: You know, the suits.
It's the simplest of ideas.
It suddenly made us one person.
A four-headed monster.
Thank you very much, everybody,
and good evening, how do you do?
We would like to sing a song
which we recorded on an LP that we made,
and that's English for album,
an album that we made, and we'd like you,
we'd like you, if you would,
to sort of join in and clap your hands, you know,
and stamp your feet.
The song's called "I Saw Her Standing There."
One, two, three, four!
(playing "I Saw Her Standing There")
* Well, she was just 17
* You know what I mean
* And the way she looked
* Was way beyond compare
* How could I dance with another
* When I saw her standing 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
* When I saw her standin' there
* Well, my heart went boom
* When I crossed that room
* And I held her hand in mine
* Well, 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
* Since I saw her standing there
* 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
* Since I saw her standin' there
* Well, since I saw her standin' there
* Since I saw her standin' there *
- REPORTER: Which one are you? - Eric.
Eric?
It's not for me, it's for Paul.
I'm doing a sh-- (laughs)
Eric, here is the American public.
- I'm John. - You're John?
It was only a joke.
Yes, well, John, here is the American public.
40 million American viewers staring you--
- Only looks like one man to me. - Staring you right in the face.
Oh, it's the cameraman.
What is your impression of the American public?
You've been here for a while now.
They are the wildest.
- Why? - I don't know.
Tonight was, was ridiculous.
All those 8,000 people all shouting at once,
and we were trying to shout louder than them
with microphones, and we still couldn't beat 'em.
Was America something like what you though it would be?
No, nothing like. We thought it would be much quieter.
We thought, you know, we'd have to grow on everybody,
and everybody seems to know us all
as if we've been here for years, it's great.
I love the Beatles for them, and I'll always love them,
even when I'm a 105-year-old grandmother,
I'll love 'em, and Paul McCartney,
if you are listening, Adrian from Brooklyn
loves you with all her heart.
(cheering)
PAUL: It's a romantic thing to us, being in America,
playing to our American fans.
- Ringo has a sexy nose! - A sexy nose?
George has got sexy eyelashes.
Who has?
George has got sexy eyelashes.
- Which one is George? - That one.
He's got sexy eyelashes.
(screaming)
PAUL: The very earliest records were all
pleas to the fans, and it was all personal articles.
JOHN: In our early days, we didn't count lyrics at all,
as long as it had some vague theme.
She loves you, and he loves him, and they love each other.
* So hold, hold, me tight, me tight
* Tonight, tonight, tonight, tonight
* It's you
* You, you, you
PAUL: It's all direct, it's kind of conscious.
We were actually appealing to girls.
We're young boys, we're appealing to girls
to get our fan base.
* You
In those days has, yeah.
- (laughs) - Go on.
You, yourselves, you write very good songs, don't you?
Oh, thank you, thank you.
How do you write songs?
Well, you know, it just depends.
Sometimes we write them on old pianos,
and anything that's lying around.
Normally, we sit down and try and bash one out.
But then again, there's no formula,
'cause he can come up with one, one day,
completely finished, we still say we both wrote it though.
* I got every reason on Earth to be mad
* 'Cause I just lost the only girl I had *
JOHN: They'd want a single every three months,
and we'd have to be writing literally in the hotel
or in a van.
PAUL: We wrote on the road.
Mainly me and John.
George developed as a writer later,
and became an unbelievable writer,
but at the beginning, it was mainly me and John.
So we'd be in a hotel room with two twin beds,
and he'd have his acoustic guitar, I'd have mine,
sit opposite each other, and because
I was left-handed, he was right-handed,
it was like looking in the mirror.
And we'd just start something and ricochet off each other.
He'd do a line, I'd do a line, we'd just write it down.
And when we were finished,
we didn't have a manuscript, but we had a sheet of paper
with the words, and we remembered the chords.
Yeah, it's number one in Cashbox and Billboard.
Yeah, you know, in New York, three records,
"Please Please Me," "She Loves You,"
and "I Want to Hold Your Hand" are all number one.
(laughter)
Paul, John, yeah. Thanks.
But we'll see you, you know, in two weeks, I suppose.
(harmonium music)
My relationship with John was very close.
Musically, you know, we looked after each other, really.
It's like someone you kind of looked up to a little bit.
When I first met him, I talked to people in my life,
and they say, what do you like to do,
what are your hobbies and stuff?
And I sort of said, I like songwriting,
I've written a couple of songs.
And they'd all go, Oh, yeah, great.
What did you think about the football?
And I'd go, oh, okay, nobody interested.
When I said that to John, he said, "Oh, so am I."
I go, wow, wait a minute, big connection here.
I'd never met anyone who'd written songs.
So that's how we started.
I think it's something like just short of 300 songs
John and I wrote together.
(crowd singing "She Loves You" in unison)
* Apologize to her
* Because she loves you
* And you know that can't be bad
* She loves you, yeah, yeah, yeah *
* With a love like that, you know you should be glad *
ELVIS COSTELLO: My mother's father was from Liverpool.
There was that pride thing, that they were from Liverpool.
And nine years old.
When your favorite group is the Beatles,
it is like supporting a winning football team,
because they just keep winning the cup.
You'd wait all week to hear the Hit Parade show,
so that you would hear, for sure, the Beatles' song,
because they would get to number one.
Top British vocal group, top four records of the year,
the world's leading vocal group, the Beatles!
* Can't buy me love
* Love
* I'll buy you a diamond ring, my friend
* If it makes you feel all right
* I'll get you anything, my friend
* 'Cause I don't care too much for money
* Money can't buy me love
For some reason, whatever we were putting out,
they were loving it.
And they loved us wherever we went.
It was a surprise to us, too.
MAN (Italian accent ): John, Paul, George o Ringo.
The Beatles!
COSTELLO: It was a different kind of fame,
because we didn't have social media,
we didn't have satellite television,
and yet the word would spread
that this group would be coming.
Once it was big in one country, it got bigger in the next.
JOHN: Australia, there was more people
came to see us there than anywhere.
I mean, it looked like it.
I think the whole of Australia was there.
REPORTER: Along the nine-mile route
from Adelaide Airport to the city,
almost a quarter of a million people lined the street.
JOHN: My picture of it, there was a ship
going to discover the New World,
and the Beatles were in the crow's nest,
and we just said land ho.
* It's the second time I caught you talking to him
* Do I have to tell you one more time
* I think it's a sin
* I'm gonna let you down
* Let you down
* And leave you flat
* Gonna let you down and leave you flat
* Because I told you before
* Oh, you can't do that
And so we were all on this ship in the sea,
not just Beatles, but our movement,
our generation, and we went somewhere.
(screaming)
And of course, next most extraordinary thing
is the fantasy version of the Beatles from '64,
you know, Hard Day's Night.
("A Hard Day's Night" playing)
* It's been a hard day's night
* And I've been workin' like a dog
* It's been a hard day's night
* I should be sleepin' like a log *
MAN: You fancy yourselves as actors then, do you?
GEORGE: No, definitely not, but we enjoyed making the film,
and especially with the director.
The director was great, you see,
and it made it much easier for us.
United Artists said,
"You ought to be able to make a good, quick,
low-budget film with them,
as long as it's in the cinemas by July,
because we think they'll be probably a spent force
by the end of the summer."
- Give us a kiss. - I shall call the guard.
Ah, but what? They don't take kindly to insults, you know.
The only thing that was a plan
through the seven weeks of the shoot
is that sense of protection.
Being protective when they had to be supporting one another
in a family way.
* It's been a hard day's night
RICHARD CURTIS: One of the things about Hard Day's Night,
and everything you heard about the Beatles
is the lack of self-pity, that we had a feeling
they were adoring what was happening to them,
and therefore, that made it like a completely virtuous circle.
Fan, Beatles, fun, excitement, music.
And of course, everybody in the world
could buy tickets to see them.
MALCOLM GLADWELL: What you're seeing is the emergence
of this international teen culture.
If you're 14 in 1964, who are you looking to for cues?
Not your parents.
* I should be sleepin'
Beatles hysteria is kind of
a muscle flexing of that generation.
The baby boom.
It's no accident you see all this kind of youth culture
coming out of that time, because quite literally,
the society is dominated by teenagers.
* You know I feel all right
(cheering and screaming)
("Roll Over, Beethoven" playing)
* Gonna write a little letter, mail it to my local DJ
* It's a rockin' little record I want my jockey to play
* Roll over, Beethoven
* Gotta hear it again, today
* You know, my temperature's risin'
* My jukebox blowin' a fuse
* My heart beatin' rhythm
* And my soul is a-singin' the blues
* Dig these rhythm and blues
(audience cheering)
* Yeah, roll over, Beethoven
PAUL: The first time we went to America,
it was just ten days, so when we came back,
>> DID I TELL YOU IT WAS GOING
TO BE MAGIC?
DID WE DELIVER MAGIC?
YOU BET.
THE BEATLES BARNSTORMING ACROSS
AMERICA, JUST EXPLODING INTO OUR
HEARTS AND MINDS AND CHANGING
THE WORLD FOREVER.
AND DID YOU NOTICE SOMETHING
ABOUT THAT CONCERT IN WASHINGTON
D.C., HOW PRIMITIVE THE
TECHNOLOGY WAS, HOW PEOPLE WERE
UP AGAINST THE STAGE AND
ACTUALLY HAD TO MOVE RINGO'S
DRUMS AROUND AND PLUG IN THEIR
OWN INSTRUMENTS.
THINK HOW THE TECHNOLOGY OF
CONCERTS HAS CHANGED OVER THE
LAST 50 YEARS.
TELEVISION HAS CHANGED OVER THE
WHAT WISCONSIN PUBLIC TELEVISION
IS DOING IS KEEPING ABREAST OF
ALL THESE CHANGES TO BRING YOU
THE MOST UP-TO-DATE INFORMATION,
EDUCATION, TRAVEL LOGS, DRAMA,
MUSIC AND ALL THE GREAT
PROGRAMMING THAT WE HAVE.
WE DON'T TALK TO YOU TOO MUCH.
NOW IS THE TIME WE NEED TO HEAR
FROM YOU, 1-800-236-3636.
DIANE CAN TELL YOU SOME OF THE
PREMIUMS WE'VE GOT WHEN YOU JOIN
THE FAMILY.
>> DO WE HAVE SOME WONDERFUL
PREMIUMS.
I WOULD LOVE TO TELL YOU ABOUT
THOSE.
WITH A GIFT OF $8 A MONTH, WE
WILL SEND YOU THE DVD OF RON
HOWARD'S DOCUMENTARY, "EIGHT
DAYS A WEEK."
THIS IS 106 MINUTES OF FOOTAGE
IN THE SET.
AND THEN ALSO A TICKET BOOKLET,
WHICH IS -- THIS IS A LOT OF
FUN.
IT'S LIKE A 60-PAGE BOOKLET OF
ALL THE TICKETS AND
BEHIND-THE-SCENES FACTS OF THEIR
1964 TOUR.
WITH A GIFT OF $15 A MONTH,
WE'LL SEND YOU A DELUXE VERSION
OF THE "EIGHT DAYS A WEEK," THE
TOURING YEARS.
THIS HAS ABOUT 206 MINUTES OF
SOME EXTRA BONUS MATERIAL THAT
WE'RE GOING TO THROW IN THERE.
WE'LL ALSO THROW IN A NEW CD
THAT HAS COME OUT.
THIS IS FROM THE HOLLYWOOD BOWL.
THIS IS COMPLETELY REMASTERED.
THIS HAS BEEN TAKEN AND IT HAS
BEEN REMASTERED AT ABBEY ROAD
STUDIOS AND BEING PRESENTED FROM
THEIR SOLD-OUT CONCERTS AT THE
LOS ANGELES HOLLYWOOD BOWL IN
1964.
THEN WE'LL THROW ALL THAT IN
WITH THE TICKET BOOKLET.
WITH A GIFT OF $25, EVERYTHING
THAT I'VE JUST MENTIONED.
WE'LL ALSO HAVE A MUG AND A TOTE
BAG WITH THE BEATLES ON ONE SIDE
AND YOUR FAVORITE PBS BRAND ON
THE OTHER SIDE, OUR WAY OF
SAYING THANK YOU FOR GIVING US A
CALL HERE BECAUSE YOUR VOTE DOES
MAKE A BIG DIFFERENCE.
>> SOME OF MY FIRST EXPOSURE TO
THE BEATLES WAS WHEN I WAS A
LITTLE KID AND THERE WERE
TEENAGERS LIVING UPSTAIRS IN MY
APARTMENT IN CHICAGO.
THEY'D COME DOWN, WE'D GET THE
45s.
WE'D PLAY THEM AND DANCE AND EAT
POTATO CHIPS.
I THOUGHT IT WAS REALLY COOL,
BUT I DIDN'T REALIZE THE
CULTURAL JOURNEY THAT I WAS
GOING TO TAKE.
IT'S BEEN WONDERFUL.
SO MUCH TO SAY.
YOU'VE BEEN HEARING A LOT ABOUT
BECOMING A SUSTAINER.
IT'S THE EASIEST WAY,
FASTEST-GROWING METHOD OF
SUPPORT AT WPT.
JUST CALL ONE OF OUR VOLUNTEERS
AND THEY WILL TELL YOU HOW TO DO
IT FROM YOUR CHECKING ACCOUNT OR
YOUR CREDIT CARD, FAST AND EASY.
YOU DON'T HAVE TO THINK ABOUT IT
ANYMORE.
THE GREAT THING IS IF YOU PLEDGE
AS A SUSTAINER AT $15 A MONTH OR
$25, YOU GET THIS WONDERFUL
DELUXE DVD OF THE TOURING YEARS.
THERE'S TWO DISCS, BUT THERE'S
ALSO THIS REALLY GREAT BOOK AND
I'M SOMEBODY WHO LOVES TO READ
ABOUT THE BEATLES.
IF YOU DO, GET THIS.
THERE'S LOTS OF GREAT INFO.
>> I'LL HAVE A WORD WITH MY
FELLOW BOOMERS OUT THERE.
DO YOU REMEMBER WATCHING THAT ED
SULLIVAN SHOW?
I HAD JUST TURNED TEN.
I REMEMBER IT VIVIDLY.
DO YOU REMEMBER WATCHING THAT
SHOW?
DO YOU REMEMBER GOING TO SEE A
HARD DAY'S NIGHT, THE MOVIE THAT
LAUNCHED A MILLION BANDS?
WE'RE KIND OF HOPING THAT
WATCHING THAT WILL LAUNCH A
MILLION PHONE CALLS.
JOIN THE FAMILY AT WISCONSIN
PUBLIC TELEVISION.
YOU SAW THE DEGREE WITH WHICH
THOSE FOUR INDIVIDUALS MELDED
INTO ONE UNIT.
THERE WAS A WORLD OUTSIDE.
THEY WERE THE BEATLES.
THERE WAS MADNESS AROUND THEM,
BUT THEY HAD EACH OTHER'S BACKS
AND HEARTS AND MINDS.
IT WAS A FAMILY.
KIND OF LIKE THE FAMILY THAT IS
THE EXTENT OF OUR REACH IS
THROUGHOUT THE GREAT STATE OF
AS A WISCONSINITE WE ARE PART OF
YOUR TRADITION, PART OF YOUR
HERITAGE.
WE HOPE YOU'LL HELP SUSTAIN THE
HERITAGE SO THAT FUTURE
GENERATIONS CAN TURN TO
WISCONSIN PUBLIC TELEVISION AND
SEE THESE GREAT BANDS AND LEARN
WHAT LIFE HAS BEEN LIKE.
I'LL QUICKLY REMIND YOU SOME OF
OUR THANK YOU GIFTS.
FOR $8 A MONTH WE'LL SEND YOU
THE DVD OF "EIGHT DAYS A WEEK."
THAT'S THE PROGRAM THAT WE'RE
WATCHING RIGHT NOW AND COMING
BACK TO IN A FEW MINUTES.
AS WELL AS THE TICKET BOOKLET,
WHICH SHOWS ALL OF THE TICKETS
AND BEHIND-THE-SCENES INFO FROM
THE 1964 TOUR.
WE'LL SEND YOU THE DELUXE
VERSION OF THE SHOW WE'RE
WATCHING TONIGHT.
THIS HAS AN EXTRA DVD IN IT,
ABOUT 206 MINUTES OF WONDERFUL
FOOTAGE, AGAIN FROM THE RON
HOWARD DOCUMENTARY WE'RE MUCH
WING TONIGHT.
IT ALSO HAS A WONDERFUL BOOKLET,
TOO.
WE HAVE A CD, BRAND NEW CD
RELEASE, THE BEATLES LIVE AT THE
HOLLYWOOD BOWL AND THE TICKET
BOOKLET AS WELL.
WITH A SPECIAL GIFT OF $25 A
MONTH WE'LL SEND YOU THE TWO DVD
SET AS WELL AS THE CD LIVE FROM
THE HOLLYWOOD BOWL AND THE
TICKET BOOKLET AND A MUG AND A
TOTE BAG THAT HAVE THE BEATLES
ON ONE SIDE AND PBS ON THE
OTHER.
A WAY TO REMEMBER WHAT A GREAT
NIGHT AND WHAT WONDERFUL
PROGRAMS HAPPEN ON PUBLIC
GIVE US A CALL, 1-800-236-3636.
>> REMEMBER, BASIC MEMBERSHIP IS
ONLY $35.
AND WITH THAT YOU GET THE
PROGRAM GUIDE "AIRWAVES" THAT'S
GOT ALL KINDS OF PROGRAMMING,
SCIENCE, CHILDREN, NEWS,
BEATLES.
SO IF YOU GIVE US A CALL TODAY
AT 1-800-236-3636.
YOU CAN HEAR MORE ABOUT IT.
YOU CAN ALSO HEAR MORE ABOUT
BECOMES A SUSTAINER OR THE
PASSPORT OPTION WHERE YOU GET AN
EVEN LARGER CATALOG OF STREAMING
VIDEOS.
>> SO HERE'S THE DEAL.
WE BRING YOU ALL THIS AMAZING
ENTERTAINMENT, INFORMATION,
DOCUMENTARIES, HISTORY, DRAMA,
TRAVEL LOGS, ALL THIS
INFORMATION, ALL THIS EDUCATION,
ALL THIS ENTERTAINMENT
THROUGHOUT THE YEAR.
AND WE DON'T RENT YOUR EYEBALLS
TO PEOPLE TO SELL YOU THINGS.
BUT ALL WE ASK IS ONCE A TWICE A
YEAR WE DO THESE MEMBERSHIP
DRIECHES ANDRIVES AND YOU HEAR FROM US
NOW WE NEED TO HEAR FROM YOU.
WE NEED TO HEAR THAT YOU
APPRECIATE THIS PROGRAM.
APPRECIATE PUBLIC TELEVISION.
THINK OF THE CONCEPT THIS
REPRESENTS, THE TELEVISION OF
FOR THE PEOPLE.
YOU CAN BE SOME OF THOSE PEOPLE.
wpt.org.
LADIES AND GENTLEMEN, HERE'S
MORE OFREPORTER: Tell me, several people
on the radio programs want to know,
what do you plan to do when the bubble bursts?
Aw, shut up, Fred.
We're gonna have a laugh.
The biggest question i1964
was when is the bubble gonna burst?
ANNOUNCER: WFUN South Miami.
I was 21 years old, news director of station in Miami,
WFUN, Fun in the Sun Radio.
(radio jingle plays)
We got word that the Beatles were gonna come to America,
and I wrote a letter asking for an interview with them,
and I sent it to Brian Epstein, their manager.
I got this letter back, inviting me on the tour.
And I said, I'm not goin'.
We got the war in Vietnam escalating,
the president just died,
Muhammad Ali is training three blocks from our studio,
the Ford Mustang is being released.
It's one of the biggest news years
in the history of the world.
Why would I, a news guy, want to travel
with a band that will be here in October,
and gone in November?
(bell dinging)
My boss had said, you gotta go.
My father pulled me aside before I went on tour,
and he said, watch your back.
These men are a menace to society.
* It's been a hard day's night
* And I've been workin' like a dog *
This is Larry Kane, on tour with the Beatles.
Let me give you a little description
of the dangers of being with the Beatles.
When we drove up to the stage door,
the Beatles were almost crushed completely
by youngsters who will mash themselves
against the wall, broke about 50 windows,
throw rocks, jelly beans, undershirts, sandals.
The situation was one of sheer havoc,
even though the police did their best to stop it.
The first couple of days, there was a bewilderment.
There was a wondrousness.
Is this really happening to us?
One girl stuck her hand through the window
and grabbed at my face.
I'm okay, don't worry, people, I'm all right.
Four cities later, in Vancouver, British Columbia,
7,000 kids rushed the stage.
Thank you, folks!
Before we do the next song.
DEREK TAYLOR: Excuse me, ladies and gentlemen,
the Beatles have come a long way to do this show.
We have to cut it short unless you move back.
They're very worried about the situation in the front.
Back, back, back.
KANE: 240 kids wound up in the hospital.
None of the police in any of these cities
were prepared for this.
Nobody was prepared for this.
Wouldn't you say, Derek, that police departments
don't realize how bad it is?
DEREK TAYLOR: I think that's true.
They've all seen crowds before.
I mean, they all say, we know our own people,
we know the police potential,
and we're going to be able to handle it.
But what they've never seen is a Beatle crowd.
This is the biggest thing that's ever happened.
There's no question about it.
It's like nothing before.
It's not like Presley, it's not like Sinatra,
it's not like the late President Kennedy.
It's the Beatles, and they are without precedent.
(crowd screaming)
Thank you!
Thank you very much, everybody, ta.
You're wonderful, thank you.
Singin' a song from the first album that we ever made,
a song which was originally recorded
by a group called the Shirelles.
Just a minute. Checkin'.
RINGO: Yeah, yeah.
Singin' a song called "Boys," Ringo!
(playing "Boys")
* I've been told when a boy kiss a girl
* Take a trip around the world, hey, hey
* Bop shoo-wop, bop bop shoo-wop
* Hey, now
* Hey, hey
* Whoa, she say you do, yeah *
SIGOURNEY WEAVER: I was way in the back, way at the top,
surrounded by lots of girls
really crying real tears, and so beside themselves.
I felt as much as a girl can feel.
I was in love with John.
I remember spending all day putting my hair in beer cans
to make sure it was straight, 'cause I had curly hair.
Picking out the dress, because, of course,
they would see me, along with 15,000 girls.
It was this sense of world music,
that we were all loving them all over the world.
* My girl says when I kiss her lips *
LARRY KANE: This is Larry Kane onboard the Beatle Bird, as I call it.
I have with me George Harrison. How you doin', George?
GEORGE: I'm very well, Larry, and how are you?
LARRY: Fine, you glad to be back in Amera?
GEORGE: Yeah, it's great.
This is Larry Kane with the Beatles, flying across America.
With me I have Ringo Starr.
Right over Kansas, 23,000 feet in the air.
We're on our way to Cincinnati.
They had a wild one yesterday.
This exciting, 25-city coast-to-coast tour.
Atlantic City, Philadelphia, but let's talk a little bit
about the crowds at Indianapolis.
Back and forth again. The stage set for Milwaukee tonight.
You can hear the buzz and excitement
here at the Chicago Amphitheater.
Now in Detroit, Michigan.
The Beatles really shook up the crowd in Toronto.
In Montreal, Canada.
Hi, this is Larry Kane, traveling with the Beatles.
Let me explain to you the type of feeling
that you get after 15 performances,
watching the Beatles in action,
and watching the crowds.
It's a chilling feeling inside,
because you know you are experiencing
a phenomenon that is the only one of its kind
in this century thus far, and it probably
will go down in history as the greatest
show business example of music and admiration
in many, many hundreds of years.
* Yeah, yeah, boys
- * Don't you know I mean boys - * Yeah, yeah, boys
* Talkin' about boys now
* Ah ha
* What a bundle of joy
Thank you!
Remember, too, that in 1964,
there were riots throughout the south,
because of the civil rights movement.
You started to feel a social change happening.
- Civil rights or civil war! - This is Larry Kane.
The big question mark still with Jacksonville
not knowing whether they will be able to perform.
I had received a report from my station that the Gator Bowl
in Jacksonville was gonna be segregated,
so I mentioned it to them in the interview.
What about this comment that I heard about
concerning racial integration at the various performances?
PAUL: We don't like it if there's any segregation
or anything, because it just seems mad to me.
LARRY: And I could see Brian at the corner of the room
goin' like, oh, my God.
Well, you're gonna play Jacksonville, Florida.
Do you anticipate any kind of difference in that opinion?
PAUL: I don't know, really,
it'd be a bit silly to segregate people
'cause you know, it's really stupid, isn't it?
You can't treat other human beings like animals.
GEORGE: That's the way we all feel.
PAUL: That's the way we all feel,
and a lot of people in England feel that way,
you know, because there's never any segregation
in concerts in England, and in fact, if there was,
we wouldn't play 'em, you know.
DR. KITTY OLIVER: During that same summer,
we had the three civil rights workers in the South
who were missing, and then found dead.
I was 15,
living in segregation.
It was an apartheid that's probably difficult
for a lot of people to even picture.
The only white person I would even have contact with
was a salesman who would come into the community.
I was ripe for something different, I think,
by the time I heard that the Beatles were coming to town.
All of them, by the way,
were very emphatic about Jacksonville.
They said that if there was going to be segregation
of any kind, we're not going.
We play to people, that's what we did.
We didn't play to, like, those people,
or that people, you know what I mean?
We just played to people.
KANE: It was amazing that the four of them,
young men seeing the world,
started to act up and blow back on
this very, very hot and sensitive issue,
knowing that it would really irritate a lot of Americans.
We had to all decide, we agreed on a thing,
before we'd do it.
That is one of the classic things about the Beatles.
Four votes had to be carried
for any idea to go through.
JOHN: Instead of going for an individual thing,
we went for the strongest format, for equals.
GEORGE: That was one thing to be said about us,
we were very, very close to each other.
We'd always stick together.
PAUL: We all had to agree, so it was a strong decision.
You know, the proof's in the puddin',
it worked really well.
It was my first concert, and I went by myself.
The only catch in my breath that I got
was when I went to my seat, and there were
all those other people around me,
and I still can feel that to this day,
that there were all these white people around,
but I remember standing up with everybody,
and just yelling as loud as I could
and singin' along.
* ...the lucky kind
* Love to hear you say that love is love
* And though we may be blind...
That was the first experience I had
where it was possible to be around people
who were different, and at least for a while,
those differences could disappear.
* If I fell in love with you
* Would you promise to be true
* And help me
* Understand
* 'Cause I've been in love before *
The people who ran the Gator Bowl
integrated for the first time ever,
which from my historical perspective and study,
ended all that in most of the big stadiums in the south.
And the next eight days are probably
the most grueling of the tour.
It looks like the Beatles are holding up strong.
Every night on the airplane, they would go up,
up to the front of the plane where the opening acts were,
and kneel down and talk to them.
Every single night, they would ask them
if they were okay, because they were
being ignored by the crowd.
This is Larry Kane, traveling with the Beatles,
and they're looking forward to going back to England,
because they'll be there for two weeks,
where they'll record records of new music,
and then, believe it or not,
another month-long tour, this time
in their own country, sometimes just by bus,
and that's pretty hard.
My mother died in the summer of 1964,
and somehow or another, it got to them
that she had passed away,
and Paul and John both consoled me.
PAUL: John and I, we both lost our mothers.
Mine had died of cancer, and his had died
in a terrible road accident,
so that kind of pulled us together a lot.
You know, bein' teenagers, we each needed
to do something that would get us away
from this tragedy, and so songwriting was it, really.
* 'Cause I couldn't stand the pain *
They were very, very sensitive to other people's feelings.
All four of them.
They were intelligent people who cared about other people,
who had a sense of themselves.
They also liked making fun of me.
John, last night, you were very kind,
and Derek was very kind to invite us up to see the movie,
which I have seen twice.
JOHN: I never invited him at all.
I just saw him sittin' there listenin'.
LARRY: Well, anyway. (laughs)
JOHN: Only kiddin', Larry.
LARRY: This has been Larry Kane, traveling with the Beatles.
It's extraordinary, when you think about it,
that they were touring in this kind of circus of life.
The sort of madness of all that jamboree
of excitement and hysteria.
And yet, they were able to express
the way they were feeling, the weirdness of it,
because inside those Beatles suits,
were composers; they were writers.
PAUL: Comin' in the wrong, halfway through the song.
GEORGE: Well, was it a 12-bar?
(guitar playing)
PAUL: The studio was like our little haven.
Once we got back there, we knew we could experiment.
Hear ourselves.
And we would write songs that would be a progression,
and that would be fun to record.
(guitar feedback intro to "I Feel Fine")
GEORGE MARTIN: Brian Epstein and I
worked together very closely planning their future.
We agreed that we should put out
a single every three months, and an album every six months.
* Baby's good to me, you know she's happy as can be
* You know, she said so
* I'm in love with her and I feel fine *
GEORGE MARTIN: I was under pressure
because I've g so little with them.
I would say to Brian, you know,
I need more time in the studio, and he would dole out time,
like giving scraps to a mouse.
One of the great things about our recording
was the schedule.
You go in at 10:00 in the morning,
tune up, have a ciggy, have a cup of tea or something,
and then John and I, mainly, would present the song
that we'd written to everyone.
PAUL: It goes...
Just go through it, anyway.
Make mistakes, just to practice it.
Try to remember, John, and if I don't,
well, it's just too bad, okay?
Is it just me and you?
One, two, three, four.
(vocalizing)
(overlapping, indistinct remarks)
* Ooh ooh
* Ooh, I need your love, babe
* Guess you know it's true
Ringo'd tap along, George just sussed the chords,
and then George Martin would go, oh,
that's nice, that's marvelous.
It'd take about 20 minutes to do that.
* Hold me, love me
PAUL: George, what did it sound like
with the bass doin' a funny thing?
Did it sound any good, or did it sound just a lovely crap?
(indistinct responses)
GEORGE MARTIN: Take three.
GEORGE: One, two, three, four.
At the very beginning, George Martin
was the only man who could press the button to record.
We'd just play it and do it, oh, did you get that, George?
GEORGE MARTIN: Going up, yes.
- JOHN: Wonderful, Paul. - GEORGE MARTIN: Very lovely.
PAUL: Ah, keep that one. Mark it fab.
Do you want to have a listen before we go on to the next one?
George had recorded the Goons.
That was like a cult thing that we all loved,
and we all knew it.
GEORGE MARTIN: At that time, I was a comedy producer
recording Spike Milligan and Peter Sellers,
and a lot of English comedy actors.
PAUL: So he picked up our humor,
he picked up our camaraderie, you know.
We thought, he's mad, we love him.
( George Martin speaking indistinctly )
JOHN: We'll just have to have a go of it, you see.
GEORGE MARTIN: Oh, you're a right keeper, aren't you?
JOHN: I know.
On the early records, George Martin was a god.
MARTIN: To begin with, I was very much in charge,
becae I was the kind of schoolmaster
teaching them everything,
and they had to do what I told them.
PAUL: You had one-and-a-half hours
from 10:30 to finish that song.
Boom.
So that focused you.
That was a great discipline.
(tape whirring)
- Hit it, Declan. - PAUL: We'll do it again.
JOHN: We'll try and get it good, too.
MARTIN: I'm just gonna start recording.
John, whenever you like, the red light's on.
Every minute of the day, someone wanted something.
You know, drive to EMI to do a record.
Down here to SoHo to do a photo shoot.
Ride back to do some TV show.
* I'm a loser
* And I'm not what I appear to be
* Of all...
JOHN: I was singing the wrong words there.
Drive to Birmingham to do a gig.
End up in a nightclub.
We were just doin' four or five things a day,
but we had each other,
and we brought that to the music.
("Eight Days a Week" playing)
* Oh, I need your love, babe
* Guess you know it's true
* Hope you need my love, babe
* Just like I need you
The thing about the scale is that
writing lots of songs is not particularly difficult.
Volume is not the thing.
The extraordinary thing about the Beatles
is the amount of great songs.
Schubert wrote about 800 songs,
of which probably 100 are absolutely beautiful melodies.
The other 700, pretty good.
The only comparison with that kind of level of melody
may be Mozart.
Very, very, high volume of very good melodies.
You have to wait a long time, then,
till you get someone who's up in the hundreds,
and that's when you hit the Beatles.
Which is why I think you can compare them in some ways,
because of the sheer volume of the invention.
* I ain't got nothin' but love, girl
* Eight days a week
(cheers and applause)
BRIAN EPSTEIN: Hello again from Hullabaloo, London.
Ladies and gentlemen, Mr. Richard Lester.
(applause)
What do you think we could tell them
about the new Beatles flick?
First of all, it's going to be different from the last one.
It will be in color,
it'll be a film that has a lot of plot,
and a lot of entertainment about it,
and Ringo's in trouble again.
We need protection.
We've got a record to do tomorrow.
I need protection.
And you shall have it. Get me Protection.
* You don't realize how much I need you
* Love you all the time and never leave you
* Please come on back to me
* I'm lonely as can be
* I need you
We'd enjoyed very much doing Hard Day's Night.
We'd kinda taken it seriously,
but with the film Help!
we were kind of pretty disinterested.
You know, we were now doing it again,
and so it couldn't be quite as exciting as the first time.
Nothing is.
(organ music)
The main thing I remember, we all had meetings
about tax structure, and they would sort of say,
"Oh, you gotta put your money in the Bahamas or somewhere."
So when we were asked about the film,
we'd say, can we go to the Bahamas?
We were told, you're gonna film in the Bahamas.
Write a scene.
* I get high when I see you go by
* My, oh, my
In 1965, they invited me to Nassau
to watch them film the movie Help!
I walked into the house,
and I saw something very unusual.
They were all high on marijuana.
And I'd never seen this before.
- Hey, Paul. How you doin'? - JOHN: Hello, Larry.
- LARRY: Good to see you again. - PAUL: Lovely to see you again.
LARRY: Hey, John. How are you doin'?
at is this "anything can happen" business?
- Thanks a lot. - JOHN: Anything, Larry.
LARRY: We'll be talking to you.
In all truthfulness, we spent a lot of that film
slightly stoned.
(squeaking)
Things were spiraling like crazy during Help!
There were people coming in with contracts
for bubble gum royalties and being condescending.
And then the press were getting aggressive.
They owned all of us.
JOHN: There's no switching off.
The elevator man wants a little piece of you
on the way back to your room.
The maid wants a little piece of you back at the hotel.
I don't mean sexually, I mean a piece of your time
and your energy, and it's like a politician.
You're on 24 hours a day.
LARRY: I think that John got fed up first.
He became agitated or frustrated
about what was being written, particularly from 1965 onward.
PAUL: Richard Lester had said, we need a song.
And John started it.
So by the time I came to see him, he had a lot of it.
And he said to me, you know,
this is kind of autobiographical.
You know, "When I was younger, so much younger than today."
I knew what he meant, and I knew now he was more insecure,
'cause we were all a bit more insecure
than we'd been when we were 17.
- (crowd screaming) - One, two, three, four!
* Help
* I need somebody
* Not just anybody
*ou know I need someone
* When I was younger, so much younger than today
* I never needed anybody's help in any way
* But now these days are gone
* I'm not so self-assured - * And now I find
* Now I find I've changed my mind
* And opened up the door
* Help me if you can, I'm feelin' down
* And I do appreciate you bein' round
* Help me get my feet back on the ground
* Won't you please, please help me
* And now my life has changed
* In oh, so many ways
* My independence
seems to vanish in the haze
* I'm not so self-assured - * I know that I
* I know that I just need you like
* I've never done before
* Help me if you can, I'm feelin' down *
JOHN: I always liked "Help!" because I meant it, it's real.
The lyric is as good now as it was then.
It's no different.
It was just me singing help, and I meant it.
* Help me, help me
(audience screaming)
We were not gettin' a lot of money from records.
We had the worst deal in the world,
but we had a deal, and we were on vinyl,
and that's all that mattered.
You gotta remember, we made our money playin' live.
* Well, they took some honey
* From a tree
* Dressed it up and they called it me
* Everybody's trying to be my baby
* Everybody's trying to be my baby now *
RINGO: It just got bigger, and bigger, and bigger.
* Woke up last night
* Half past four
* Fifty women knockin' on my door
* Everybody's trying to be my baby
* Everybody's trying to be my baby, now, yeah *
Then it got crazy.
They went back to America,
they started playing the stadiums.
Places like Portland, San Francisco,
Metropolitan Stadium in Minneapolis.
Chicago White Sox Comiskey Park.
* Went out last night, I didn't stay late
* 'Fore home I had 19 dates *
There were lots of other groups touring at this point,
but nothing like this.
The money they were making, night after night,
compared to other acts, was unprecedented.
The fact is, they had to play stadiums.
Promoters and local police had to be begging Brian Epstein,
telling him, you know, you can't go
and play a 5,000-seat theater,
and have 50,000 teenagers going crazy outside.
It would be impossible to control.
This was massive.
The first big stadium tour in history.
And the biggest show of them all was New York.
There was the announcement of this concert,
and I was like, can we?
And my mom was, like, "We don't have the money for this."
And then something,
I don't know how she did it,
I don't know, I don't know how she did it,
but she got two tickets.
And she didn't tell me.
So this is what happened.
She said, "We need to go." I said, "Where are we going?"
She said, "I'll let you know when we get there." Okay.
So we're on the train, and I'm not paying any attention.
And we get up, and I say, where are we?
And she said, we're at Shea Stadium.
And I said, why?
And she held up two tickets,
and all I remember is my head going poof.
(helicopter blades whirring overhead)
GEORGE: It was just amazing, we don't believe it.
Biggest thing ever, 56,500, someone said.
It's fantastic. It just knocked you out, you know.
Shea Stadium is an enormous place.
I mean, that was the first time it was used
for a rock concert.
Vox made us special, big amplifiers for that tour,
and they were, like, a hundred watts.
It just obviously, you know, wasn't enough.
Ladies and gentlemen, here are the Beatles!
(fans screaming)
Hello! Hey!
Hello!
Hello, John.
We'd like to do a song
off our LP album, Beatles VI, I think.
Can you hear me?
Hello?
It's called "Dizzy Miss Lizzy"!
(playing "Dizzy ss Lizzy")
* You make me dizzy, Miss Lizzy
* The way you rock and roll
* When you do the stroll
* Come on, come on, come on, come on, Lizzy
* Love me before I grow too old
* Run and tell your mama
* I want you to be my bride
One of the most remarkable things about
the Beatles playing live is how in tune they are.
Because, they can't possibly hear themselves.
I don't think they had monitors.
They don't sound very big,
even if they were cranked to the max,
they're not that loud.
I mean, Shea Stadium being the most extreme,
because I don't even think there's a P.A. at Shea Stadium.
They're going through the Tannoy,
which must have sounded like
a thousand transistor radios detuned.
(tinny sound)
* Just a-rockin' and a-rollin'
* Girl, I said I wish you were mine *
We did the house P.A., you know,
"And on first base is Willy Wonka,"
whatever they said, that's the equipment we had.
* When you rock and roll
RINGO: I could not hear anything.
I'd be watching John's ass, Paul's ass,
his foot's tapping, his head's nodding,
to see where we were in the song.
* Come on, come on, Lizzy
* I wanna be your lovin' man
(crowd screaming)
PAUL: We played to 56,000 people at Shea Stadium.
After that, you know, you just sort of think to yourself,
what more can you do?
I remember George bringin' up the subject with Brian.
Hey, is this touring gonna be an annual event?
And I think he was the first one
that brought up the idea of, Hey, I've had enough of this.
That was the good thing about being four together.
We're not like Elvis, you know.
I always felt sorry for Elvis, 'cause he was on his own.
He had his guys with him, but there's only one Elvis.
Nobody else knew what he felt like.
But for us, we all shared the experience.
JON SAVAGE: They came back to England late summer of '65.
The last time the Beatles played in Britain
was that winter, you know, seven or eight days.
My grandparents bought me tickets to see them,
and my parents refused to let me go.
* Got a good reason
* For takin' the easy way out *
The Beatles captured my imagination
like no other group at that point.
It was the way that I began to interpret the world.
Each new record was built on the record before,
you had this wonderful storyline advancing
through with the Beatles.
By the end of the year, we'd been told
there would be more records forthcoming.
And they went back in the studio.
(Paul speaking indistinctly)
MARTIN: The light's on.
You might as well have a go and sing one song.
JOHN: See if we're all in tune when we play, George.
MARTIN: "Girl," take one.
* Is there anybody going to listen to my story
* All about the girl who came to stay *
The first reaction to the new, innovative sound
of Rubber Soul was, I don't like this.
I think they've lost their minds.
* Girl, girl
What are they thinking? You know, what's this?
* She's the kind of girl who'll put you down
* When friends are there
* You feel a fool
I kind of went from being a kid
to being a teenager, so some of those things
felt like the right thing, but it was still surprising,
this group I liked kinda changed so much.
* Girl
There's a big jump from "I Want to Hold Your Hand"
to, "was she told when she was young
that pain would lead to pleasure."
* Was she told when she was young
* That pain would lead to pleasure
* Did she understand it when they said *
I couldn't stand it at all when I first heard it.
I didn't think it was any good.
And then, six weeks later,
you couldn't live without the record, and that's good.
That's when you trust the people that make music
to take you somewhere you haven't been before.
REPORTER: Formal occasion at Buckingham Palace
on a foggy October morning.
The ceremony is bestowing awards of honor,
a ceremony hallowed by a tradition
going back over the centuries.
Members of the Most Excellent Order of the British Empire.
MAN: Do you think the Beatles
should have been awarded the MBE?
MAN #2: Well, I think the Beatles have probably
done as much for popular music
as people like Rodgers and Hammerstein and Gershwin did.
The only difference being, the Beatles have done it
in a matter of two or three years,
where it took most other people a lifetime.
REPORTER: What's the MBE going to do
to your teenage rebel image?
Who's got a teenage rebel image?
- You have. - Have we?
Have any of you any ambitions left at all?
- I'd like to be a duke. - (laughter)
SAVAGE: They had achieved something,
and there were, if you like, influencers,
but at the same time, they were prisoners of their fame.
And I think they were beginning to chafe
>> DO YOU FEEL THE WORLD
CHANGING?
DO YOU FEEL THE FOUR LOVABLE MOP
TOPS BECOMING ADULTS AND
BRINGING US INTO A NEW ERA?
IT'S BEEN A STRANGE TIME SINCE
THOSE DAYS.
ONE OF THE THINGS THAT IS
CONSTANT, THOUGH, IS WISCONSIN
PUBLIC TELEVISION IS STILL HERE
BRINGING YOU THE HIGHEST-QUALITY
INFORMATION, ENTERTAINMENT,
DOCUMENTARIES, HISTORY, DRAMA
AND OF COURSE GREAT MUSIC.
AND IF YOU ARE LOOKING FOR A
CHANCE TO JOIN WISCONSIN PUBLIC
TELEVISION, NOW IS YOUR TIME
BECAUSE IT IS MEMBER CHALLENGE
GRANT TIME.
THAT'S RIGHT.
WE HAVE A POT OF MONEY FROM
EXISTING MEMBERS AND THEY'RE
GOING TO MATCH YOUR DONATION FOR
ALL NEW MEMBERS UP TO $2,000.
CALL 1-800-236-3636.
IN ADDITION TO GETTING THE THANK
YOU GIFTS, YOU CAN DOUBLE OUR
PLEASURE, DOUBLE OUR FUN BY
BECOMING A MEMBER NOW DURING
THIS CHALLENGE MATCH TIME.
WE'RE LOOKING FOR 50 CALLS OVER
THE NEXT COUPLE OF MINUTES.
WE'RE GOING TO GET BACK TO THE
MOVIE BECAUSE THERE'S A LOT OF
EXCITING MUSIC TO COME AND A LOT
OF EXCITING SOCIAL REVOLUTIONS
AND REVELATIONS TO COME.
BUT NOW IS THE TIME.
WE REALLY NEED TO HEAR FROM YOU.
JOIN THE FAMILY.
>> OH, ABSOLUTELY.
AND TAKE ADVANTAGE OF THIS
OPPORTUNITY TO MAKE YOUR GIFT
LEVERAGE SOME ADDITIONAL SUPPORT
TO WISCONSIN PUBLIC TELEVISION
BECAUSE YOUR GIFT WILL BE
MATCHED WHEN YOU CALL IN RIGHT
NOW.
WE HAVE TERRIFIC VOLUNTEERS
WAITING TO HERE FROM YOU.
THEY CAN ALSO TELL YOU ABOUT
SOME OF THE THANK YOU GIFTS WE
HAVE RIGHT NOW.
I'LL MENTION THOSE W. A GIFT OF
$8 A MONTH AT OUR SUSTAINING
LEVEL, YOU CAN RECEIVE THE DVD
OF THIS INCREDIBLE DOCUMENTARY
THAT RON HOWARD HAS PRODUCED,
WE'RE WATCHING THE HEIGHT OF
BEATLEMANIA FROM 1963 TO 1966.
YOU CAN HAVE THIS DVD WITH THAT
GIFT OF $8 A MONTH.
WE'LL ALSO SHOW IN A BOOKLET
THAT SHOWS ALL THE TICKETS FROM
ALL OF THOSE TOURS.
WITH A GIFT OF $15 A MONTH, WE
WILL SEND YOU THE DELUXE
EDITION.
IT'S A TWO-DVD SET OF THE
BEATLES "EIGHT DAYS A WEEK," THE
TOUR YEARS.
THIS HAS AN ADDITIONAL FOOTAGE,
SO YOU HAVE ABOUT 206 MINUTES OF
GREAT STUFF.
AND ANOTHER WONDERFUL BOOKLET
THAT'S A PART OF THAT TOO.
WE'RE ALSO GOING TO THROW IN A
CD OF THE BEATLES LIVE AT THE
HOLLYWOOD BOWL.
FOR $25 YOU'LL RECEIVE
EVERYTHING I MENTIONED AS WELL
AS A MUG AND A TOTE BAG THAT HAS
THE BEATLES ON ONE SIDE AND YOUR
FAVORITE PBS LOGO ON THE OTHER
SIDE.
AGAIN, OUR WAY OF SAYING THANK
YOU AND LETTING YOU KNOW HOW
MUCH YOUR SUPPORT REALLY DOES
MEAN.
LEVERAGE THAT ADDITIONAL
SUPPORT, 1-800-236-3636.
>> YOU CAN SEE THAT ONE THING
THE BEATLES UNDERSTOOD HOW TO DO
WAS TO SUSTAIN.
THEY SUSTAINED THROUGH THE
THERE WASN'T A MOMENT IN THEIR
CAREER AS A BAND THAT THEY
STOPPED SUSTAINING OR THEY WERE
IRRELEVANT.
AND EVEN AFTER THEY BROKE UP AND
DECADES LATER, THEY'RE STILL
SUSTAINING.
WE NEED THAT KIND OF SUSTAINING
HERE AS WELL.
WE NEED YOU.
THEY HAD THEIR SUPPORT.
THEY HAD THEIR FANS.
WE HOPE YOU'RE OUR FAN HERE AT
WE HOPE YOU CAN CALL AND PLEDGE
AND SUSTAIN US WITH SOMETHING
THAT YOU CAN AFFORD.
THERE ARE SUGGESTED LEVELS OF
$15 A MONTH OR MAYBE EVEN $25 A
MONTH.
AND IF YOU DO THAT, WE HAVE SOME
WONDERFUL THANK YOU GIFTS THAT
YOU HEARD ABOUT.
DO YOU LIKE SEEING THE BEATLES?
I KNOW I LOVE SEEING THE
EVERYBODY WHO KNOWS ME, I AM THE
BIGGEST BEATLES FAN OF MY
CIRCLE.
CALL AND HELP US SUSTAIN HERE,
>> THAT WAS A GOOD SEGUE.
I LIKE THAT.
WE ARE ALL TOGETHER.
JOIN US HERE AT THE FAMILY OF
IF YOU'RE A BABYBOOMER AND YOU
WANT TO SHOW OUR GENERATION WAS
THE GREATEST, NOW IS YOUR TIME
TO STEP UP.
IF YOU'RE A X GEN, NOW IS THE
TIME TO STEP UP.
IF YOU'RE A MILLENNIAL, WE DON'T
CARE WHO YOU ARE, WHERE YOU'RE
FROM.
WE JUST WANT YOU TO SHOW YOU
BELIEVE IN WISCONSIN PUBLIC
THE BEATLES WHEN THEY WENT ON
TOUR IN 1964, IT WAS
UNPRECEDENTED.
IT WAS UNTHINKABLE THAT A ROCK
'N ROLL BAND COULD FILL A
50,000-SEAT STADIUM.
IT'S ALMOST AS UNTHIN UNTHINKABLE AS
THE NOTION THAT THERE COULD BE
PUBLIC TELEVISION, WHERE WE'RE
NOT DEPENDENT ON COMMERCIAL
SPONSORS, WE'RE NOT DEPENDENT ON
SELLING YOUR EYEBALLS TO PEOPLE
WHO WANT TO SELL YOU THINGS.
WE'RE DEPENDENT ON YOU, THE
FAMILY OF WISCONSIN PUBLIC
TELEVISION VIEWERS.
AND NOW IS THE TIME IF YOU
HAVEN'T YET JOINED THE FAMILY,
NOW IS THE TIME THAT BY CALLING
1-800-236-3636 YOU CAN JOIN THIS
CHALLENGE GRANT AND DOUBLE YOUR
PLEASURE AND DOUBLE OUR FUN.
THIS IS A GREAT TIME TO CALL
MATCHED.
WE'VE HEARD FROM 19 PEOPLE.
WE'RE HOPING TO HEAR FROM 50
BEFORE WE GO BACK TO MORE OF THE
SHOW.
AGAIN, OUR GREAT THANK YOU GIFTS
ARE AVAILABLE WHEN YOU GIVE US A
CALL RIGHT NOW.
AND LET ME JUST REMIND YOU WHAT
THOSE ARE.
WITH A GIFT OF $8 A MONTH WE'LL
SEND YOU THE DVD SET OF "EIGHT
DAYS A WEEK," THE TOURING YEARS,
AS WELL AS THE VERY INTERESTING
TICKET BOOKLET THAT SHOWS ALL OF
THE TICKETS AND
BEHIND-THE-SCENES STUFF OF
TOURING STOPS.
WITH A GIFT OF $15 A MORKS YOU
CA--MONTH, YOU CAN GET THE DELUXE
TWO-DVD SET.
IT HAS AN EXTRA DVD IN IT AS
WELL AS A 64-PAGE BOOKLET THAT
DESCRIBES IT, 206 MINUTES OF
WONDERFUL THINGS HERE OF THE RON
HOWARD FILM.
WE'RE ALSO GOING TO PUT IN A
NEWLY-RELEASED CD, THE BEATLES
LIVE AT THE HOLLYWOOD BOWL, A
REMASTERED VERSION OF THEIR
SELLOUT CONCERTS AT THE
LOS ANGELES BOWL IN '64 AND '65.
17 CUTS ON THIS.
THAT'S PART OF THAT PACKAGE AS
WELL AS THE TICKET BOOKLET.
NOW, WITH A GIFT OF $25, WE WILL
SEND YOU THE DELUXE TWO-DVD SET
OF THE PROGRAM THAT WE'RE
WATCHING, THE CD, THE BEATLES
LIVE AT THE HOLLYWOOD BOWL, AS
WELL AS THE TICKET BOOKLET AND A
MUG AND A TOTE BAG WITH OUR
FAVORITE BEATLES MANIA.
AGAIN, YOUR GIFT WILL BE MATCHED
WHEN YOU CALL IN DURING THIS
BREAK ONLY, SO PLEASE TAKE
ADVANTAGE OF THAT OPPORTUNITY
BEFORE WE GO BACK TO THE SHOW.
>> THANK YOU SO MUCH OUR
CHALLENGE BREAK.
THE PHONE BANK IS REELING AND
ROCKIN'.
IF YOU CAN'T GET THROUGH, PLEASE
STAY CALL ON.
JUST BEAR WITH US.
THIS IS A GREAT SHOW.
IT'S POPULAR.
ANOTHER PHONE CALL.
MAYBE THAT'S YOURS.
I HOPE IT IS.
IF NOT, PICK UP THE PHONE.
I WANT YOU TO PICK UP THE PHONE
AND DIAL 1-800-236-3636.
NOW, I HAVE HAD THE WONDERFUL
PRIVILEGE OF SEEING PAUL
MCCARTNEY IN CONCERT AND GEORGE
BEATLES HE OWNED A BEATLES WIG
WHEN HE WAS TEN OR 11 YEARS OLD.
I LEARNED THAT FROM READING THE
ARTICLE IN ESQUIRE.
THE IMPACT OF THE BEATLES ON
SOCIETY IS INCALCULABLE.
IT'S UP THERE WITH BOB DYLAN AND
ELVIS.
THEY SHAPED OUR MODERN WORLD.
AND WISCONSIN PUBLIC TELEVISION
IS REFLECTING OUR MODERN WORLD
AND TO A CERTAIN EXTENT SHAPING
US.
WE'RE BRINGING YOU INFORMATION,
DOCUMENTARIES, HISTORY AND DRAMA
AND TRAVEL LOGS AND MUSIC AND
ALL WE ASK IS THAT YOU JOIN US
ON THIS GREAT EXPLORATION, THIS
GREAT EXPEDITION, EXPERIMENT
INTO PUBLIC TELEVISION.
THINK WHAT IT REPRESENTS TO BE
IT IS AN HONOR TO PARTICIPATE IN
THIS PROGRAM.
I HOPE YOU WILL APPRECIATE WHAT
WE'RE DOING AND WILL CALL
1-800-236-3636 AND PLEDGE YOUR
SUPPORT FOR WISCONSIN PUBLIC
>> YOU KNOW, RON HOWARD HAS THE
FULL BACKING OF PAUL MCCARTNEY,
RINGO STARR, YOKO ONO AND OTHERS
IN PRODUCING THIS DOCUMENTARY,
GREAT FOOTAGE OF THESE TOURING
YEARS FROM '63 TO '66, THE
HEIGHT OF BEATLEMANIA.
IT'S WONDERFUL TO SEE THIS.
WE HAVE WONDERFUL THANK YOU
GIFTS.
YOU CAN SHARE THESE MOMENTS.
WITH A $8 A MONTH GIFT, WE WILL
SEND YOU THE DVD OF THE PROGRAM
WE'RE WATCHING TONIGHT, "EIGHT
WE HAVE 106 MINUTES ON THAT
PARTICULAR DVD.
AND WE'LL SEND THAT ALONG WITH A
LITTLE TICKET BOOKLET WHICH HAS
ALL OF THE TICKETS FROM ALL OF
THE TOURS AND SOME
BEHIND-THE-SCENES ABOUT THAT.
VERY INTERESTING.
THEN WITH A GIFT OF $15 A MONTH,
WE WILL OFFER YOU A TWO DVD
DELUXE SET OF THE DOCUMENTARY
THAT WE'RE WATCHING TONIGHT.
MARY ALICE WILL SHOW YOU A
LITTLE BIT MORE ABOUT THAT IN
JUST A MINUTE.
BUT 206 MINUTES OF FOOTAGE IN
THAT.
AS WELL AS A CD OF THE BEATLES
LIVE AT THE HOLLYWOOD BOWL.
THIS IS NEWLY REMASTERED, A CD,
WITH A GIFT OF $25 A MONTH WE
WILL SEND YOU THE DELUXE TWO-DVD
SET, THE CD, THE TICKET BOOKLET
AS WELL AS THE MUG AND TOTE BAG
WITH THE BEATLES ON ONE SIDE AND
PBS ON THE OTHER.
GIVE US A CALL.
MATCH THOSE GIFTS RIGHT NOW,
>> ALL WE WANT TO DO IS SAY
THANK YOU, VIEWER, THANK YOU,
VIEWER.
THANK YOU FOR SPORGT U SUPPORTING US THE
WAY THAT YOU DO.
FOR $15 A MONTH, BECOMING A
SUSTAINER, ONE OF THE THINGS IS
THIS DELUXE DVD SET.
I WANT TO SHOW YOU A FEW THINGS.
TWO DVDs IN HERE, RIGHT?
AND SO YOU GET THAT AND THE
FOOTAGE YOU SEE TONIGHT.
BUT BOAKS.
I LOVE BOOKS.
WHEN I BECAME A BEATLES FAN I
CUT OUT EVERYTHING.
I COULD.
I WAS A LITTLE OCD.
IT WAS INTERESTING TO FOLLOW
THROUGH THE YEARS SO SOCIAL TO FOLLOW TH
ARTISTS THAT THEY WERE, THE
MUSICIANSHIP THEY EXHIBITED.
THIS IS A GREAT BOOK.
I WOULD NOT CUT THIS ONE UP FOR
MY SCRAPBOOK.
BUT IF YOU ARE LIKE ME AND EVERY
BIT OF BEATLES STUFF YOU CAN
GET, YOU DO.
CALL AND PLEDGE AND YOU'LL GET
THIS GREAT SET.
THERE ARE A LOT OF OTHER WAYS
WE'D LIKE TO SAY THANK YOU,
BUT GIVE US A CALL,
>> AND THE JOINT IS JUMPING.
THE PHONES ARE BUSY.
IF YOU CALL AND THE LINE IS
BUSY, STAY ON THE LINE.
IF YOU ARE ON THE LINE, EVEN
WHEN WE STOP THE BREAK, IT WILL
COUNT TOWARDS THAT MEMBER
CHALLENGE GRANT.
SO 1-800-236-3636.
IT'S LIKE ELECTION DAY.
IF YOU'RE IN LINE, IT GETS TO
COUNT.
YOU HEAR FROM US THROUGHOUT THE
YEAR.
YOU WATCH US.
YOU LISTEN TO US.
YOU WATCH US THROUGHOUT THE
THERE ARE VERY FEW TIMES WE NEED
WITH A GIFT OF $15 A MONTH, YOU
WILL GET THE DELUXE DVD SET OF
WHAT WE'RE WATCHING TONIGHT, AS
MARY ALICE WAS SHOWING YOU.
YOU HAVE TWO CDs IN THERE, A
BONUS BOOKLET AS WELL.
BUT 206 MINUTES OF ADDITIONAL
FOOTAGE OR OF TOTAL FOOTAGE IN
THAT BOOKLET AS WELL AS WE WILL
SEND YOU A CD OF THE LIVE FROM
THE HOLLYWOOD YEARS.
WITH A GIFT OF $25 WE'RE GOING
TO GIVE YOU ALL OF THAT AND
THROW IN A MUG AND TOTE BAG TOO.
YOU'RE GOING TO LOVE IT AND YOUR
GIFT IS GOING TO BE MATCHED.
The first three months had been lopped off
to do whatever the Beatles' third film was going to be.
And then it didn't happen.
And so, for the first time since they'd become
successful and famous, they had three months off.
GEORGE: It had been four years for us
of legging around in this mania,
and we were tired, we needed to rest.
* I once had a girl
* Or should I say
* She once had me
You know, the thing is that we're all interested
in other things before the Beatles,
and we didn't really have time,
but we were always looking around.
I got involved with a gallery owner.
We'd go to Paris, and we'd buy paintings.
We'd go to the dealer. So it was very exciting.
Of course, George had developed an interest in Indian music.
(sitar music)
GEORGE: I just wanna carry on progressing with music,
you know, writing more, and just learning more about it.
I've written so many songs that I've just thrown away
as I've been writing them, because I've wanted,
when I finally recorded one of mine,
I wanted it to be worth putting on the LP
alongside Paul and John.
I feel now I've got more idea about how to write songs.
We bought this house in the country
on this estate, Maureen and Zak, my son,
and John was up the road.
We started to grow up, and we started
to have families, and we started
to put less energy into the Beatle bag.
We all kind of were very aware
that we didn't live in each other's pockets anymore.
We all had separate existences.
There's an interview that John Lennon gives
to Maureen Cleave, which is published in March '66
where he talks about his reading.
He says I'm not really sure what I'm going to do next,
this isn't everything, which is not
what a pop star was supposed to say.
(camera clicking)
That same month, March, they were doing a photo shoot.
JOHN: By then, we were really sort of beginning to hate it.
A photo session was a big ordeal,
and you had to try and look normal,
and you didn't feel it.
PAUL: Bob Whitaker was one of the photographers
who took our pictures, and he came up with,
we all put on white lab coats,
and we'd pretend to be mad professors.
JOHN: The photographer's a bit of a surrealist, you know?
We really got into it,
and that's when we felt, like, yeah.
* To say about the things that you do *
PAUL: To us, you know, this wasn't a big deal, really,
because these kind of shocking things
were part of the art scene.
* About the good things that we can have
* If we close our eyes
JOHN: I especially wished
for it to be an album cover, you know.
It got out in America,
and there was some kind of fuss.
They were like, what?
My beloved Beatles?
No! This must stop.
MAN: Sorry.
JOHN: Are you gonna keep that one, please.
GEORGE: Yeah, just leave it out again then.
PAUL: Okay.
GEORGE: I'll just have to vamp it up a bit.
JOHN: Now he tells me.
RINGO: We were having more fun in the studio.
It was getting more experimental.
The songs were getting better, more interesting.
* When I wake up early in the morning
* Lift my head
* And I'm still
JOHN: Hey?
RINGO: They weren't, like, big plans.
You know, sometimes it just unfolded.
Complete fluke.
JOHN: Okay, ready.
John was not mechanically minded,
and he took a tape home, and the tape would run off
to the other reel, and he put it on
like it was the start, but it was the end of the song,
and that's when the guitar came.
(imitating warbling)
And he brings it in, wow, you gotta hear this.
We said, great, we gotta do that.
Call in the boffins.
* Lay down and surrender to the void
* It is shining
And I always remember being in Brian Epstein's house,
and John playing it to Brian, and to George Martin,
and saying, what do you think of this?
You can see there's a puzzlement going across their faces.
But instead of saying, oh, come on, guys,
I think you really oughta put another chord in,
he knew to leave us alone by then.
Slow down or speed up the tape,
even putting backwards tape in,
put in electronic sounds, and this is the kind of thing you can do in a recording,
which you obviously couldn't possibly do live,
because it is, in fact, making up music as you go along.
"Tomorrow Never Knows" breaks so many barriers,
musically speaking,
and does so many things that no one had done before.
It's got a drone all the way through,
which is something that happens in Indian music,
and used to exist in Western music in the 12th century.
So it sort of triggered a whole movement
that popular music would start to bring in
these other influences from the avant-garde,
put them into mainstream songs,
into an album that millions of people would hear.
* Love is all and love is everyone
* It is knowing
RINGO: You know, when we first started,
we were the nice, clean mop-tops,
and every mother's son, and everyone loved us.
And suddenly, there were a few things
that they don't understand.
It's just, we're men now.
We're a bit older than those lads that started out.
You can't live all your life by what they want.
We can't go on forever
as four clean little mop-tops playing "She Loves You."
* Of the beginning
GEORGE: When we were back on the road,
we got on a train and went up to Hamburg.
RINGO: By then, I don't think we wanted to be anywhere.
It was like automatic pilot, you know.
There was so much more pressure from the press
trying to get at you, you know,
for whatever reason.
We're not horrid snobby.
REPORTER: Yes, you are.
That's your version.
That's only in your mind.
RINGO: Because we're not flattering you.
You know, you all expect sort of nice answers
to all the questions,
but the questions aren't nice questions.
They don't have to have nice answers.
And if we don't give nice answers,
it doesn't mean we're snobby, it just means we're natural.
(applause)
Everything was hit-and-run in those days,
and I think the next day after the Hamburg concert,
we had a flight to Tokyo.
(man speaking Japanese)
RINGO: It's amazing security.
I've ever seen so many people guarding.
MAN: But we don't want you to be hurt--
- RINGO: No. - MAN: We're trying our best.
GEORGE: Everywhere we were going, it was
a demonstration of one thing or another.
In Japan, people were demonstrating,
because the Budokan was supposed to be
a special spiritual hall,
and only reserved for martial arts, not pop music.
Ladies and gentlemen, welcome the Beatles!
GEORGE: It was very strange. The audience were very reserved.
Respectful.
Very quiet to what we had become accustomed to.
Very quiet.
"Nowhere Man."
Two, three, four.
* He's a real nowhere man
* Sitting in his nowhere land
* Making all his nowhere plans
* For nobody
RINGO: We were playing crap.
We were just sort of surviving.
* Knows not where he's going to
* Isn't he a bit like you and me? *
PAUL: We had a day off in the Philippines, in Manila,
and then somebody said,
"You're supposed to be visiting the Palace."
RINGO: Madam Marcos had invited us to dinner.
Brian had told her no.
Then the next morning, someone brought the newspapers.
"Beatles Snub President."
By late '66, it felt dangerous, you know?
Because everybody was out of hand.
Even the cops were out of line.
They were all just caught up in the mania.
SAVAGE: The build-up of tension,
and also dissatisfaction and frustration,
and now, they went straight into the complete nightmare.
Now, this religious controversy.
I know you don't want to say too much about it,
but does it worry you that it's going to boil up when you get to the stage?
Well, it worries me, yes,
but I hope everything will be all right
in the end, as they say.
Do you think this is going to be a controversial tour
like the Philippines was?
Oh, no, no, no.
No, it's going to be fine.
What makes you say that?
Oh, it'll be fine. You watch.
It'll be great.
("Good Day Sunshine" playing)
* Good day sunsne
It was all because of that interview
John had given while on vacation.
It was reprinted in America months later.
"Lennon says the Beatles are bigger than Christ."
(bells tolling)
At that time, churches were losing their congregations.
People were going to church less and less and less.
John was saying, we're so famous,
we're so, oh, you won't lieve the fame.
I mean, like, we're bigger than Jesus.
It was a harmless remark in the middle of an article,
and it never made the front page in England.
KANE: That unleashed a firestorm in the United States.
It was almost like the plot of Help! had become real,
and they actually had a lot of people
who suddenly wanted to dismember them.
This is The Layton and Charles Show
on WAQY Radio, broadcasting at 1220 on your dial
until about 9:00 this morning.
We'd like to urge you to take your Beatle records
and your Beatlemania to any one of our 14 pick-up points
anywhere in Birmingham, Alabama.
Don't forget the destruction of those Beatle records
will take place in just a few days,
and we'll keep you informed of all of that.
They were just stunned.
You have to really put it into perspective.
I mean, the whole scandal was very serious,
partly because of the violence
that was in America at the time.
(gunfire)
We'd just had the Texas sniper, Charles Whitman,
who'd just shot dead 20 people.
This was the same country only three years before,
where the president had been assassinated.
It had got dangerous, and we were threatened.
PAUL: We knew we weren't being blasphemous.
We weren't anti-Jesus.
In fact, we all had pretty religious upbringings, really.
But you do see John as sort of a broken man,
because you realize he had to apologize.
It was the only thing that would stop this.
I pointed out that fact in reference to England,
that we meant more to kids than Jesus did,
or religion at that time.
I wasn't knocking it or putting it down,
I was just saying it as a fact.
And it sort of is true,
especially more for England than here.
I'm not saying that we're better or greater
or comparing us with Jesus Christ as a person,
or God as a thing, whatever it is,
you know, I just said what I said,
and it was wrong, or was taken wrong,
but now it's all this.
He's longing to break out of it and do a joke,
but he knows he can't.
If it had said television is more popular than Jesus,
I might have got away with it.
I just happened to be talking to a friend,
they used the word Beatles as a remote thing,
not as what I think, because Beatles
as those other Beatles, like other people see us,
I just said they are having more influence
on kids and things
than anything else, including Jesus.
I said it in that way,
which is the wrong way, yep, yep.
PAUL: He was scared. We were all pretty scared.
RINGO: Most of the people in the room understood it.
It's like one of those lines.
It didn't hold us back at all.
REPORTER: Concert tomorrow night is far below a sell-out.
How do you feel about--
JOHN: Very rich.
* My love don't give me presents
* I know that she's no peasant *
There were three road managers, roadies,
on the tour, period, in '66, that was it.
I was friends with the opening act.
They said, do you wanna do it?
I didn't even know how to set up a drum kit at the time.
I had no idea.
I was a musician in Boston, a folk singer.
I had no qualifications at all.
We only ever had a couple of roadies.
Didn't matter where we were.
Biggest band in the land, that's all we had.
And in Cleveland, the sound was so bad
that everybody rushed the stage.
REPORTER: Cleveland Stadium has been absolutely riots.
The whole place went wild here,
broke the barriers, came through the police cordon.
We managed to get the Beatles off the stage,
they were even all over the stage.
FREEMAN: I really thought I was gonna get hurt.
We get to Memphis and there's been a bomb scare,
and we had to delay the show,
I think with bomb-sniffing dogs
throughout the whole theater.
GEORGE: That kind of stuff was happening all the time.
It was terrifying.
Some people would set off firecrackers in the hall,
and you'd think one of the others had got shot.
And we flew off to St. Louis, and it was pouring rain.
* Day tripper
* One-way ticket, yeah
My job was to sit backstage with my hand on the plug,
and the instructions were, if one of them fell down,
like knocked out by the shock,
then you should pull the plug, and that would stop the show.
It was a joke.
This was three weeks that they just
took a deep breath and said, okay,
let's just do this and we'll make a lot of money.
PAUL: A lot of the time, we were going through the motions,
and we all started to get pretty fed up.
George particularly was quite vocal about that.
GEORGE: I was saying, "I don't wanna do this anymore.
I don't like this."
I certainly felt that that was it.
You know, that we weren't going to tour again like that.
JOHN: There was no enjoyment in it.
The music wasn't being heard. It wasn't doing anything.
It was just a sort of freak show.
The Beatles were the show, and the music
had nothing to do with it.
As we were musicians, we felt, if we're gonna be Beatles,
the only reason to be a Beatle is to make music,
and not be in a circus.
PAUL: And when we were finished, I remember
just being piled in the back of this meat wagon,
which was steel, and nothing else inside.
We're all in there, sort of sliding around
as it went around the corners,
and we're all really mad at the whole bloody thing.
John started, and George, like, oh, that's it.
I've had enough, you know.
And we all agreed.
RINGO: We were just sitting in the van,
saying, that's enough of that.
>> IS THE DREAM OVER?
THE DREAM OF LIVE BEATLES MUSIC
OVER?
WELL, THE DREAM OF THE BEATLES
CERTAINLY ISN'T OVER AND THE
DREAM OF WISCONSIN PUBLIC
TELEVISION ISN'T OVER.
I'VE GOT SOME MEM R MEMORIES FROM MY
AND GO TO GRADUATE SCHOOL.
BUT WE'RE NOT ASKING YOU TO GIVE
UP YOUR BEATLES WIGS, TO BURN
YOUR RECORDS.
WE'RE JUST ASKING YOU TO JOIN
THE FAMILY OF WISCONSIN PUBLIC
TELEVISION, TO CALL US AT
OR GO ONLINE AT wpt.org.
THE BEATLES MEANT SO MUCH TO
THIS SOCIETY.
YOU CANNOT IMAGINE WHAT THIS
WORLD WOULD BE LIKE WITHOUT
THEM.
YOU CAN'T IMAGINE WHAT WISCONSIN
WOULD BE LIKE WITHOUT WISCONSIN
YOU KNOW HOW MUCH WE MEAN TO
YOU.
YOU KNOW HOW MUCH YOU MEAN TO
NOW IS THE TIME THAT WE SHOULD
COME TOGETHER, AS OUR FRIEND
JOHN LENNON WOULD SAY.
GO ONLINE, wpt.org.
>> IT'S QUITE THE STORY TO
SHARE.
AND WE DO HAVE SOME THANK YOU
GIFTS THAT WILL LET YOU SHARE IT
WITH THOSE IN YOUR LIVES, TOO.
IT'S AN INCREDIBLE STORY.
IT'S A ONCE IN A LIFETIME STORY,
THAT'S FOR SURE.
WE ARE ENJOYING BEATLES "EIGHT
DAYS A WEEK," THE TOURING YEARS
FROM '63 TO '66.
GIVE US A CALL AND WE WILL SEND
YOU ONE OF THESE THANK YOU
SEND YOU A DVD OF THE PROGRAM
WE'RE ENJOYING TONIGHT, "EIGHT
THIS IS ABOUT 160 MINUTES ON THE
DVD.
AND A REALLY INTERESTING TICKET
BOOKLET.
THIS HAS PICTURES OF ALL THE
TICKETS FROM ALL THEIR TOURING
SITES AND CITIES.
LIKE A 60-PAGE BOOKLET ABOUT
THAT, TOO.
WITH A GIFT OF $15 WE WILL SEND
AUDYOU A DELUXE VERSION, "EIGHT
DAYS A WEEK," THE TOUR YEARS, SO
IT HAS BONUS FOOTAGE, SO YOU GET
ABOUT 206 MINUTES OF MATERIAL
WITH THIS AS WELL AS A 64-PAGE
BOOKLET WITH SOME WONDERFUL
NOTES IN THAT AS WELL, TOO.
AND WE'LL ALSO THROW IN A CD, A
NEWLY-RELEASED, RE-REMASTERED
CD, THE BEATLES LIVE AT THE
WITH A GIFT OF $25 WE WILL SEND
YOU THE DELUXE SET, THE CD, THE
TICKET BOOKLET AS WELL AS A MUG
AND A TOTE BAG AND IT HAS BEETD
ON THE ON -- BEATLES ON THE ONE
SIDE AND PBS ON THE OTHER.
OUR WAY OF SAYING THANK YOU.
WE HOPE YOU ENJOY SHARING THESE
THINGS WITH THOSE IN YOUR LIFE.
>> YOU CAN SEE BY THE END OF THE
TOURING YEARS SOME OF THE
FATIGUE AND THE OTHER KIND OF
WHAT THEY FELT LIKE WERE
DEHUMANIZING THINGS WERE COMING
IN AND HOW THEY KIND OF ARE
TAKING CONTROL AND STRIVING TO
STILL BE THE CREATIVE MUSICIANS
THEY ARE AT HEART.
IF YOU THINK ABOUT OTHER
MUSICIANS AND GROUPS AT THE TIME
THAT CAME AND WENT, THEY WERE
ABLE TO SUSTAIN AND I THINK
THAT'S A WONDERFUL PART OF THEIR
THEY CONTINUED ON TO MAKE SOME
OF THEIR MOST CREATIVE AND
PHENOMENAL WORK OF THEIR WHOLE
BATTERY OF WORK.
SO WE'RE ASKING YOU TODAY TO
HELP US CONTINUE WONDERFUL SHOWS
LIKE THIS THAT HELP US
UNDERSTAND PHENOMENON AND ALL
THE COMPLEX MANY LEVELS THERE
ARE OF THIS AND HOW IT CAN
RELATE TO US, HOW WE CAN BE
ENCOURAGED TO STOP THE CRAZINESS
SOMETIMES AND TO BECOME HUMAN.
AND I THINK THAT WISCONSIN
PUBLIC TELEVISION DOES A GREAT
JOB WITH THAT.
>> AND THINK WHAT IT MEANS THAT
YOU ARE ABLE TO WATCH THIS FOR
FREE ON WISCONSIN PUBLIC
THE REASON YOU'RE ABLE TO DO
THAT IS BECAUSE OW OLIVIA HARRISON
AND YOKO ONO AND GEORGE HARRISON
AND RINGO STARR TRUST PUBLIC
THEY GAVE THIS TO US TO SHARE
WITH YOU.
IT IS THE BROADCAST PEOPLE MERE.
THE IMPACT OF PUBLIC TELEVISION
IN AMERICA GOES THROUGHOUT THE
WORLD AND HAS THE RESPECT OF THE
WORLD AND PEOPLE WHO HAVE
CHANGED AND MADE AND SHAPED OUR
CULTURE.
IF WE'RE GOOD ENOUGH FOR OLIVIA
AND YOKO AND PAUL AND RINGO, I
THINK WE'D BE GOOD ENOUGH FOUR.
SO YOU CAN CALL US UP AT
GO ONLINE TO wpt.org.
JOIN THE FAMILY THAT IS
WE SAW THOSE FOUR BEATLES ALL
TOGETHER AS ONE FAMILY.
WE'RE ASKING YOU TO JOIN OUR
FAMILY SO WE CAN ALL BE
TOGETHER.
>> IT'S BEEN A TREMENDOUS NIGHT.
IT'S NOT OVER YET.
WE ARE GOING TO BE WRAPPING IT
UP IN JUST A FEW MINUTES.
THAT GIVES YOU TIME TO GO TO THE
PHONES AND TALK TO OUR
VOLUNTEERS, A REAL BIG PART OF
WHAT MAKES PUBLIC TELEVISION ALL
HAPPEN.
THEM AND YOU MAKE PUBLIC
TELEVISION HAPPEN.
SO PARTICIPATE.
WALK AWAY WITH SOME OF OUR GREAT
THANK YOU GIFTS THAT WE HAVE
DURING THIS PROGRAM RIGHT NOW.
CALL AND MAKE A GIFT OF $8 A
MONTH AND WE WILL SEND YOU THE
DVD OF THE DOCUMENTARY THAT
WE'RE ENJOYING RIGHT NOW AS WELL
AS THE TICKET BOOKLET WHICH HAS
TICKETS AND FUN FACTS FROM THE
AND THEN CALL AND MAKE A GIFT OF
$15 A MONTH, BE A SUSTAINER AT
$15 A MONTH, AND WE'LL SEND YOU
THE DELUXE VERSION, A TWO-DVD
SET OF THE "EIGHT DAYS A WEEK,"
THE TOURING YEARS DOCUMENTARY
THAT WE'RE MUCH WING RIGHT NOW.
AND ALSO THE CD, THE BEATLES
AND THIS IS A NEWLY-REMASTERED
SET OF THEIR SELLOUT CONCERTS AT
THE HOLLYWOOD BOWL.
BUT THAT'S A WONDERFUL LITTLE
THING.
WE'LL GO IN THAT PACKAGE, TOO.
AND THEN AT $25 A MONTH, WE JUST
HAVE QUITE THE PACKAGE HERE TOO
WITH THE DELUXE TWO-DVD SET, THE
CD, THE TICKET BOOKLET AS WELL
AS A MUG AND A TOTE BAG THAT
REMINDS YOU THAT YOU LOVE THE
BEATLES AS MUCH AS YOU LOVE PBS.
YOU ARE THE PART THAT MAKES IT
ALL HAPPEN.
SO GIVE US A CALL,
>> IF YOU'RE TUNED IN RIGHT NOW,
IT'S PROBABLY FOR ONE OF SEVERAL
REASONS.
ONE MIGHT BE THAT YOU ARE A
BEATLES FAN AND YOU JUST CAN'T
GET ENOUGH AND YOU'D LIKE TO SEE
AND LEARN MOMPLET YOU MIGHT BE A
YOUNGER PERSON AND A LITTLE BIT
CURIOUS.
I KNOW AMONG MY TEENAGERS THAT I
TEACH A LOT OF THEM DON'T KNOW
THAT MUCH ABOUT THE BEATLES.
SOME OF THEM KNOW THEY LIKE THE
THEY DON'T KNOW ALL THE NAMES.
MAKES ME SAD.
I EDUCATE THEM.
BUT YOU'RE WATCHING THIS SHOW
BECAUSE IT DOES SOMETHING FOR
IT GIVES YOU SOME DEPTH.
IT GIVES YOU INSIGHT.
IT GIVES YOU BACKGROUND.
IT GIVES YOU REASON FOR
REFLECTION.
THERE ARE SO MANY OTHER PROGRAMS
ON THIS STATION THAT DO THINGS
FOR YOU.
I KNOW MY LIFE IS SO MUCH RICHER
BECAUSE OF HOW PUBLIC TELEVISION
HAS OPENED UP MY WORLD.
THE BEATLES STARTED KIND OF THIS
OPENING OF MY MIND TO EUROPE AND
THE REST OF THE WORLD AND
BROUGHT ME ALL AROUND THE WORLD,
ALL AROUND IDEAS, ALL AROUND
THOUGHTS AND HUMAN DEVELOPMENT.
IT DOES SOMETHING FOR US.
>> CAN YOU ENVISION A WORLD
WITHOUT THE BEATLES?
CAN YOU ENVISION A WORLD WITHOUT
WISCONSIN PUBLIC TELEVISION?
WELL, IF YOU WANT TO, YOU CAN
MAKE THAT HAPPEN.
YOU CAN DECIDE, NO, WE'RE NOT
GOING TO LISTEN TO THE BEATLES,
WE'RE GOING TO PUT THEM IN THE
MEMORY HOLE.
NO, WE'RE NOT GOING TO SUPPORT
WE'RE GOING TO PUT IT IN THE
THINK WHAT A LESSER WORLD,
LESSER CULTURE AND SOCIETY WE
WOULD BE WITHOUT THE BEATLES AND
THE MUSIC AND THE LEGACY OF WHAT
THEY MEANT AND CONTINUE TO MEAN.
AND THINK WHAT A LESSER STATE WE
WOULD BE WITHOUT WISCONSIN
THINK HOW MANY TIMES YOU HAVE
LEARNED SOMETHING ON WISCONSIN
PUBLIC TELEVISION OR BEEN
ENTERTAINED OR BEEN ENLIGHTENED
OR BEEN ENRAGED OR BEEN AROUSED
OR BEEN MOTIVATED TO GET UP AND
DO SOMETHING, TO LEARN
SOMETHING, TO EXPERIENCE
SOMETHING, TO SHARE SOMETHING.
IT IS A MODERN MIRACLE THAT WE
HAVE THIS ENTITY CALLED PUBLIC
TELEVISION THAT GOES -- THAT
EXTENDS ITS INFLUENCE THROUGHOUT
THE STATE OF WISCONSIN AND
THANKS TO THE INTERNET THROUGH
THE ENTIRE WORLD.
IT IS A TREASURED AND CHERISHED
THING THAT WE MUST NURTURE AND
CONTINUE TO SUPPORT AND HELP
PROSPER.
YOU ARE THE PEOPLE WHO CAN MAKE
THAT HAPPEN.
PLEASE GIVE US A CALL AT
1-800-236-3636 OR GO ONLINE TO
wpt.org AND JOIN THE FAMILY
THAT IS WISCONSIN PUBLIC
>> IT IS A TREASURED AND UNIQUE
SERVICE.
I CAN'T TELL YOU HOW MANY TIMES
I'VE TALKED TO PEOPLE WHO HAVE
TRAVELED AROUND THE COUNTRY AND
LISTENED TO OTHER PUBLIC
TELEVISION SERVICES AND THEY SAY
IT'S GREAT, BUT WISCONSIN PUBLIC
TELEVISION IS REALLY UNIQUE.
WE HAVE SUCH A DEPTH OF SERVICE
HERE.
IT'S BECAUSE OF MEMBER SUPPORT
SUCH AS YOURS.
YES, IT'S A GREAT STAFF THAT
COMES TOGETHER.
BUT THEY ARE MOTIVATED AND
INSPIRED BY YOUR CALLS AND YOUR
AND THAT'S WHAT MAKES US STRIVE
TO BE THE BEST PUBLIC TELEVISION
WE CAN BECOME.
IT'S COMMERCIAL-FREE.
IT OFFERS SO MANY THINGS,
SCIENCE, HISTORY, NATURE, DRAMA,
CHILDREN'S PROGRAMMING,
ENTERTAINMENT.
ALL OF IT IS HERE ON PUBLIC
TELEVISION BECAUSE YOU AS A
MEMBER HAVE MADE THAT POSSIBLE.
AND OUR TERRIFIC VOLUNTEERS MAKE
THAT POSSIBLE AS WELL AND THEY
WOULD LIKE TO HEAR FROM YOU
RIGHT NOW.
WE HOPE THAT YOU'RE ENJOYING
THIS WONDERFUL NEW DOCUMENTARY
FROM RON HOWARD ON THE TOURING
YEARS OF THE BEATLES.
GIVE US A CALL RIGHT NOW AND
MAKE THAT GIFT OF SUPPORT.
YOU CAN GET THE DVD OF THE SHOW
THAT WE'RE ENJOYING THE NIGHT
WITH A $8 GIFT OR A DELUXE
VERSION OF THE SET WITH A $15 A
MONTH GIFT OR AT $25 YOU GET THE
WONDERFUL SET AS WELL AS A MUG
AND TOTE BAG.
WOULDN'T BE PUBLIC TELEVISION
WITHOUT THOSE.
AGAIN, YOU MAKE IT POSSIBLE.
SO THANK YOU.
MA
We all knew, to survive, we had to
get back in the studio and get to know each other
and play again.
I'm not holding back, George.
I'm giving my all.
GEORGE: It used to make us laugh when we'd read
people saying, the problem with the Beatles
is that while we were all growing up,
they were all on tour, and so they missed
the growing-up period.
But the truth to it was, we were snatched out of our youth.
We were force-grown like rhubarb.
When you grow it under hothouse conditions,
you make it grow much quicker than it would naturally.
JOHN: Oh, God, now?
Broken another string.
PAUL: I think it'll probably be another day singin' it.
GEORGE: And what you can do with the bits
where you can't get it 'cause you haven't got enough breath.
- PAUL: Take over. - All right, let's go.
In one way, it was good because we went into the recording scene
and really, sort of expressed ourselves
through the records then,
because we could no longer do it outside.
* Living is easy with eyes closed
* Misunderstanding all you see
* It's getting hard to be someone but it all works out
* It doesn't matter much to me *
PAUL: I got this idea for us to all be someone else,
because we were so fed up with being what we were,
we had to get out of it, one way or another.
- Righty-o! - How fast, John?
JOHN: However you like. You know, feel it.
Here we go. Playback.
PAUL: One, two, three, four.
("Sgt. Pepper's Lonely Hearts Club Band" playing)
I just said to everyone, we're not the Beatles.
It was to liberate us.
We gotta think of a new name for ourselves.
Gotta think up a new way of being,
a new way of recording, a new everything,
just to be fresh.
* So may I introduce to you
* The act you've known for all these years
* Sgt. Pepper's Lonely Hearts Club Band *
PAUL: I'll be overpowering this time.
JOHN: I'll go.
I like it when you do, Paul.
PAUL: Quiet in the studio, please.
("Lucy In the Sky With Diamonds" playing)
* Picture yourself in (laughs) a boat on a river *
PAUL: Just go right in with it.
Do those quicker.
* Cellophane flowers of yellow and green
* Yellow and green
JOHN: Okay.
* Cellophane flowers of yellow and green
* Towering over your head
* Look for the girl with the sun in her eyes
* And she's gone
* Lucy in the sky with diands
* Lucy in the sky with diamonds *
JOHN: It was the music that was interesting.
That was important.
As long as we were going forward and going somewhere,
it didn't matter.
("A Day in the Life" playing)
* I read the news today, oh, boy
* About a lucky man who made the grade *
PAUL: There was a lot of faith involved
in everything that we did.
And the people around us had to share that faith,
or it wouldn't have worked.
* Now they know how many holes it takes
* To fill the Albert Hall
Brian had to have faith in us.
George Martin had to have faith in us.
This is how it was for the Beatles.
You had to have faith.
We had to have faith in each other.
Number nine, number nine...
* Don't let me down
* Nobody ever loved me like she does
* Ooh, she does
* Yeah, she does
* And if somebody loved me like she does
* Don't let me down
* I'm in love for the first time
* Don't you know it's gonna last
* It's a love that lasts forever
* It's a love that has no past
* I've got a feelin' that keeps me on my toes
* Oh, yeah
* I've got a feelin'
* I think that everybody knows
* Oh, yeah
* Yeah, yeah
* I've got a feeling, yeah
* Everybody had a hard year
* Everybody had a good time
* Everybody had a wet dream
* Everybody saw the sunshine
* Oh, yeah, oh, yeah
* Everybody had a good year
* Everybody let their hair down
* Everybody pulled their socks up
* Everybody put their foot down
* Woo-hoo
* Everybody had a good year
* Everybody had a hard time
- * I've got a feelin' - * Oh, yeah
* I've got a feelin'
("Eight Days a Week" playing)
>> YOU HEAR THAT, FRIENDS?
THAT'S THE SOUND OF SILENCE.
NOW, THAT'S A GREAT SONG WRITTEN
BY A GREAT AMERICAN SOUND
WRITER, BUT IT'S NOT THE SOUND
WE TO WANT HEAR RIGHT NOW.
THE SOUND WE TO WANT HEAR RIGHT
NOW IS THOSE TELEPHONES RINGING
WHEN YOU CALL 1-800-236-3636.
BECAUSE WE'VE GOT A FEELING THAT
YOU WON'T LET US DOWN.
I STOLE THAT FROM YOU.
YOU WERE GOING TO DO THAT, BUT I
BEAT YOU TO IT.
THIS IS YOUR LAST SUPPORT FOR
YOU TO SHOW YOUR SUPPORT FOR
THOSE FOUR MUTANT AGENTS OF GOD.
THIS HAS BEEN SUCH A GROOVY
NIGHT.
THINK WHAT THE BEATLES HAVE
MEANT TO YOUR LIFE.
THINK WHAT THEY HAVE MEANT TO
OUR CULTURE.
THINK WHAT WISCONSIN PUBLIC
TELEVISION HAS MEANT TO YOUR
LIFE AND THINK WHAT IT CONTINUES
TO MEAN TO THE CULTURE AND
SOCIETY THAT IS THE STATE OF
WISCONSIN AND THROUGH THE
INTERNET THE ENTIRE WORLD.
NOW IS YOUR LAST CHANCE TO SHOW
YOUR SUPPORT FOR THE BEATLES.
JOUST TWO QUESTIONS, FRIENDS.
IF NOT NOW, WHEN?
AND IF NOT YOU, WHO?
PLEASE GIVE US YOUR SUPPORT.
>> THANK YOU, STU.
IT'S BEEN A CREDIBLE NIGHT.
WE HOPE YOU HAVE BEEN WITH US
FOR THE WHOLE DOCUMENTARY, RON
HOWARD'S LATEST WORK HERE,
YEARS.
IF YOU HAVEN'T, WE HAVE SOME
THANK YOU GIFTS AND YOU CAN
RELIVE IT ALL RIGHT NOW.
LET ME GO OVER THOSE.
WE HAVE TERRIFIC VOLUNTEERS THAT
WOULD LOVE TO HEAR FROM YOU.
SO EASY TO DO.
GO AHEAD AND GIVE US A CALL.
KNOW THAT YOU'RE SUPPORTING
GREAT PROGRAMS LIKE THIS.
WILL SEND YOU THE DVD OF THE
PROGRAM THAT WE JUST FINISHED
WATCHING HERE, "EIGHT DAYS A
WEEK," THE TOURING YEARS.
THERE'S ABOUT 106 MINUTES OF
FOOTAGE IN THIS.
AND WE'LL ALSO INCLUDE THE
TICKET BOOKLET WHICH HAS
LITERALLY THE PICTURES OF
1964 TOUR OF ALL THE STOPS
THERE.
WITH A GIFT OF $15, WE HAVE THE
DELUXE VERSION OF THE "EIGHT
DAYS A WEEK" SET.
IT'S A TWO-DVD SET.
THERE'S 206 MINUTES OF FOOTAGE
IN THIS.
IT ALSO INCLUDES A 64-PAGE
BOOKLET, BUT A VERY NICELY PUT
TOGETHER MEMORY OF WHAT'S GOING
ON HERE TONIGHT.
AND WE'LL ALSO THROW IN
SOMETHING ELSE THAT'S BRAND
NOORKS THNEW,THE BEATLES LIVE AT HOLLYWO
THIS HAS TAKEN THE TRACKS, IT
HAS REMASTERED AND REUPDATED.
SO WE'LL THROW YOU IN THE CD OF
THE BEATLES LIVE AT THE
BOOKLET OF COURSE.
WITH A GIFT OF $25, THIS IS THE
WHOLE KITCHEN SINK HERE.
WE HAVE THE DELUXE SET OF
TONIGHT'S DOCUMENTARY AS WELL AS
THE CD, THE BEATLES LIVE AT
HOLLYWOOD BOWL AND WE'RE GOING
TO THROW IN A MUG AND A TOTE BAG
WHICH HAS THE BEATLES ON ONE
SIDE AND THE WONDERFUL VINTAGE
PBS LOGO ON THE OTHER SIDE AS
OUR WAY OF SAYING THANK YOU FOR
CALLING 1-800-236-3636.
>> HEY, STU.
YOU DID STEAL MY LINE, BUT
THAT'S OKAY BECAUSE I KNOW THAT
OUR VIEWERS DON'T HAVE A LONG
AND WINDING ROAD TO THE
TELEPHONE.
YES.
WALK ON OVER.
IT'S RIGHT THERE.
I KNOW IT'S RIGHT NEXT TO YOU.
YOU CANNOT FOOL ME.
YOU'RE GOING TO DIAL
IF YOU CAN, YOU'RE GOING TO
BECOME A SUSTAINER.
IT'S NOT HARD.
$15 A MONTH AND IT'S EASY, IT'S
AUTOMATIC OUT OF YOUR CREDIT
CARD OR YOUR CHECKING ACCOUNT.
YOU DON'T EVEN HAVE TO THINK
ABOUT IT.
YOU GET ALL THESE BENEFITS.
YOU GET "AIRWAVES," YOU GET TO
EXPLORE ALL THESE WONDERFUL
PROGRAMS AND SUPPORT THEM.
YOU GET TO SUPPORT THE BEATLES.
I'M GRATEFUL TO YOU FOR DOING
THAT BECAUSE I LIKE WATCHING THE
BEATLES AND I HOPE MY SUPPORT
HAS BROUGHT YOU SOME OF YOUR
FAVORITE SHOWS, TOO.
THERE IS JUST NO WAY ABOUT IT.
IT'S A COMMUNAL THING.
WE'VE GOT TO COME TOGETHER TO
MAKE THIS HAPPEN.
>> HELP, WE NEED SOMEBODY'S
HELP, JUST NOT ANYBODY'S HELP.
YOU KNOW, WE NEED SOMEONE'S
HELP.
WE CAN DO THIS ALL NIGHT.
ACTUALLY, THAT WOULD BE A SHOW
IN AND OF ITSELF, YOU KNOW, JUST
BEATLES LYRICS BACK AND FORTH.
AND SOMEDAY PERHAPS WE MAY DO
THAT WHEN THIS COMES BACK.
BUT RIGHT NOW THE ONLY SOUND WE
WANT TO HEAR IS THOSE TELEPHONES
RINGING OR GO ONLINE TO
AS YOU CAN SEE, THE NUMBER TO
DIAL IS 1-800-236-3636.
JUST THINK BACK.
THINK BACK, THOSE OF YOU WHO ARE
OF A CERTAIN AGE, THINK OF
WATCHING THAT NIGHT ON THE ED
SULLIVAN SHOW IN FEBRUARY, 1964.
THINK ABOUT HEARING ABOUT THE
BEATLES AT SHEA STADIUM.
THINK ABOUT THE FIRST TIME YOU
PUT ON THE WHITE ALBUM.
THINK ABOUT WATCHING "A HARD
DAY'S NIGHT."
THINK ABOUT ALL THE JOY AND
WONDER AND ALIVENESS THAT THE
BEATLES HAVE BROUGHT TO YOU.
TRANSFER THAT TO US AND SHOW
YOUR SUPPORT FOR THE BEATLES BY
SUPPORTING WISCONSIN PUBLIC
YOU KNOW YOU WANT TO.
>> IT'S AN AMAZING STORY AND SO
WELL TOLD IN THIS NEW
DOCUMENTARY BY RON HOWARD.
THIS IS PRIMARILY FROM 1963 TO
1966.
IT'S THE BIRTH OF THE BEATLES
AND CERTAINLY THE BIRTH OF
BEATLES MAIN BEATLEMANIA, SO MUCH HAPPEN
SO MUCH TOLD IN THIS ARCHIV ARCHIVAL
FOOTAGE WITH THE SUPPORT OF
EVERYBODY WHO CAME TOGETHER TO
HELP MAKE THIS IMPORTANT WORK
WHERE ELSE WOULD YOU FIND THIS
BUT ON PUBLIC TELEVISION?
UNINTERRUPTED, COMMERCIAL-FREE.
IT'S POSSIBLE BECAUSE OF MEMBER
SUPPORT SUCH AS YOURS BECAUSE
THIS IS THE KIND OF QUALITY
MEDIA THAT WE WANT AND THAT WE
HAVE.
SO WE STEP FORWARD AS MEMBERS
AND MAKE THAT GIFT.
WHEN YOU STEP FORWARD AND MAKE
THAT GIFT, WE HAVE SOME THANK
YOU GIFTS.
AGAIN, IF YOU GIVE US A CALL
RIGHT NOW, WE'D LIKE TO -- OR GO
ONLINE TO wpt.org, WE HAVE
WONDERFUL THANK YOU GIFTS FROM
ALL KINDS OF PROGRAMS.
WE HAVE A GREAT -- MANY OPTIONS
THAT YOU CAN CHOOSE FROM SO THAT
YOU CAN BE A MEMBER EIGHT DAYS A
WEEK, THE TOURING YEARS, AND
KNOW THAT YOU ARE VERY
WELL-APPRECIATED BY ALL OF US
HERE IN WISCONSIN FOR SUPPORTING
WISCONSIN PUBLIC TELEVISION WHEN
YOU CALL 1-800-236-3636.
>> WE DO LIKE SAYING THANK YOU
HERE AT WISCONSIN PUBLIC
AND WE'D LIKE TO THANK OUR FOOD
SPONSORS FOR THE EVENING, BANZO
CATERING AND BEL-AIR CANTINA,
THANK YOU FOR THE YUMMY FOOD.
THANK YOU TO THE VIEWERS WHO
HAVE CALLED IN.
STILL THERE'S TIME TO CALL
AND DON'T FORGET ANOTHER WAY WE
LIKE TO SAY THANK YOU IS THROUGH
THE WONDERFUL GIFTS.
I JUST CAN PICTURE ALL THE
WONDERFUL GIFTS THAT WISCONSIN
PUBLIC TELEVISION HAS GIVEN AWAY
THROUGH THE YEARS.
TONIGHT IS A PHENOMENAL ONE,
THIS DELUXE TWO-DVD SET WITH THE
DVDs AND THIS GREAT BOOK THAT
I MIGHT PUT NEXT TO MY
SCRAPBOOK.
NOT GOING TO CUT IT UP.
NEITHER ARE YOU.
>> FRIENDS, ABOUT TWO HOURS AGO
I PROMISED YOU A NIGHT OF MUSIC
AND MEMORY AND MAGIC.
WE'VE DELIVERED.
WE'VE BROUGHT YOU THE MUSIC AND
THE MEMORY OF THE BEATLES AND
THAT HAS MADE MAGIC IN YOUR
HEARTS, MINDS AND SOULS.
YOU KNOW YOU FEEL DIFFERENT
AFTER EXPERIENCING 2.5 HOURS OF
YOU ARE ON A HIGHER PLANE, YOU
UNDERSTAND THINGS, YOU
EXPERIENCE THINGS THAT YOU
HADN'T BEFORE.
THAT IS THE BRILLIANCE AND THE
JOY AND THE BEAUTY OF WISCONSIN
NOW IS YOUR CHANCE TO SHOW YOUR
GIVE US A CALL AT
IF NOT YOU, WHO?
AND REMEMBER, FRIENDS, THE LOVE
YOU TAKE IS EQUAL TO THE LOVE
YOU MAKE.
THANK YOU FOR YOUR SUPPORT.
* Ooh, I need your love, babe
* Hold me, love me
* I ain't got nothin' but love, babe
* Love you every day, girl
* Always on my mind
* One thing I can say, girl
* Love you all the time
* Eight days a week
* I love you
* Is not enough to show I care
* Guess you know it's true
* Hope you need my love, babe
* Oh, hold me, love me
* Eight days a week
JOHN: Hello, this is John, speaking with his voice.
We're all very happy to be able to talk to you like this
on this little bit of plastic.
This record reaches you at the end
of a really gear year for us, and it's all due to you.
When we made our first record on Parlophone
towards the end of 1962,
we hoped that everybody would like what had already
been our type of music for several years already.
But we had no idea of all the gear things in store for us.
It all happened, really, when "Please Please Me"
became a number one hit, and after that, well,
co the blimeys, heave the mo'.
Our biggest thrill of the year-- well, I suppose
it must have been top of the bill at the London Palladium,
and then only a couple of days later,
being invited to take part in the Royal Variety Show.
This time last year, we were all dead chuffed,
because "Love Me Do" got in the top 20,
and we can't believe, really, that so many things
have happened in between already.
Just before I pass you over to Paul...
(Paul barking like a small dog)
I'd like to say thank you to all the Beatle people
who have written to me during the year,
and everyone who sent me gifts and cards for my birthday,
which I'm trying to forget, in October.
I'd love to reply personally to everyone,
but I just haven't enough pens.
In the meantime.
PAUL: This is Paul here.
Everything that John said goes for me, too.
Especially the bit about birthday cards,
and the parcels, 'cause all our homes and offices
got stacks of mail last June.
Ow! (laughs)
When it was my birthday.
Anyway, we're all dead pleased
by the way you've treated us in 1963,
and we're trying to do everything we can to please you
with the type of songs we write and record next year.
Oh, yeah, lots of people asked us what we enjoyed best:
concerts and television or recording.
We like doing stage shows, 'cause it's, you know,
it's great to hear an audience enjoying themselves,
but the thing we like best-- I think so, anyway--
is going into the recording studio.
JOHN: Yes, we enjoy it very kindly.
PAUL: To make new records.
Which is what we've been doing all day
before we started on this special message.
Well, what we like to hear most is one of our songs
taking shape in the recording studio,
one of the ones what John and I have written.
And then listening to the tapes afterwards
to hear how it all worked out, you see.
Ja, Ringo.
RINGO: Hello, Ringo here.
As you know, I was the last member to join the Beatles.
I started to play drums in the group 1962.
I've been in a couple of other groups. Ow!
PAUL: Just wish the people merry happy.
Go on, for Christmas. Christmas.
RINGO: Merry happy New Year,
and folks, happy Christmas,
and may everything you wish be granted.
PAUL: Sing us Wenceslas, King Wenceslas.
RINGO: Wenceslas.
* Well
(spirited cheers)
GEORGE: Thank you, Ringo, we'll phone you.
I'm George Harrison. Nobody else has said anything yet
about our fan club secretaries,
Anne Collingham and Bettina Rose.
Not to mention, Freda Kelly in Liverpool.
JOHN: Good old Freda!
GEORGE: So on behalf of us all, I'd just like to say
a great big thank-you to Anne, Bettina and Freda,
for all the hard work they've done,
and we just hope we can go on pleasing you for a long time.
It's your reaction to our records
that really matters.
And I'd just like to say...
* Brightly was the shone that night
* Though the winter cruel
* When a pork pie came in sight
* Gathering winter gruel
THE BEATLES: Merry Christmas, everybody!
Explore new worlds and new ideas
through programs like this,
made available for everyone
through contributions to your PBS station from...
*
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