Other characters in Eppy's life ~

[yerblues1968]

Mike Smith, Record Producer
Decca Studios, West Hampstead, North London


Mike Smith, Decca Artists and Repertoire

Mike Smith of Decca came into the picture in December of 1961. Brian had called the record company and invited the top A&R (artists and repertoire) man, Mike Smith, to visit him in Liverpool.

On December 20, Epstein treated Smith to dinner and took him to see the Beatles perform at the Cavern. Smith seemed enthusiastic about the boys but said he would prefer to have them come to Decca for a proper audition. Epstein agreed and was told to be at the studio by 11:00 on New Year's Day.

Brian was ecstatic. At first, he kept the exciting news to himself. He knew that Smith wanted to hear how the boys would sound on a taped playback, and how they would handle themselves during the session.

Brian Epstein was the first one to arrive at Decca Studios. Mike Smith was late. John, Paul, George, and Pete Best were taken there by their road manager, Neil Aspinall. The boys started to play although they were very nervous. The Beatles were not the only group who would be competing for a coveted recording contract today.

On January 1, 1962, Paul McCartney, John Lennon, George Harrison and Pete Best were auditioned by producer Mike Smith, performing a total of 15 songs in just under one hour. All material was selected by Brian Epstein, who decided to showcase a selection of Lennon/McCartney originals along with a number of covers they had performed live in various venues over the years.

The order of the songs at the session were:

1. Like Dreamers Do
2. Money (That's What I Want)
3. Till There Was You
4. The Sheik Of Araby
5. To Know Her Is To Love Her
6. Take Good Care Of My Baby
7. Memphis, Tennessee
8. Sure To Fall (In Love With You)
9. Hello Little Girl
10. Three Cool Cats
11. Crying, Waiting, Hoping
12. Love Of The Loved
13. September In The Rain
14. Besame Mucho
15. Searchin'

"The cold, stone appearance of the Decca West Hampstead studios looked more like an institution of learning than a recording studio," recalls Pete. "When we entered the building we met Eppie and he was in a fit because Mike Smith had not yet arrived." And the climate had not improved after the producer entered the room. "Mr Smith told us that we could not use our own amplifiers, and told John, Paul, and George to plug their instruments into the studio speakers."

The situation worsened when the red recording light came on. Paul was too nervous to sing and his voice began to crack. George was having trouble playing his guitar. All of the boys were nervous and it showed, mostly during the solo vocals. But they played valiantly from midday until late afternoon.

An awkward incident further marred the day. Epstein began to criticize John's singing. Lennon burst into a violent rage. Everything stopped. The red light went out. Epstein, Mike Smith, the engineer, and the rest of the group stared uneasily at one another. Moments later, Epstein rushed out of the room and did not return for nearly thirty minutes.
When the session was finished, John and Epstein had recovered from their verbal explosion.

"We heard the playback," says Pete, "and we all were confident with the results. Looking back today, perhaps, we could have been a little more polished, like John or Paul on certain vocal tracks. But that New Year's Day we felt that a Decca record contract was imminent. We all jumped back into [road manager] Neil Aspinall's van and headed home to Liverpool."

Mike Smith agreed to let them record, telling them he could not see any problems and that he would let the group know of his decisions in a few weeks.

Nine days earlier in America, "Cash Box" had announced, "One of the most constructive moves to be made by Decca for many months is the formation of a new production team to handle the company's pop single output. Spearheaded by A&R manager, Dick Rowe, who will be directly responsible to the chairman, Sir Edward Lewis, the team is completed by Mike Smith, Rowe's assistant and co-producer, Peter Atwood, recording engineer of three years standing and Tony Meehan, former drummer of The Shadows. Rowe, who will act in an advisory capacity, feels that this youthful team with their fingers on the teenage pulse, will be more than capable of producing the kind of sound that makes for chart success."

The Beatles continued to play at clubs in the meantime. They played at the Star-Club in Hamburg and the Cavern. They wondered why they have not heard from Decca. Then in March, Brian Epstein heard from Dick Rowe, Mike Smith's boss at Decca, with the disappointing news that Decca would not be offering a contract.

"Why?" inquired a dumbfounded Epstein.

"Sorry, Mr. Epstein, but groups with guitars are on the way out," replied Rowe, who then added that he was not satisfied with the group's sound.

"The Beatles are going to be bigger than Elvis Presley," Epstein blurted out confidently.

The real reason the Beatles were rejected had nothing to do with their sound. On that fateful January day several bands had auditioned for Mike Smith, including Brian Poole and the Tremelos.

Dick Rowe told Smith that he could select only one group. Smith chose Brian Poole because he lived near London and would be easier and more economical to use than a band that lived 200 miles away in Liverpool.

pp. 46-63. "How They Became The Beatles" - Gareth L. Pawlowski

[yerblues1968]

Klaus Voormann (April 29, 1938 - present)


Klaus Voormann and the "Revolver" album cover.

Klaus Voormann is a German artist, musician, and record producer known for his long association with the The Beatles, for whom he designed the cover of their album "Revolver," as well as for being the bassist with the British Invasion group Manfred Mann and later a respected session player and record producer.

Voormann (pronounced "foreman") was the son of a doctor, and was born and grew up in the suburbs of North Berlin as one of six brothers. The Voormann family were interested in art, classical music, and literature, with respect for history and tradition. Voormann and his parents decided together that instead of studying music it would be best for Klaus to study commercial art in Berlin at the "Meisterschule fur Grafik und Buchgewerbe." He later moved to Hamburg to study at the "Meisterschule fur Gestaltung", but before his graphic art education was finished Voormann started work as a commercial artist, graphic designer, and illustrator. Voormann was employed by art studios, advertising agencies, and fashion magazines.

It was in Hamburg that Voormann first met Astrid Kirchherr. After an argument with her and Jurgen Vollmer one day, Voormann wandered down the Reeperbahn, which is in the St.Pauli district of Hamburg, and heard music coming from the Kaiserkeller club. He walked in and watched a performance by Rory Storm and the Hurricanes, and the next group scheduled to play were The Silver Beetles. Voormann stayed and watched both groups, and was left "speechless" by the performances. Voorman had never heard this new music called Rock 'n Roll before, having previously only listened to traditional Jazz, with some Nat King Cole and The Platters mixed in. Voormann invited Kirchherr and Vollmer to watch the performances the next day. After hearing this new music, Voormann and the other two decided that all they wanted was to listen to it, watch groups perform it, and to be as close to The Silver Beatles as they could.

The St.Pauli district was well-known as being an area where prostitutes were to be found, and was dangerous for anyone that looked different than the usual clientele. As a trio Voormann, Kirchherr and Vollmer stood out in the Kaiserkeller—dressed in their suede coats, wool sweaters, jeans and round-toed shoes—when most of the customers had greased-back Teddy boy hairstyles and wore black leather jackets and pointed boots. During a break, Voormann tried to talk (in faltering English) to Lennon, and pressed a crumpled record sleeve he had designed into Lennon's hands. Lennon took little interest, and brushed Voormann off, suggesting that he talk to Stuart Sutcliffe, who, as Lennon said, "is the artist round here".

Sutcliffe didn't share Lennon's attitude, and was fascinated by the trio, who he thought looked like "real bohemians". He later wrote that he could hardly take his eyes off them, and had tried to talk to them during the next break, but they had already left the club. This was due to the strict German law at the time which prohibited young people from frequenting bars after 10 o'clock at night, and bars like the Kaiserkeller were dangerous for anybody that looked as different as Voormann, Kirchherr and Vollmer did when customers became drunk and aggressive.

Sutcliffe managed to meet them eventually, and learned that all three had attended the "Meisterschule für Mode", which was the Hamburg equivalent of the Liverpool art college that both Sutcliffe and Lennon had attended. Lennon dubbed the trio the Exies, as a joke about their affectation for existenstialism.

Voormann was in a relationship with Astrid Kirchherr at the time, and lived just around the corner from her parent's upper-class home in the Altona district of Hamburg. Kirchherr's bedroom (which was all in black, including the walls and furniture) was decorated especially for Voormann, although after the visits to the Kaiserkeller their relationship became purely platonic. This was because Astrid started dating Stuart Sutcliffe, who was fascinated by her, although she always remained close friends with Voormann.

In the early 1960s, Voormann decided to leave Germany and move to London. He was invited by George Harrison to live with George and Ringo Starr in their apartment. After John Lennon and Paul McCartney moved out to live with their respective wife and girlfriend, Cynthia Lennon and Jane Asher, Voormann formed a boys' living community with Starr and founded the beat band Paddy, Klaus & Gibson, in which he played the bass. To earn money, he worked for a London-based graphics company. In early 1965, Voormann moved into his own flat in London, but he kept in touch with all four Beatles, at least as far as their rising fame would let him stay in contact with the world-famous musicians.

In 1966, Voormann was asked by John Lennon to design the sleeve for the Beatles´ forthcoming album Revolver. Klaus had a style of "scrapbook collage" art in mind, as it is later shown on the sleeve of Revolver. When showing his efforts to the band and their manager Brian Epstein, the band loved it. Epstein was so pleased by the design that he started to cry. Voormann's payment for the soon-to-be world-famous album cover was a mere 40 pounds. Voorman later produced an updated image of Harrison for the cover of his 1988 single "When We Was Fab," which also included the image of Harrison from the cover of Revolver. For this work, Klaus won the Grammy Award for Best Album Cover, Graphic Arts.

www.amazon.com/Revolver-UK-Beatles/dp/B000002UAR

Klaus Voormann Interview at 2006 THE FEST for Beatles Fans
youtube.com/watch?v=qnuGsKo5Wbo

en.wikipedia.org/wiki/Klaus_Voormann

[yerblues1968]

Julian Lennon (April 8, 1963 - present)


John Lennon holding his baby son, Julian Lennon.

John Charles Julian Lennon known universally as Julian Lennon, or by many fans Jude, is an English singer, songwriter, musician, and first son of Beatle John Lennon and the only child of his first wife Cynthia Lennon. His godfather was Beatles' manager Brian Epstein. His father's nickname for him was "JCJ", and he was named after John Lennon's late mother, Julia.


Julian Lennon and his father John Lennon.

The press heard rumors about John Lennon having a wife and child at the end of 1963—after Beatlemania had already swept the whole of Europe. Friends and neighbors protected Cynthia's anonymity as Cynthia was often approached by journalists. In late December Cynthia had Julian christened at the Hoylake parish church, but didn't tell Lennon because she feared a media circus and believed Lennon wouldn't approve. She told him two days after. He was angry as he hadn't wanted it to be done. When Brian Epstein heard about it, he asked to be Julian's godfather. Not long after the christening, Cynthia opened her door to cameras flashing, and the next day every paper was full of the story about Lennon's secret wife and baby boy.

en.wikipedia.org/wiki/Julian_Lennon

[yerblues1968]

Albert Marrion

Albert Marrion Photography
19 Smithdown Place, Liverpool, 15
268 Wallasey Village, Wallasey



Albert Marrion, a distinguished photographer, has an impressive list of credits, which include serving as the official Liverpool photographer during the Blitz of World War II. He became more famous, however, as the man who took the first official pictures of the Beatles.

Marrion recalls: "Midway during the month of December 1961, Brian Epstein called me and asked if I could take some photos of four boys he had started to manage. At first, I was reluctant to accept the task. We were primarily a portrait and wedding studio. In fact, the reason Epstein called me was I had been the photographer for his brother Clive's wedding.

"Brian had told me they were a scruffy-looking group in all-leather outfits, but quite harmless. I agreed and told Brian to have them meet me at my Wallasey studio the following Sunday, December 17.

"At first, I asked my partner, Herbert Hughes, to take the photo session, but he flatly refused, wanting nothing to do with the beat group.

"Sunday morning arrived and the four Beatles arrived at my studio. I remember those leather pants and jackets, the polo sweaters, and suede shoes to this day. Brian had spoken to them prior to the meeting so they were half serious in attitude. Every once in a while, John Lennon would stick his tongue out and make a wisecrack. John and Paul joked and laughed throughout most of the session. George Harrison was quiet and Pete Best didn't speak almost at all.

"It was pouring down rain and Lennon was beginning to irritate me. I, being bald at the forehead, Lennon frequently referred to me as 'Curly.'

"This photo session was done for Epstein as a friendly gesture against the wishes of my partner, Hughes. I took about thirty photographs of the Beatles but discarded all but sixteen negatives because many showed Lennon and McCartney acting up and spoiling the pose. No doubt, those negatives should have been kept, looking back.

The Albert Marrion Photos
http://big_beat_op.tripod.com/sfpsecretpicturepages/id33.html

This is an extremely rare vintage print of the Beatles from their first photo session by Liverpool's Albert Marrion (from December 17, 1961.) This actual print was made in February 1962 and served as the "master print" for the Beatles first autograph cards and their appearance on the front cover of "Mersey Beat" magazine. On the reverse there is a photographer's stamp, and notes with the date of the print order (Feb 27, 1962), the order for 1000 cards dated March 14, and the photographer's approval initials. This print is incredibly detailed and sharp, and has slightly more of the photo than I've seen reproduced anywhere else. It is also unretouched, and there is some areas around the border that were later retouched as part of the printing process.

There is a Bonhams auction house label on the back , where this print was sold in 1999. Included is documentation of that sale, and the catalog listing as follows: "The Beatles. A black and white original master print of the Mersey Beat cover photograph by Albert Marrion, rubber stamped on the verso PN NO on ml/print 27.2.62 1000 (the number of prints ordered) and Mar 14 266 (a further order.) Approx 10 1/2 x 7 1/2 inch."

www.beatlesource.com/savage/1961/61.12.17%20albert%20marion/61.12.17marion.html

Rockaway Photographs in Near Mint Condiiton
www.rockaway.com/online/online/title.php?ItemID=10493
www.rockaway.com/online/online/title.php?ItemID=10495
www.rockaway.com/online/online/title.php?ItemID=10496

pp. 41-42. "How They Became The Beatles" - Gareth L. Pawlowski

[yerblues1968]

Alan Swerdlow, Photographer


After the Beatles were rejected by Decca, Epstein vented his frustration with relentless visits to record companies in a concentrated effort to get a recording contract. He exerted all of his influence, but his attempts fell on death ears.

Part of Epstein's master plan for success included many demands that were not readily acceptable to the Beatles. He insisted on a professional attitude and a respectable appearance onstage. He would not tolerate their childish antics and said they would have to play to the whole audience, not those in the first few rows. Punctuality for all meetings and performances would be mandatory. Also deleted was the random music selection. A precise list of songs must be prepared for each show.

Epstein had been planning to improve the boys' appearance with suits, because the leather outfits reminded people of Nazi uniforms. This was a guise they could do without. Arrangements were made for the Beatles to be fitted for new suits at Beno Dorn, a Birkenhead clothier.

John was not keen about wearing a tailored suit and refused to discuss the idea with Epstein. Paul, George, and Pete agreed to try a new look. They talked to John, who reluctantly accepted their decision.

There were advertisements for the Beatles' regular shows at the Cavern, plus their first engagement at the Odd Spot Club for March 22, and a one-night-only appearance at the Pavilion Theatre for April 2.

Brian Epstein asked Alan Swerdlow, a friend, to take some photographs of the Beatles during their performance at the Odd Spot Club. The boys wore their new suits, allowing Swerdlow to preview the image that John, Paul, and George would present during their upcoming foreign engagement. The photos also capture Pete's taciturn, moody countenance that drove all the girls wild.

“I think the [RADA] theatre training—and Brian’s immersion in pop at the record store—is what made him aware of the potential for the group—style, clothing and so on,” says Alan Swerdlow, a friend of the Epstein family.

Alan Swerdlow photographs of the Beatles at the Odd Spot Club
www.beatlesource.com/savage/1962/62.03.29%20odd%20spot/62.03.29oddspot.html

p. 64. "How They Became The Beatles" - Gareth L. Pawlowski

Brian Epstein - The Man Behind The Beatles
By Nadine Epstein and Walter Podrazik

[yerblues1968]

Jack Paar (May 1, 1918 - January 27, 2004)


Jack Paar


Jack Harold Paar was an American radio and television talk show host most noted for his iconic status as host of The Tonight Show.

Jack Paar ended the 90-minute The Tonight Show program on March 29, 1962. Paar then made the move to prime time on Friday night to host The Jack Paar Show on NBC.

A short feature of The Beatles was aired on The CBS Evening News with Walter Cronkite and similar broadcasts on the NBC Evening News, and the ABC Evening News. A feature story of The Beatles was covered on The Huntley-Brinkley Report where they made their first U.S. television appearance on November 18, 1963 and Beatlemania was first mentioned.

Jack Paar wanted to present a performance of The Beatles to U.S. television before his competitor, Ed Sullivan. Paar was able to lease a film clip of The Beatles from the BBC, though not a live performance, and presented it on his program on January 3, 1964. The first live performance of The Beatles in America took place on The Ed Sullivan Show on the first of two appearances on Sunday, February 16, 1964 and the following Sunday, February 23, 1964.

The Jack Paar Show film clip of The Beatles aired January 3, 1964.
youtube.com/watch?v=gJ8RfymgO8Q

Another clip of The Jack Paar Show of The Beatles, which also aired on January 3, 1964, and even mentions Ed Sullivan having The Beatles perform live at his upcoming variety program.
www.beatles-invasion.com/video-jack-paars-tonight-show/

en.wikipedia.org/wiki/Jack_Paar

[yerblues1968]

Princess Margaret [Rose] (August 21, 1930 - February 9, 2002)
Countess of Snowdon

Her Royal Highness, The Princess Margaret, Countess of Snowdon

The Princess Margaret, Countess of Snowdon was the younger daughter of George VI and Queen Elizabeth, and the younger sister of the current monarch of each of the Commonwealth Realms, Elizabeth II. She held the title Countess of Snowdon by marriage.

She was born Her Royal Highness Princess Margaret Rose of York on at Glamis Castle in Scotland, her mother's ancestral home. Her father was Prince Albert, The Duke of York, the second son of George V and Queen Mary. Her mother was The Duchess of York (formerly Lady Elizabeth Bowes-Lyon), a daughter of the 14th Earl and Countess of Strathmore and Kinghorne. As a grandchild of the Sovereign in the male line, Margaret Rose was styled Her Royal Highness from birth. She was baptized in the Private Chapel of Buckingham Palace on October 30, 1930 by Cosmo Lang, the Archbishop of Canterbury, and her godparents were her uncle the Prince of Wales (later King Edward VIII), her father's cousin Princess Ingrid of Sweden, her great-aunt Princess Victoria, her maternal aunt Lady Rose Leveson-Gower, and her maternal uncle The Hon David Bowes-Lyon.

The member of the Royal family most associated with the Beatles is Princess Margaret, who John Lennon referred to in one of his book as Priceless Margarine.

Also on July 6, the Beatles attended the world premeire of "A Hard Day's Night." This charity affair at the London Pavilion benefited the Dockland Settlements and the Variety Club Heart Fund. Fans began arriving during the early morning. The crowd had swelled to 12,000 when the doors were opened to admit special guests. Hundreds of policemen wrestled with eager fans and Piccadilly Circus was closed to all motor traffic.

As the theater lights dimmed the boys anxiously awaited the reaction to their madcap movie. They really had nothing to worry about. The audience was ecstatic and gave a standing ovation. Reporters and photographers raced from the theater to cover the celebrity reception party at the Dorchester Hotel, where the big news was the presence of Princess Margaret and the Earl of Snowdon. The fact that they had attended the premiere itself was thought to be in regard for the charities involved. However, their arrival at the "party" proved that they were genuinely interested in the Beatles, which proved a most happy evening for Brian Epstein.

The Princess and her entourage seemed to be enjoying themselves when George Harrison approached Walter Shenson, the film's producer and said, "When are we going to eat?" Shenson told him that they couldn't possibly eat until Princess Margaret and Lord Snowdon had left. "Just be patient," he said. After another 15 minutes had elapsed, George walked up to the Princess and said, "Your Highness, we really are hungry and we can't eat until you two go."

"I see," said the Princess. "Well, in that case, we'd better run." At the Carl-Alan Awards on March 8 1965, once again held at the Empire Ballroom, Leicester Square, Princess Margaret presented a Beat Group Award to Brian Epstein on behalf of the Beatles. Princess Margaret and Lord Snowdon once again attended a Beatles premier on July 29, 1965 when "Help!" was unveiled at the London Pavilion.

The Beatles all managed to view the inside of Buckingham Palace when they were awarded the MBE at an Investiture on October 26, 1965. Brian Epstein was not nominated for any honour, which resulted in the November 5, 1965 edition of the Jewish Chronicle quoting Princess Margaret as saying, "I think the Beatles believe that MBE stands for 'Mister Brian Epstein.'

Epstein suffered depression because he was not mentioned in the Honours list and felt that he wasn't put forward for an MBE because he was a homosexual and Jewish. It was apparent to many people that the fact that he wasn't given an honour was a snub.

The initials stand for Most Excellent Order of the British Empire and refer to a prestigious award which is presented annually. The MBE is actually the lowest grade of knighthood and was instituted in 1917 by King George IV.

www.triumphpc.com/mersey-beat/beatles/royalty.shtml
en.wikipedia.org/wiki/Princess_Margaret

Princess Margaret Rose
youtube.com/watch?v=XDejMy57Q4Q

pp. 187-188 "How They Became The Beatles" - Gareth L. Pawlowski.

[yerblues1968]

Andy White (1930 - present)
Session Drummer


Andy White performing at the "Top of the Pops," also known as TOTP, a long-running British music chart television programme, made and broadcast by the BBC.

Andy White is a drummer, best known for playing drums on The Beatles first single, "Love Me Do" - White was, in fact, on the 7" single version released in the United States. He also played drums on the "Love Me Do" B-side, "P.S. I Love You."

On September 11, 1962, the boys summoned their courage and returned to London for their second EMI session (usually referred to as the first). George Martin greeted the boys and told them he had canceled,"How Do You Do It." The two songs to be recorded were "P.S. I Love You" and "Love Me Do."

Unknown to Ringo, a studio drummer named Andy White was standing in the wings. Since producing a session was very costly--a fact constantly belabored by studio brass--Martin wanted an experienced drummer available in case Ringo's performance was inadequate. On many occasions a studio musician will be called to stand by and never be used. Unfortunately, for Ringo this was not to be one of those occasions.

After rehearsing both songs, Norman Smith turned on the tape machines and the Beatles went into "P.S. I Love You." Instantly, Ringo felt that they were doing a "Pete Best" on him. It was obvious that Ringo was nervous and frightened while in the studio, but he had become a Beatle to play drums--for concerts and records. Now he felt that although he was fine for clubs and concerts, they didn't want to use him on recordings. Martin really wasn't satisfied with Ringo's ability. "He hit good and hard and used the tom-tom well, but he couldn't do a roll to save his life."

It was a shattering blow to Ringo's ego but he went along and played the maracas during the first take of "P.S. I Love You." On the second take he exchanged the maracas for a tambourine and banged on it every third beat.

For the most part, Ringo had remained silent during the session and made no objection to relinquishing his job to Andy White. The Beatles knew when to keep quiet. Martin had authority and their immediate recording future could dissolve without the support of the influential producer.

As the Beatles began the retake of "Love Me Do," Andy White still occupied the drummer's seat, and a total of eighteen takes were recorded before George Martin considered they had a successful one. Ringo banged the tambourine as instructed for the while. It was getting late, and a vain attempt to record "Please Please Me," was abandoned after a few takes.

"Right, lads," Martin said with a weary smile, and the session was done. The Beatles had recorded their first commercial record and left the studio shortly after one o'clock in the morning of September 12.

The group recorded "Love Me Do" three times in 1962 - on June 6, and September 4 and 11 - each time with a different drummer. Following their Sept 4 session, George Martin was unhappy with the drum sound on the recordings. As "Love Me Do" was to be the group's first single, he felt it was important that it had to be right, so he brought in Andy White for the Sept 11 session. The song was subsequently re-recorded with Andy White on drums and Ringo relegated to holding a tambourine - the version now found on the album. Ironically, the 'apparently' sub-standard version recorded with Ringo on Sept 4 was actually released as the single.

The first recording was made with Pete Best and was recently issued on Anthology 1.

"P.S. I Love You" with Andy White on drums for the record Introducing The Beatles. (2.06 minutes)
youtube.com/watch?v=ow355d7Ubkw

"Love Me Do" was recorded by the Beatles on different occasions using three different drummers:

The Beatles first recorded "Love Me Do" on June 6, 1962 with Pete Best on drums, as part of their EMI audition at Abbey Road Studios in London.

By September 4, Best had been replaced with Ringo Starr (producer George Martin did not approve of Best's drumming), and on that day the Beatles with Starr recorded a version again at Abbey Road Studios.

On September 11, the Beatles returned to Abbey Road Studios to discover that Martin was dissatisfied with Starr's drumming and used session drummer Andy White while Starr played tambourine on the recording. The tambourine was not included on the September 4 recording.

First issues of the single did feature the Ringo Starr version, which was also included much later on the compilation albums "Rarities and Past Masters, Volume 1". The Andy White version of the track was included on the Beatles' debut UK album, "Please Please Me, The Beatles' Hits EP," and all subsequent album releases on which "Love Me Do" was included. For the 1976 single re-issue and the 1982 "20th Anniversary" re-issue, the Andy White version was used. The CD single issued on October 5, 1992 contains both versions.

The Pete Best version remained unreleased until 1995, when it was included on the Anthology 1 album.

Recorded: September 11, 1962 at Abbey Road, London, England
John Lennon - lead vocal, electrified acoustic guitar
Paul McCartney - lead vocal, bass guitar
George Harrison - lead electrified acoustic guitar
Ringo Starr - maracas
Andy White - drums

"Love Me Do" recording with Andy White on drums September 11, 1962 (2.21 minutes)
youtube.com/watch?v=kLekFHARRro

White was a studio drummer in the 1950s and 1960s in London, recording with artists such as Billy Fury, Marlene Dietrich, Herman's Hermits, Bert Weedon and Tom Jones. He married the British Decca artist, Lyn Cornell, who later became a member of The Pearls. White is currently married to Thea White, who supplied the voice of 'Muriel' on the Cartoon Network show, Courage the Cowardly Dog.

He is currently living in New Jersey, teaching beginner and intermediate drum lessons. White is an accomplished Pipe Band Highland drummer and is an active and popular drumming judge for for the Eastern United States Pipe Band Association (EUSPBA).[1] At one point, he was a drum instructor for the New York City Department of Corrections Emerald Pipe Band. White has played at concerts for Rod Stewart. His New Jersey license plate number is 5THBEATLE.

p. 87 "How They Became The Beatles" - Gareth L. Pawlowski.
en.wikipedia.org/wiki/Andy_White_%28drummer%29

[yerblues1968]

Don Black (June 21, 1938 - Present)
OBE - Order of The British Empire


Don Black was born Gerald Blackstone in London, England. He is a Tony and Oscar Award winning English lyricist. His works have included numerous musicals, movie themes and hit songs. He began his music industry career as an office boy with a music publishing firm, and later worked as a song-plugger. He also had a brief spell as a stand-up comic.

He was personal manager to the singer, Matt Monro for many years and also provided songs for the singer (usually writing English language lyrics to continental songs). These included "Walk Away" (music: Udo Jürgens) and "For Mamma" (music: Charles Aznavour).

In collaboration with composer John Barry, he wrote the title song for the 1966 film "Born Free," which won the Oscar for Best Song that year, as well as providing another hit for Matt Monro. Black's other movie song credits include the themes for several James Bond films, including "Thunderball," "Diamonds Are Forever," "The Man with the Golden Gun," plus "Surrender" from "Tomorrow Never Dies" and "The World Is Not Enough." He later collaborated with Barry again on "Out of Africa," "Dances with Wolves," and their ill-fated Broadway musical, "The Little Prince and the Aviator."

"On Days Like These", the title song of the original version of the movie "The Italian Job" was written by Don Black, to music by Quincy Jones.

He has also provided lyrics for Jule Styne, Henry Mancini, Elmer Bernstein, Michel Legrand and Marvin Hamlisch, and has had two U.S. number one hits, Michael Jackson's "Ben" (music: Walter Sharp) and Lulu's "To Sir, with Love" (music: Mark London).

Black's stage musical credits include Billy (music: John Barry), Bar Mitzvah Boy (music: Jule Styne), Dear Anyone (music: Geoff Stephens), Budgie (music: Mort Shuman) and several Andrew Lloyd Webber shows - the 1980 song-cycle, "Tell Me on a Sunday," which was performed by Marti Webb (whom he also managed for a time); "Aspects of Love," which propelled Michael Ball to stardom; and, together with Christopher Hampton, the musical adaptation of the Billy Wilder film "Sunset Boulevard." In 2002 he worked with Indian composer A. R. Rahman on the musical "Bombay Dreams."

Don Black, one of Brian Epstein's business colleagues, described his death as "a terrible and stupid accident".

en.wikipedia.org/wiki/Don_Black_%28musician%29

[yerblues1968]

Billy Preston (September 2, 1946 - June 6, 2006)


Billy Preston

William Everett Preston was an American soul musician from Houston, Texas, raised mostly in Los Angeles, California. In addition to his successful, Grammy-winning career as a solo artist, Preston collaborated with some of the greatest names in the music industry, including the Beatles, the Rolling Stones, Little Richard, Ray Charles, George Harrison, Elton John, Eric Clapton, Bob Dylan, Sam Cooke, King Curtis, Sammy Davis Jr., Sly Stone, Aretha Franklin, the Jackson 5, Quincy Jones, Richie Sambora of Bon Jovi, and Red Hot Chili Peppers. He played the Fender Rhodes electric piano and the Hammond organ on the Get Back sessions in 1969.

Although Preston is one of several people sometimes credited as a "Fifth Beatle", he is one of two non-Beatles (the other being Tony Sheridan) to receive label performance credit on any Beatles record.

On August 16, 1964, The Beatles left London and crossed the Atlantic to begin their "First American Tour." Although it was their second visit to America, it was their first tour across America. After brief stops at Winnipeg, Canada and Los Angeles, CA the boys were welcomed by 9,000 screaming fans at San Francisco International Airport. When the Beatles stepped down from the plane the eager masses pushed through the fence and charged across the tarmac. Many fainted but others continued running and the Beatles were lucky to escape by seconds into their limousine.

The Beatles were relatively safe in their fifteenth-floor suite at the Hilton because the hotel was swarming with an army of policemen. Later, John and Ringo persuaded their press agent to help them get past the security guards. They went to a nightclub in Chinatown that was operated by their friend Billy Preston. The Beatles had first met Preston when he was a keyboard player with Little Richard's band during a show in Hamburg, and again in Liverpool in 1962. The musical paths of the Beatles and Preston would cross again in 1969 when he would play on their "Let It Be" Album.

Preston had battled kidney disease in his later years, brought on by a lifetime of alcohol and drug abuse. Although he received a kidney transplant in 2002, his health continued to deteriorate. He died on June 6, 2006 in Scottsdale, Arizona, of complications of malignant hypertension that resulted in kidney failure and other complications. He had been in a coma since November 21, 2005. His funeral was held on June 20 at the Faithful Central Bible Church in Inglewood, California. Preston is interred at Inglewood Park Cemetery, Inglewood, California.

The Making of "Get Back" Part 1 (8.20 minutes)
youtube.com/watch?v=pTepreQIvZk

The Making of "Get Back" Part 2 (9.43 minutes)
youtube.com/watch?v=Dg8iXDY1qXM

The Making of "Get Back" Part 3 (7.19 minutes)
youtube.com/watch?v=ZQUZW-jtRFk

"Get Back" performed at their last concert (roof top) (3.27 minutes)
youtube.com/watch?v=YVT_KRRwH0M

"The Long And Winding Road" (3.38 minutes)
youtube.com/watch?v=7ONoO4XmgOs

en.wikipedia.org/wiki/Billy_Preston
p. 193. "How They Became The Beatles" - Gareth L. Pawlowski.

[christine~]

Even though he's much shorter,
who else thinks that Simon Pegg
might make a reasonably effective Peter Brown?

[yerblues1968]

Bert Kaempfert (16 October 1923 – 21 June 1980)


Bert Kaempfert

Bert Kaemperfert (born Berthold Kämpfert) was a German orchestra leader and songwriter. He made easy listening and jazz-oriented records, and wrote the music for a number of well-known songs, such as "Strangers in the Night" (originally recorded by Ivo Robić) and "Spanish Eyes".

He was born in Hamburg, Germany - where he received his lifelong nickname, Fips - and studied at the School of Music there. A multi-instrumentalist, he was hired by Hans Busch to play with his orchestra before serving as a bandsman in the German Navy during World War II. He later formed his own big band, toured with them, then worked as an arranger and producer, making hit records with Freddy Quinn and Ivo Robic. In 1961, he hired The Beatles to back Tony Sheridan on "My Bonnie (Lies Over the Ocean)," "When the Saints Go Marching In," "Ain't She Sweet" and "Cry for a Shadow," in a session for Polydor, the Beatles' first commercial recordings.

Bert Kaempfert and The Beatles (5.40 minutes)
www.youtube.com/watch?v=_h8UkM6arIs

en.wikipedia.org/wiki/Bert_Kaempfert

[yerblues1968]

Allen Klein (December 18, 1931 - present)



Allen Klein is an American businessman and record label executive. Allen Klein was born the son of Jewish immigrants from Budapest, Hungary. His father was a butcher, and his mother died before he reached the age of one. As a teenager, he worked several jobs while attending evening classes. He excelled at mental arithmetic, and graduated from Upsala College, East Orange, New Jersey, in 1956. He did bookkeeping for several show-business people, and audited record companies. In 1957 he began his own business, a partnership with his wife Betty. A couple of years later, while attending a wedding, he met singer Bobby Darin. He asked Darin "How would you like to make $100,000?" A stunned Darin asked what he had to do. "Nothing," was Klein's reply. He then pursued Darin's record company for what he regarded as monies owed to the singer. Darin let Klein audit his accounts and received the cheque, exactly as promised. This 'no win, no fee' approach became his trademark. Record industry insiders began to fear his blunt-speaking tenacity, and celebrities began to recommend him.

Since the death of Brian Epstein in 1967, The Beatles had been without a manager per se, although NEMS, headed by Epstein's brother Clive, had been taking care of day-to-day business, with Peter Brown acting as liaison to both the Beatles and the Epsteins, and Paul McCartney steering the band artistically. Without a performing schedule, and with recording and filming dates in their own hands, the Beatles had not needed a traditional kind of manager. They had, however, gradually lost many of the people Epstein had made business deals with early in their career, such as music publisher Dick James and financial adviser Dr. Walter Strach, which had secured the band financially. They were used to asking for something to be done, without thinking of the price; much of Apple Corps had been set up in this way. Epstein had been the one to put the brakes on spending, talk over practicalities, and say "no". This had been all but forgotten. Without a damper, the band had overspent, and overtrusted, and problems arose.

Klein, longtime Rolling Stones manager and all-round show-business terror, had been shadowing the Beatles for years looking for a way in. He promised, anytime he could get John or George or Ringo to listen, that he could 'clean up' Apple and get the Beatles' money coming to the Beatles again. By early 1969, John, George and Ringo were starting to listen, and Klein soon began making his presence felt at Apple. But the advent of Klein troubled Dick James - for James knew that Klein was a hardball player not averse to questionable business deals; he had a string of lawsuits behind him pending in the States. James, in fact, feared Klein, and became convinced he would pull some scam that would suddenly leave James out in the cold with nothing. And since "the boys" themselves were no longer precisely friends ... and since James no longer had Brian Epstein to rely on ... well, why take risks any longer? So it's not surprising that when Allen Klein came on the scene, James finally decided it was time to look out for himself.

After a meeting at Klein's suite in the Dorchester Hotel (opposite London's Hyde Park), where Klein impressed Lennon with both his in-depth knowledge of Lennon's work and his tough "streetwise" attitude and language, Lennon convinced George Harrison and Ringo Starr that Klein should take over instead. Paul McCartney agreed to pose for photographs with Klein as a show of unity, pretending to sign a new contract, but he never put his signature on the paper. This fundamental disagreement about who should manage them, fuelled by a decade-long build up of resentments and insecurity about other matters such as power and influence within the group, was one of the key factors in the eventual break-up of the Beatles.

In 1969, Klein re-negotiated their contract with EMI, granting them the highest royalties ever paid to an artist at that time; 69 cents per $6-7 album. In exchange, EMI was allowed to repackage earlier Beatles material as compilations, which Brian Epstein had not permitted. Klein oversaw the issuing of the single "Something"/"Come Together", at a crucial point when Apple needed income. He helped rescue the abandoned Get Back project (released as Let It Be), by bringing Phil Spector to England to work with the band. He also transformed office habits at Apple, installing a time clock for the staff and insisting meals be pre-ordered from the building's kitchen (instead of cooked on demand). Klein slashed expenditures at Apple, canceling payouts and charge accounts for many Beatles associates, and friends of friends, who had worked or consulted for the company.

On the other hand, Klein also managed to alienate many of the people who had previously been part of the Beatles's business and personal circle, with his abrasive style of management and negotiation. His cost-cutting measures at Apple Corps included what was considered by some as "cold-blooded" firing of many of the employees that had flocked to the band's experiment in "western Communism" (including the erratic Magic Alex, and old Epstein minion and friend Alistair Taylor). Klein also closed the Zapple Records imprint. He spoke occasionally at Apple and Beatles press conferences; a reporter for the London Evening Standard remarked later that Klein "must have set some kind of record for unprintable language" at one such conference. He was also unable to save Northern Songs from a buyout by ATV, which took away ownership of nearly all the band's song copyright.

en.wikipedia.org/wiki/Allen_Klein
www.ptrob.com/Music/Beatles/Song_Rights/song_rights.htm

[yerblues1968]

Lionel Bart (Beglieter) (August 1, 1932 - April 3, 1999)


Pictures of Lionel Bart Beglieter.

Born Lionel Beglieter in 1932, he was the youngest of twelve children and the son of a Jewish tailor in London's East End, Bart had no formal musical education. His father was an immigrant tailor who, like so many before and after, arrived in London's East End and set up shop. Bart's ambition was to be an artist and he won a scholarship to St. Martin's School of Art. After completing National Service with the RAF, he joined the Unity, a left-wing theatre club, in 1952. "There he began a stage career as understudy, scenic painter and poster designer. His first project was a play called The Wages of Sin about equal pay for men and women.'"

Changing his name to Bart (after the famous London hospital), he contributed to four Unity Theatre productions. The first was the political revue "Turn It Up," which was directed by character actor Alfie Bass. In the Unity's version of Cinderella, not only did he play one of the ugly sisters but he also wrote some of the show's lyrics. By the time he was involved with the revue Peacemeal, he was considered a writer. "Wally Pone," a contemporary story set in London's Fast End, was entirely his work. It was his last show at the Unity.

Lionel Bart never learned to read or write music properly and could hardly tap out a melody on the piano. Instead, he hummed compositions into a tape recorder.

Becoming a successful songwriter, he wrote hit songs for Tommy Steele and Anthony Newley. Bart's first musical, "Fings Ain't Wot They Used T'Be," premiered in 1959 and ran for two years in London. Another musical, "Lock up Your Daughters," opened the same year.

Another of Epstein’s “close friends," the Jewish song writer for many of pop star Cliff Richard’s songs, and originator of the musical score for the musical play, "Oliver!" Lyricist and composer Lionel Bart created the delightful '60s hit musical "Oliver!" and wrote the theme song for the 1963 James Bond movie From "Russia With Love." Bart is credited with helping to revive the English musical.

In 1960 his signature work "Oliver!" opened. Based on Charles Dickens' novel "Oliver Twist," the musical was an immediate success. The long-running play had two successful revivals in 1967 and 1977. A New York version of the play opened on January 6, 1963, and was a Broadway hit, earning Bart a Tony Award. More Bart musicals followed: "Blitz!" in 1962, "Maggie May" in 1964, "Twang!" in 1965, and "La Strada" in 1969.

In the early sixties Bart's career went from strength to strength. In 1960, Anthony Newley had a number one hit with Bart's 'Do You Mind', but the same year saw the more extraordinary success of Oliver! This was followed in 1962 with Blitz! a spectacular production telling of life in London during the Second World. When it opened, Bart had more than one show running in the West End, a feat matched by the likes of' Andrew Lloyd Webber and Alan Ayckbourn. His last hit show was Maggie (1964), which was set against a dock strike in Liverpool. Bart's personal life was equally successful, and he could he seen about town with the likes of the Beatles and the Rolling Stones.

In 1986 he received a special Ivor Novello Award for his life's achievement. Cameron Mackintosh, who owned half the rights to Oliver!, revived the musical at the London Paladium in 1994 in a version rewritten by Lionel Bart. Cameron Mackintosh gave Lionel a share of the production royalties. Although Lionel Bart was known to be gay by those in the theatre world he was often publicly romantically linked with Judy Garland or Alma Cogan.

Lionel Bart died of cancer on April 3, 1999, at the age of 68 in Hammersmith Hospital in London.

- Press Assocation News File, April 3, 1999

images.search.yahoo.com/images/view?back=http%3A%2F%2Fimages.search.yahoo.com%2Fsearch%2Fimages%3Fp%3Dlionel%2Bbart%26y%3DSearch%26fr%3Dmoz2%26ei%3Dutf-8%26js%3D1%26x%3Dwrt&w=104&h=130&imgurl=www.nodanw.com%2Fbiographies%2Fpictures%2FBart.jpg&rurl=http%3A%2F%2Fwww.nodanw.com%2Fbiographies%2Fbart_lionel.htm&size=2.9kB&name=Bart.jpg&p=lionel%20bart&type=JPG&oid=fe6585f44d1f09de&no=6&tt=560
en.wikipedia.org/wiki/Lionel_Bart

Shirley Bassey singing, "As Long As He Needs Me" and "I Am What I Am" from Oliver! by Lionel Bart (Beglieter). (8.05 minutes)
www.youtube.com/watch?v=Cvy3xcBxlwE

images.search.yahoo.com/images/view?back=http%3A%2F%2Fimages.search.yahoo.com%2Fsearch%2Fimages%3Fp%3Dlionel%2Bbart%26y%3DSearch%26fr%3Dmoz2%26ei%3Dutf-8%26js%3D1%26x%3Dwrt&w=104&h=130&imgurl=www.nodanw.com%2Fbiographies%2Fpictures%2FBart.jpg&rurl=http%3A%2F%2Fwww.nodanw.com%2Fbiographies%2Fbart_lionel.htm&size=2.9kB&name=Bart.jpg&p=lionel%20bart&type=JPG&oid=fe6585f44d1f09de&no=6&tt=560

[yerblues1968]

Lord Lew Grade (December 25, 1906 – December 13, 1998)





Lew Grade, Baron Grade born Lev Winogradsky, was an influential show business impresario and television company executive in the United Kingdom. His interests included Pye Records and ATV.

He was born in Tokmak, Ukraine, to Olga and Isaac Winogradsky. In 1912 the Jewish family fled the Russian pogroms to a new life in the East End of London. Isaac managed a cinema, while his three sons attended the Rochelle Street School in Bethnal Green, near Shoreditch, where Yiddish was spoken by 90% of the pupils. For two years they lived in rented rooms at the north end of Brick Lane, then moved to the nearby Boundary Estate. At 15 Louis became an agent for a clothing firm, and shortly afterwards started his own business. But after he won a Charleston competition at the Royal Albert Hall in 1926, he became a professional dancer under the name Lew Grade. In 1933, he founded a talent agency with his brother, Bernard.

His two brothers, Leslie Grade and Bernard Delfont, were also show business impresarios and his nephew, Michael Grade, carried on the tradition. Michael was Chairman of the BBC from 2004 to 2006 and became executive chairman of ITV plc on 8th January 2007.'

Lew Grade is best known by viewing audiences as the man responsible for a number of cult British TV series through his ITC Entertainment production company. These shows included "The Saint," "The Persuaders!" (both starring Roger Moore prior to his international fame as James Bond), and two of the most famous works of Patrick McGoohan: Danger Man (also known as Secret Agent in the US) and "The Prisoner." In 1962 he purchased independent production house AP Films, co-founded by Gerry Anderson, which produced a string of popular children's marionette adventure series including "Supercar," "Stingray," "Thunderbirds," "Captain Scarlet" and the "Mysterons," "Joe 90," three feature films, and the live-action sci-fi series "UFO" and "Space: 1999." Although supportive of the produced shows, the consistent drive for success at home and abroad led to various artistic differences for Grade with McGoohan and Anderson, leading to the departure of both.

Grade's professional life had also intertwined with the famed British rock group The Beatles during two of their most crucial periods. In 1963, after tough negotiation with Lew's brother Leslie Grade to do so, they performed on the ATV show Sunday Night at the London Palladium as a Royal Variety Performance for Queen Elizabeth II. This was a big moment for the rising band prior to their appearance on The Ed Sullivan Show and the start of Beatlemania. But when Grade crossed paths with the group again in 1969, it was under much less friendly terms. Grade and ATV Music Publishing bought majority share in Northern Songs, the company that owned nearly all of the Beatles' works. After a fierce battle, Grade and ATV won control of the company while controlling any other song works by Paul McCartney and John Lennon between 1964 and 1971. (George Harrison broke from Northern Songs prior to Grade's acquisition.) ATV would retain control of Northern Songs until 1985, when the company sold the songs to a more controversial owner: Michael Jackson.

Julie Andrews and Tom Jones sing "You Will Be My Music" to salute Sir Lew Grade (4.03 minutes)
www.youtube.com/watch?v=MgqdPQ0H3Gs

en.wikipedia.org/wiki/Lew_Grade
images.search.yahoo.com/images/view?back=http%3A%2F%2Fimages.search.yahoo.com%2Fsearch%2Fimages%3Fp%3Dsir%2Blew%2Bgrade%26y%3DSearch%26fr%3Dmoz2%26ei%3Dutf-8%26js%3D1%26x%3Dwrt&w=300&h=180&imgurl=www.teletronic.co.uk%2Fgrade.jpg&rurl=http%3A%2F%2Fwww.teletronic.co.uk%2Fgrade.htm&size=18kB&name=grade.jpg&p=sir%20lew%20grade&type=JPG&oid=be9a784640c78098&no=7&tt=22

[yerblues1968]

Bernard Lee (January 10, 1908 - January 16, 1981)

Bernard Lee was an English actor, best known for his role as "M" in the first eleven James Bond films.


Bernard Lee, English actor

Born in London, he attended the Royal Academy of Dramatic Art. During the 1930s he acted mostly on stage, but after World War II developed a successful film career, including "The Third Man" (1949), "The Blue Lamp" (1950), "Beat the Devil" (1953), "The Battle of the River Plate" (1956), "The Spanish Gardener" (1956), "Dunkirk" (1958), "Web of Evidence" (1959), and 'Whistle Down the Wind (1961)."

Lee also starred in the 1976 television show "Beauty and the Beast" with George C. Scott. A year later he starred in the television show "A Christmas Carol" as the Ghost of Christmas Present. He is the grandfather of British actor Jonny Lee Miller.

In the Bond films, Lee's character, M, is Admiral Sir Miles Messervy (only ever named, besides as 'M', as 'Admiral' and 'Miles' on screen in his appearances), Bond's irascible boss who sends him out on assignments. He also portrays M along with Lois Maxwell as Moneypenny in the 1975 French comedy " Bons baisers de Hong Kong". Lee was succeeded by Robert Brown, though not necessarily playing the same character (Brown had played another admiral in the series previously). Judi Dench, a friend of Lee's, would later take over the role of a brand-new M, starting in 1995 with some references to her predecessor, including an oil painting of Lee in the role seen in MI6's secondary HQ (a Scottish castle).

Bernard Lee starred in eleven James Bond films.

* Dr. No (1962)
* From Russia with Love (1963)
* Goldfinger (1964)
* Thunderball (1965)
* You Only Live Twice (1967)
* On Her Majesty's Secret Service (1969)
* Diamonds Are Forever (1971)
* Live and Let Die (1973)
* The Man with the Golden Gun (1974)
* The Spy Who Loved Me (1977)
* Moonraker (1979)

In January 1981, Lee died in London after a battle with stomach cancer, while preparing for "For Your Eyes Only." Out of respect, no new actor was hired to take over the role of M. In the film, M's lines were transferred to the Minister of Defence and Bill Tanner, M's Chief of Staff.

en.wikipedia.org/wiki/Bernard_Lee

[yerblues1968]

Dezo Hoffman (1912 - 1986)


Dezo Hoffman, Acclaimed Beatles' Photographer
"One of the Greatest Photographers in Entertainment"


Dezo Hoffman was born in Selmecbanya (today called Banska Stiavnica, Slovakia, just north of the present border with Hungary), at one time Hungary's third largest city and UNESCO World Heritage site since 1993. It was annexed by Czechoslovakia at Trianon. Hoffman was the Beatles' first professional photographer.

Dezo Hoffmann began his career as a clapper boy in A-B Studios in Prague. He joined Twentieth Century Fox, in Paris and was sent to photograph Mussolini's invasion of Ethiopia. He covered the 1936 Olympics and witnessed the Spanish Civil War working alongside Ernest Hemingway and fellow-Hungarian Robert Capa for the International Brigade Press Corps in Barcelona. Hoffmann was one of the first photo journalists to send images back from the front. Arriving in England in 1940, he covered virtually all European theatres of World War II. To this day, the entire library of Dezo Hoffmann's wartime experiences is maintained by the Imperial War Museum in London. At the war's end he photographed more lighthearted show business images such as Charlie Chaplin, Marilyn Monroe, Frank Sinatra, Louis Armstrong, and Marlene Dietrich.

Hoffmann joined the Record Mirror, a weekly music paper in 1955. Applying techniques from the battlefield, he captured the exploding world of rock music like no other photographer ever had, using only small format cameras and always only available light. At the urging of a young fan, he had the opportunity to first shoot The Beatles in 1962. Through this early session Dezo Hoffmann and The Beatles were to develop a deep, personal and professional relationship that would last throughout the years of "Beatlemania." The success arising from this unique relationship gave Dezo great access to many rising stars such as: The Rolling Stones, Jimi Hendrix, Eric Clapton and The Yardbirds, David Bowie, Rod Stewart.

Dezo's photographs of the Beatles are as much part of the visual vocabulary that we now think of as comprising the 20th Century as any other single photographic work of that time. Dezo Hoffmann took more pictures of The Beatles than any other photographer. Photos of the Beatles are hard to view as simply "images" of a certain aspect of our culture. They are an endless capture of a time that itself changed so fast that perhaps only the quick-witted shutter of a properly placed camera could catch it. Whether the image is of the Fab Four caught jumping in mid-air or a set of pensively postured Mount Rushmore-like heads about to release their opus Sergeant Pepper's album, Dezo Hoffman's photography did apprehend and create much more than a PR and pop phenomenon. He helped create an unforgettably shared moment of time within the very personal view that his eye had captured.

The book, "With the Beatles: The Historic Photographs of Dezo Hoffman," by Pearce Marchbank, captures the intimate pictorial biography of one of that world's greatest acts.

Beatles Dezo Hoffman. Early footage of Beatles photo shoot with music. - Part 1 of 2 (2.33 minutes)
youtube.com/watch?v=hwg1pFhjpwY

Beatles Dezo Hoffman. Second half of that famous photo shoot, with more FAB music - Part 2 of 2 (8.29 minutes)
youtube.com/watch?v=wgS2L1YBVaY

Beatles Dezo Hoffman Home Movies 1963. A silent version of the photo shoot movie above. (9.31 minutes)
youtube.com/watch?v=Hpfg0G5HZjw

Dezo Hoffman Home Movie, An interview with Dezo Hoffman about the photo shoot. (2.42 minutes)
youtube.com/watch?v=0Z-CU1_lFqg

Beatles 1963 Dezo Hoffman Home Movie (1.58 minutes)
youtube.com/watch?v=kb-gf3Iniwk

images.search.yahoo.com/images/view?back=http%3A%2F%2Fimages.search.yahoo.com%2Fsearch%2Fimages%3Fp%3Ddezo%2Bhoffman%26y%3DSearch%26fr%3Dmoz2%26ei%3Dutf-8%26js%3D1%26x%3Dwrt&w=110&h=132&imgurl=www.webenetics.com%2Fhungary%2Fimages%2Fhoffman_dezso.jpg&rurl=http%3A%2F%2Fwww.webenetics.com%2Fhungary%2Ffilmartsandmedia.htm&size=6.9kB&name=hoffman_dezso.jpg&p=dezo%20hoffman&type=JPG&oid=9d284d82f492ca34&no=14&tt=20

[christine~]

Am I missing something?

What's the connection between Bernard Lee and Brian Epstein, other than they both attended RADA, two decades apart?

I don't think they knew each other... did they?

[yerblues1968]

Yes, Eppylover, they indeed knew each other. In fact, Bernard Lee is considered one of the senior (Jewish) colleagues in Brian's life. Bernard falls in the same category as Nat Weiss (his very close friend), Dick James, Vic Lewis, Dan Black. I tried to find more information about Vic Lewis and Dan Black but could not find much public records available (or have not looked in the right places), or I would have posted a profile about them, other than that they were some of Brian's associates. Other than Vic Lewis being Managing Director of Brian's other company, NEMS Enterprises, I did not see much about his background. Dan Black still poses a mystery to me.

Bernard Lee has been listed as one of Brian's associates (or senior colleague as the others mentioned). You may read more about Brian's associates in Ray Coleman's book, "The Man Who Made The Beatles," (1989) page 345. There is not much to say, but he is listed.

Incidentally, the English lyricist Don Black (born Gerald Blackstone) helped create many of the James Bond theme songs. He, too, was a friend of Brian. It is interesting to note that Bernard Lee was cast in many of the James Bond movies. In fact, eleven of the James Bond movies. It would not surprise me, because of this connection, that Bernard Lee was included in Brian's circle of friends.

[yerblues1968]

Allan Williams

Allan Williams has already been suggested to be cast in the Fifth Beatle movie by Eppylover. I am adding some information on his background.


Allan Williams
The Beatles First Manager. In this photograph is Allan Williams on the left (standing). Paul McCartney is in the middle sitting down. To the right are his band mates, George Harrison and Pete Best.

Allan Williams is a former Liverpool businessman and promoter of Welsh descent. He was the original manager (more precisely, booking agent) of The Beatles. He personally took the young band to Hamburg, Germany, where they gained the vital show business experience that led to their emergence on the world stage.

In 1957 Williams leased a former watch-repair shop at 21 Slater Street, Liverpool, which he converted into a coffee bar. He named the venue the Jacaranda, after an exotic species of ornamental flowering tree, jacaranda mimosifolia. The Jac (as it became known) opened in September 1958.

Allan Williams first met John Lennon and Stuart Sutcliffe in 1959. The Beatles were frequent customers, with John Lennon and Stuart Sutcliffe attending Liverpool Art College nearby, and Paul McCartney at Liverpool Institute adjacent to the college. The lads often frequented the Jacaranda Club in Slater Street, which was then owned by Williams. In addition to the coffee club, Allan worked as a promoter with acts such as Gene Vincent who he'd recently staged at the Liverpool Stadium. It was Stuart who approached him about the band, which at this time involved John, Paul and George. Before he could do anything, Williams told them they needed a drummer.

Brian Casser of Cass & the Cassanovas put the group in contact with Tommy Moore, who joined the group for a short time. Allan then agreed to find them bookings and also set up an audition for Larry Barnes who was after a backing band for Billy Fury. They were successful and spent May 1960 touring Scotland, returning to bookings for the Jacaranda and Grosvenor Ballroom in Wallasey.

It was Allan Williams who took the important decision to send the band to Hamburg, which he arranged with Bruno Koschmider. He was also opening a new nightclub, known as the Blue Angel, plus the Top Ten Club (Liverpool) in Soho Street, Liverpool, where he wanted The Beatles to become resident band. Devastation struck when the Top Ten venue was gutted by a fire. In addition to the financial burden, Allan had also hired Bob Wooler to compare the club.

The Beatles were due to return from Hamburg and Allan was keen for more bookings so asked Bob to help. He arranged with Brian Kelly for the band to appear at Litherland Town Hall - which turned out to be the catalyst for local support but also the beginning of the end of Williams' involvement with The Beatles.

The relationship between Allan and the band broke down while they were still playing in Hamburg during 1961. A mix-up with funds and payment of commission resulted in Williams telling the group they would never work again.

In 1962, before Brian Epstein became the band's manager, he contacted Williams to make sure there were no remaining contractual ties. There were none, but Williams told Epstein "Don't touch them with a bargepole; they will let you down," as he related later.

Years later, Williams and the Beatles spoke fondly of one another, with Paul McCartney describing Williams in The Beatles Anthology as "a great guy." In the 1970s, Williams played a crucial role in producing the first Beatles conventions to be staged in Liverpool, and he is a perennial VIP guest at the city's annual Beatle Week Festivals. He published a memoir, "The Man who Gave the Beatles Away," in 1977, which John Lennon gave his endorsement. Recovering a tape of a latter-day Beatles show in Hamburg (performing on New Year's Eve of 1962-63), he saw the tape released (also in 1977) as "Live! at the Star-Club in Hamburg, Germany; 1962."

Williams carries on today speaking at Beatles conventions from Liverpool to Singapore. The Jacaranda reopened under new management in the mid-1990s, and continues to thrive as a Liverpool hot spot with occasional live music.

At this website is also a video clip of Allan Williams speaking about his experiences with The Beatles before he became their manager. Very informative short clip.
www.bbc.co.uk/liverpool/localhistory/journey/stars/beatles/memories/alan_williams.shtml

RARE AND UNSEEN: The Beatles Trailer 3 with Allan Williams interview. (1.42 minutes)
youtube.com/watch?v=_knEjEp6Reo

www.beatlesstory.com/wiki/ow.asp?AllanWilliams
en.wikipedia.org/wiki/Allan_Williams

[yerblues1968]

Maurice Kinn, owner (June 2, 1924 - August 3, 2000)
publisher and promoter
New Musical Express (NME) Magazine
Bernice Kinn, wife



He rescued an ailing music newspaper and turned it into the world's foremost publication in its field.

Brian had struck up a particularly warm rapport in London with Bernice Kinn, wife of the owner of the New Musical Express. An ebullient, intuitive Jew, she and her husband Maurice formed part of the core of London’s 1960s show business hosts and party goers, notes Ray Coleman.

The son of an immigrant furrier, he was born in Poplar and educated at the now defunct Kent Coast College. He became a teaboy on the Irish Times in Fleet Street and sports reporter on the local Watford newspaper, but left at the age of 22 to manage several bands, including those of Joe Loss and Cyril Stapleton. His inborn sense of honesty gave him a dislike for his fellow agents, and he folded that business to become a concert promoter, which he did with great success right up to the time he bought the New Musical Express.

The paper's first issue was published on 7 March 1952 after the "Musical Express and Accordion Weekly" was bought by London music promoter Maurice Kinn, and relaunched as the "New Musical Express." It was initially published in a non-glossy tabloid format on standard newsprint. On 14 November 1952, taking its cue from the U.S. magazine Billboard, it created the first UK Singles Chart. The first of these was, in contrast to more recent charts, a top twelve sourced by the magazine itself from sales in regional stores around the UK. The first number one was "Here In My Heart" by Al Martino.

Kinn was one of the most influential figures on the international music scene from the mid-1950s, when he staged the first all-star jazz concerts at the Royal Albert Hall.

As the paper's publisher, Maurice Kinn won the respect of such American stars as Frank Sinatra, Sammy Davis Jnr and Elvis Presley. He also won gratitude from the British groups which were starting out in the early 1960s, including the Beatles and the Rolling Stones, whose success soared alongside the NME's circulation.

In the 1950s he had helped a flagging Sinatra to revive his career by writing an emotional article for his paper, and after that Maurice and his wife Berenice were feted by the star every time they found themselves in the same city. Sinatra flew the Kinns to Las Vegas for his come-back opening there and thanked him from the stage for his help "at a low point in my life". Sammy Davis gave his first British performance in the Kinns' West End flat only hours before he was due to take part in a Royal Variety Show, before a select audience of the publisher's close friends including Vera Lynn, Anthony Newley, Dickie Valentine and Alma Cogan.

But one of Maurice Kinn's most treasured accolades was a long letter written to him by the then prime minister, John Major, recounting how much a fan he was, having bought the NME every week during his teenage years "to discover the ins and outs of what was going on with the stars and where I could catch their concerts if I had enough money". Film producer Michael Winner and Oscar-winning songwriter Don Black were among those who started their careers under Kinn's direction at the NME.

During the 1960s the paper championed the new British groups emerging at the time. The Beatles and The Rolling Stones were frequently featured on the front cover. These and other artists also appeared at the NME Poll Winners Concert, an awards event that featured artists voted as most popular by the papers readers. The concert also featured an awards ceremony where the poll winners would collect their awards. The NME Poll Winners Concerts took place between 1963 and 1966. They were filmed, edited and then transmitted on British television a few weeks after they had taken place.

The latter part of the 1960s saw the paper chart the rise of psychedelia and the continued dominance of British groups of the time. During this period some sections of pop music began to be designated as Rock. The paper became engaged in a sometimes tense rivalry with its fellow weekly music paper Melody Maker, however NME sales were healthy with the paper selling as many as 200,000 issues per week which made it one of the UK's biggest sellers.

Although he wrote it under the pseudonym Alley Cat, Maurice Kinn was feared as much as he was respected for his biting wit in Tailpieces, the NME's gossip column. Kinn and John Lennon had almost come to blows during the 1964 Pollwinners Concert. This was the annual NME jamboree in which Britain's top music acts took part each year at the Empire Pool, Wembley. Lennon tried to insist on the Beatles closing the show, but for security reasons Kinn wanted to whisk the group away before 16,000 Beatles fans got out. Thus the Rolling Stones were the last act on.

After selling the NME in 1963, Maurice stayed on to run the paper for IPC for a further decade. Finally, he quit to open a Mayfair flower shop, not a business he loved but one he worked hard to try and build. When an order came through one evening from the singer Marty Wilde to deliver a bouquet to his fan club secretary, Maurice was the only one left in the shop. In his Rolls-Royce limousine, he took the flowers to an address in north London where he was told to wait on the doorstep until the unsuspecting fan club secretary returned with a 50 pence tip. When the florist's closed he staged huge rock concerts for the Daily Mirror for a time.

Later he organised men-only dinners for the show business, soccer and cricket hierarchy, which attracted the likes of Max Bygraves, Bertie Mee, Sir Jimmy Savile, Jarvis Astaire and Michael Grade. These became known as "Maurice's candlelit suppers".

www.guardian.co.uk/print/0,,4049797-103684,00.html

en.wikipedia.org/wiki/NME

pp. 245 - 246, "The Man Who Made The Beatles." - Ray Coleman.

[Emily]

Personally I'd like to see Nat Weiss in the films. It seems that he was important to Brian--one of his very few close friends.

[yerblues1968]

Ed Rudy
American Reporter

Many people have tried to assert their claim over the illustrious 'fifth Beatle' title—George Martin, Neil Aspinall, Yoko Ono and even Apu from The Simpsons (in the "Lisa the Vegetarian" episode)—but only a few have had an "original" Beatle confirm it. Or at least say it, as all of the Beatles did for promo purposes on The Beatles American Tour with Ed Rudy and The Beatles New US Tour with Ed Rudy albums. Ed Rudy was well know in the radio business and working for Radio Pulsebeat News and INS Radio News when he was asked to cover the Beatles' first American tour for over 440 stations around the country. He was with them for the whole tour, from Kennedy Airport on Feb. 7, 1964, to Washington, D.C., Carnegie Hall, Miami, the Plaza Hotel, the after hour parties, and right through the throngs of clothes-ripping fans.

After the tour, "The Beatles American Tour with Ed Rudy," originally a broadcast documentary, was released. A second interview album, "The Beatles New US Tour With Ed Rudy," was released after the second Beatles American Tour later that year. The radio documentary included audio of the Beatles, Ed Sullivan, Mal Evans, Neil Aspinall and many late teen and early 20-something fans. Ed was young and working as a salesman for a cigarette company when he got his first taste for the world of broadcasting. He had an opportunity to do a commercial for a national radio show, and decided to give it a try. From then on out, he aimed to get into the business.

Ed Rudy's early work included “The Milkman” on “The Milkman's Matinee” before moving on to “Slim the Mailman” on Big Joe’s Happiness Exchange. As the host of the Pom Pom Café's show, “Ed Rudy at the Celebrity Table,” he had his first initial brushes with celebrity. As the host of the Pom Pom Cafe's show, "Ed Rudy at the Celebrity Table", he interviewed many luminaries of film, stage, screen, and politics.

"From broadcasting I got into doing news. I was an announcer and a disc jockey. I also had a syndicated show business column called the Ed Rudy Spotlight with Show Business newspaper. I was writing the column, working in radio and producing records when I was asked to cover the Beatles," said Ed in a recent interview with Beatles Number 9.

Though he didn't really know much about the Beatles prior to meeting them, he did enjoy rock and roll. "I produced quite a number of rock and roll records and hits. I did "Rocking in the Jungle" and "Babalu's Wedding Day" by the Eternals and "Who's That Knocking?" and "No More Knocking" by The Genies. I was very much into rock and roll," said Ed.

Some of his other hits include "Pretty Girl" and "Please Come Back" by the V-8s, "I'll Be Around" and "Love You, Pretty Baby" by Scott Murray and his Orchestra, and "Liverpool is Cool" and "Mary Lou" by the Liverpool Lads. Ed was first introduced to Brian Epstein by a record promotions man. "One day *Budd (Hellawell, see below) asked me to go with him to meet the manager of a 'really hot' new English recording group. We went over to a hotel on Park Avenue and he introduced me to Brian Epstein. That was in 1963 and Brian told us he had a group that was coming to this country called the Beatles. But I didn't pay too much attention to it at the time because I hadn't heard of them. He said they were going to be great. They were already a big success in England," recalled Ed.

Stations from all over the U.S. started contacting the news agency Ed worked for to request coverage of the Beatles first American tour. "So we sent out an audio billboard to the stations and 440 stations signed up for it." Since Ed was not familiar with the Beatles, for him, his assignment "was just a job." He became very impressed with them, however, as time went on. "I wasn't really familiar with them or their music, so I was rather surprised when I went to the airport to meet them and saw the number of young people waiting for them to arrive. Apparently they were better known then I had realized," said Ed.

Ed traveled with them on their first and second tours, and was the only American reporter to complete both trips in their entirety. "So, certainly I became familiar with their music and we became quite friendly. They were all very friendly and very, very clever. Mostly John, of course, but all of them were very clever young men," Ed told Beatlesnumber. "And they pretty much fit into the molds that people gave them. John was, of course, the clever Beatle; he was absolutely the leader. Paul was the pretty Beatle, and he is a very, very handsome guy. George was kind of quiet and Ringo was the different Beatle. He was on his own to a great degree."

Ed went everywhere them, which meant he was also mobbed by people.

"It was an amazing experience being mobbed by kids wherever you went. It got to a point where I was mobbed even when the Beatles weren't with me because they knew who I was. We would also interview the kids, and include it in the Beatles coverage. We would ask them what they enjoyed about the Beatles, what they thought of their music. The mobbing was annoying though. I tried to resist reacting to it," said Ed. He also recalled another particularly interesting, and rather surreal, moment from his own personal glimpses into Beatlemania.

"I remember riding along with them in Miami. I was given a big station wagon by the news service, and I had the Beatles and another fellow who worked for the news service in the car. As we drove along, we turned on the radio—and of course, all you heard were Beatles songs—and they would sing along with them. That gives me a kick even today," recalled Ed.

The response was much more than the Beatles ever expected. "Beatlemania was a very, very unusual occurrence. Nothing like it had ever happened before in the history of the world. When the Beatles came here they changed the way people think of musical artists. They were just phenomenal, and the reaction to them was just phenomenal," Ed remembered.

The Beatles were a bit taken back by the attention. "I can still recall John saying that he was only Johnny Lennon from Liverpool. That it couldn't really last, but of course it did. They all said similar things, really. It was an amazing experience for all of them. And it would be for anybody—all of sudden, they were the most famous people in the world," said Ed. And Ed was backstage for it all.

Though Ed has had occasional contact with each of the Beatles throughout the years, it was John he saw most regularly. "I lived in New York City and the only Beatle that lived in New York City was John. I was in contact with John on a regular basis until he died," said Ed.

Ed has enjoyed a long career in the news and broadcasting business. "I wanted to try everything I could. The only thing I haven't done in broadcasting is sportscasting, and I really don't want to do that. Most anything that you can do in broadcasting, I've done."

Most recently, Ed put his booming radio voice to good use as the officiator at his granddaughter-producer Samantha Storr's wedding to actor Brad O'Connor last June 25. Ed Rudy received special permission to conduct the ceremony and hundreds of friends, relatives and well wishers were in attendance, including Brad's "The Naked Brothers Band" co-star Uma Thurman.

beatlesnumber9.com/edrudy.html

[Alan Swerdlow]

The photo by the piece on my photos of the Beatles is not of me but of another Alan Swerdlow - i think a South African producer



__________________________________________________


eppylover says:

Apparently yerblues1968, the person who originally made the post, removed the erroneous photo shortly after he read your correction here.

Thank you so much for commenting in our forum, Mr Swerdlow.
I feel honored.

[Bill Harry]

Alan swerdlow was an immensely talented designer at Liverpool College of Art and Brian had him design a special invitation card and advert in Mersey Beat promoting a Beatles Fan Club Night at the Cavern, utilising an Albert Marrion photo.
Alan was also on the Students Union Committee, along with Rod Murray and Rod Jones when Stuart Sutcliffe and I proposed and seconded a motion to use students union funds to buy a pa. system which John's band could use (this was 1959 before they called themselves the Beatles). Unfortunately, the band took the eqipiment and never returned for it which I believe was why Stuart was rejected for the ATD (Art Teacher's Diploma) course.
When he took over their management Brian contacted Fred O'Brien of the students union to say that for old times sake the Beatles would like to play at a students dance again for the nominal sum of £5. Fred rejected the offer because the p.a. system hadn't been returned.

[christine~]

From
my LJ post of 28 September 2005:


Jewish role in Mersey history told on film
ic Liverpool - Southport,England,UK

... There were people like: Brian Epstein, manager of the Beatles who steered the famous foursome to world wide fame before dying tragically. ...

Excerpt from article:

From this research he has produced a DVD that will be given its premiere in Liverpool before being distributed around the rest of the country and the world, just in time for Jewish New Year on October 4 (2005).

Mr Swerdlow said last night: "Jewish people have made a massive contribution to Liverpool, but often they are the unsung heroes. My DVD started off a lot shorter but has grown to about an hour, and the number of stories it tells surprised even me."

In the documentary Mr Swerdlow speaks to local people, many of them Jewish.
He was particularly interested in famous Liverpudlian Jewish people such as, Brian Epstein, David Lewis Levy and and Prof Sir Henry Cohen.

Council leader, Cllr Mike Storey, said: "Liverpool has always been a melting pot of cultures, the world in one city, as we said when we were bidding for the title of European Capital of Culture. To document a particular strand like this is sure to unearth some fascinating stories."

Michael Swerdlow makes commercial films for a living, but has taken time out to complete the project as a ' labour of love'.
©Trinity Mirror Plc 2005

The name "Swerdlow" sounded very familiar!

Consequently, a text search on my computer's "My Documents" folder revealed a few lines in a Notepad file:

213 The Colonnades ...Phone: [phone] Albert Dock ................Fax:[phone] Liverpool ....................Email: [e-mail] L3 4AB ......................Mobile: [phone] UK © 2003 Michael Swerdlow Video Production

One of those who benefited from Urban Splash's early developments was Robert Swerdlow, Michael's son.

Robert had started working at MKE just before it closed, but what he really wanted to do was to go into the music business, having been close friends with Henry Epstein, the nephew of Brian Epstein, who, in turn, had been a friend of Robert's Uncle Alan:

"I was always around their house and grew up thinking there was nothing unusual about seeing gold discs on the wall with Help! printed on them."

Robert heard on the grapevine that there was a new place where you could rent an office for £25 a week, set up shop, from where he discovered and managed a group called The La's, which later became Cast.

_____________

So I did the "math" on it all:

"Robert, Michael Swerdlow's son, having been close friends with Henry Epstein"

"Brian Epstein, who had been a friend of Robert's Uncle Alan Swerdlow"

Okay.
Alan was Brian's friend, and
Alan's nephew Robert was Henry's friend.
Okay.

Silly me. I'm collecting Brian's friends in my head, hahaa... so maybe someday I can sit and talk with some of them...

(heh, dream on, crabby old lady~like you deserve it or something)

eppylover.livejournal.com/96740.html#swerdlow

[syelar108]

Eppylover,
Did the Swerdlow DVD see a release date? You'd think that news of the upcoming film has gotten around, since these two Gentleman (Mr. Swerdlow & Mr. Harry) are giving us a look. ;D

[christine~]

Aug 2, 2009 19:29:34 GMT -5 syelar108 said:

Eppylover,
Did the Swerdlow DVD see a release date? You'd think that news of the upcoming film has gotten around, since these two Gentleman (Mr. Swerdlow & Mr. Harry) are giving us a look. ;D

The reference to Mr Swerdlow was found in my old computer archives from 2005.

The DVD was apparently supposed to be a thing on the Jewish presence in Liverpool, and probably kind of a locally-distributed thing, from what I understood. I doubt if it contained much Epstein family content ~ could be none at all. I have no idea what happened with it, or if it is totally out of distribution now.

Yes, it is flattering to have Mr Harry and Mr Swerdlow peek in on us. Makes me wonder who else that important might have heard of this forum.

Then, that makes me turn around and wonder what they think of me, if they indeed have paid any attention to my blatherings... sometimes I hate my tactlessness (usually in rabid fierce defense of Brian) ~ but hell, I am who I am and do not know how to be any other way.

Strange how I can have such great admiration for the aforementioned men and others such as Rex Makin, etc etc ~ yet when I complain about certain things, it might sound like I do not like them at all.

Even though I may have whined at times about other people, that snake Peter Brown is (off the top of my head) probably the only one in whom I cannot find any redeeming qualities.

Anyhow, I do know that several Eppy contemporaries are (or were) in touch with Vivek, in connection with our movie (pretentious old bat that I am, saying "our" movie... LOL). The ones that were actually mentioned in the press so far were Nat Weiss and Joanne Newfield Petersen ~ so, I feel comfortable in mentioning them here at least. Also, it's pretty well-known that The Fifth Beatle movie has the stamp of approval from the Epstein family (via Henry) ~ so we can assume Vivek is, or was, in touch with him, too.

Otherwise, I get the feeling that they feel they should not divulge any other directly-contacted Brian connections at this point.

Which is as it should be.


*eppylover out*

[David Green]

Since you guys are talking about 60's music - you gotta see this very cool series on Herman's Hermits and some other top groups of the 60's -

---

NOTE:
I received a complaint on David Green's comment, above. I have removed the link which was included.

Since it was obviously posted solely for the purpose of directing readers to click to a site selling DVD's, this was not an appropriate use of our forum, and other comments such as this will be simply deleted in the future without warning.

Thank you for your cooperation.

~christine, Administrator

[Sara]

This may be incredibly odd, but I'd like to see Corey Taylor of Slipknot do a turn as "Dizz" Gillespie. I think he could easily pull off the whole idea of charming-yet-shady. I don't recall offhand if Gillespie was British or American, though, which would be the only downside since I have no idea if Taylor could pull off a British accent. He can act, though, from what I've seen, though he's not been in any movies before.