Eartha Kitt performs "I Want To Be Evil" - 1962
15 years ago
Beatles Posters at The Chester Antiques Show
A collection of 1960s original movie posters will be attracting Beatles fans from across the region when they go on sale at The Chester Antiques & Fine Art Show at The County Grandstand, Chester Racecourse, Chester, England, from 15 - 18 October 2009.
Specialist movie poster dealers Quadbod from Birmingham will be showing three rare original posters for the Beatles' movies 'A Hard Day's Night' (1964), 'Help' (1965) and 'Yellow Submarine' (1968). These are full sized posters at 81ins x 41ins and will be priced at £850 each.
Terry Pearson from Quadbod explains, "Interest in Beatles memorabilia has always been high and specially so this year with the re-release of their CDs. Authentic 60s Beatles posters are now very rare, and to find three in such good condition is a revelation. They are very decorative and, course, enormously collectable."
The posters will feature among a range of movie posters, showcards and other memorabilia from Quadbod who are exhibiting at The Chester Antiques & Fine Art Show together with fifty art and antiques dealers from across the country. They will also be showing a rare poster from the famous British movie, The Blue Lamp, (1949) which starred Jack Warner, priced at £750.
The Chester Antiques & Fine Art Show features dealers from across the country offering for sale a wide range of antiques, works of art and objets d'art with prices from less than £500 to more than £20,000. It is widely regarded as the premier event for antiques collectors in the northwest.
The Chester Antiques & Fine Art Show
The County Grandstand, Chester Racecourse, Chester, England
15 - 18 October 2009
Times
Thursday 15 October 10.30am-6pm / Friday 16 October 10.30am-6pm
Saturday 17 October 10.30am-6pm / Sunday 18 October 10.30am-5pm
Admission: £5.00.
Specialist movie poster dealers Quadbod from Birmingham will be showing three rare original posters for the Beatles' movies 'A Hard Day's Night' (1964), 'Help' (1965) and 'Yellow Submarine' (1968). These are full sized posters at 81ins x 41ins and will be priced at £850 each.
Terry Pearson from Quadbod explains, "Interest in Beatles memorabilia has always been high and specially so this year with the re-release of their CDs. Authentic 60s Beatles posters are now very rare, and to find three in such good condition is a revelation. They are very decorative and, course, enormously collectable."
The posters will feature among a range of movie posters, showcards and other memorabilia from Quadbod who are exhibiting at The Chester Antiques & Fine Art Show together with fifty art and antiques dealers from across the country. They will also be showing a rare poster from the famous British movie, The Blue Lamp, (1949) which starred Jack Warner, priced at £750.
The Chester Antiques & Fine Art Show features dealers from across the country offering for sale a wide range of antiques, works of art and objets d'art with prices from less than £500 to more than £20,000. It is widely regarded as the premier event for antiques collectors in the northwest.
The Chester Antiques & Fine Art Show
The County Grandstand, Chester Racecourse, Chester, England
15 - 18 October 2009
Times
Thursday 15 October 10.30am-6pm / Friday 16 October 10.30am-6pm
Saturday 17 October 10.30am-6pm / Sunday 18 October 10.30am-5pm
Admission: £5.00.
Beatles remastered Global chart
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The latest global CD chart for the week of Oct. 17 from Mediatraffic shows:The highest ranking album for the week ending Oct. 17 is "Abbey Road" at #13, down from #9 last week. Then comes "The Beatles (White Album)" (#15, from #13), "Sgt. Pepper's Lonely Hearts Club Band" (#16, from #11), "Rubber Soul" (going up to #18, from #19 last week), "Revolver" (also advancing, from #20 to #19), "Past Masters" (#22, up from #28), "Magical Mystery Tour" (#25, from #32), "Help!" (#27, from #30), "A Hard Day's Night" (#28, from #33), "Let It Be" (#29, from #31), "Please Please Me" (#31, from #35), "With the Beatles" (#33, from #39), "Beatles For Sale" (#34, from #40) and "Yellow Submarine" (back on the chart at #40, after missing a week last week.)
On the U.S. Billboard Catalog Album chart, "Abbey Road" leads the pack at #2 (under Michael Jackson's "Number Ones"), while Hits Daily Double's Budding Album Release chart shows "Abbey Road" the highest ranking album at #26, down from #16 last week. The latest Official UK Charts Company chart (from 10/10) showed "Sgt. Pepper" highest ranking at #52.
Beatles Talkin' 1963 - 1
RINGO 1963(on his musical beginnings)
Q: "Ringo, it's been suggested that boys coming from the particular area that you've come from, if you'd hadn't found an interest in music, might have found it much more difficult to get out and make a go of life. Would you comment on this?"
RINGO: "I think it's true, you know. I mean, when I was sixteen I used to walk along the road with the rest of the lads, and we'd have all our trade coats on. You know, we'd had a few knocks with other rival gangs, sort of thing. But then I got the drums, and the bloke nextdoor played a guitar. I got a job and we started playing together. And another bloke from work made a bass out of an old tea chest... you know them days. This was about '58, mind you. And we played together, and then we started playing on dances and things, you know, and we took an interest in it. Then we stopped going, you know, out to sort of hanging around corners every night."
PAUL 1963
(on The Beatles' career before their recent fame)
Q: "You were very much younger when this enormous success started, and you're riding the summit of it now. Do you see it as interfering with the flow of your life?"
PAUL: "I don't really know what you mean by 'very much younger.' It was only a year ago."
Q: "But you've been working since '58, haven't you?"
PAUL: "Well, yeah... not working, you know. I mean, strictly speaking we've been out of work since '58 and we've been doing this as a hobby. 'Cuz we've only been doing it as semi-pros. I left school and went right into it. And we were only sort of picking up a few quid a week, you know. It really wasn't work. I think the main thing is now that, as we've got ourselves a bit of security... we don't really have to worry, at the moment anyway, what we're gonna do after it. So we don't."
JOHN 1963
(regarding the beginnings of The Beatles)
JOHN: "We started and finished several groups until we got one together that had the beginnings of a new sound. By then George had joined us. We began to do well as semi-pros. Then one day our big break came with an offer to appear at The Star Club in Hamburg. This is a kind of super-Cavern, where just about everyone who is anyone on the Liverpool scene has played at some time or another."
PAUL 1963(regarding their Hamburg tours)
PAUL: "Back home in Liverpool we'd only ever done hour-long shows, so we just did our best numbers over and over again. But in Hamburg we had to play for eight hours, so we really had to find a new way of playing. We played very loud in Hamburg... bang, bang all the time. The Germans loved it. The first time it was pretty rough. One night, we accidentally singed a bit of cord on an old stone wall in the corridor, and the owner of the place had the police on us. He'd told them that we tried to burn his place down, so they said, 'Leave please.' Funny really, because we couldn't have burnt the place if we had gallons of petrol... It was made of stone."
RINGO 1963
(regarding his earliest days with The Beatles)
RINGO: "The Beatles drummer was sick, so they asked me if I would sit in, you know, just for the day... just until he got better. I did that, and then I went off with another group when they got him back. Then he was sick again. So everytime he was sick they used to come and ask me to sit in. I loved it, you know, because they were a much better group than the one I was with."
JOHN AND RINGO 1963
(regarding the Beatle haircut)
Q: "Is the haircut an act by accident or design?"
JOHN: "Accident."
Q: "You didn't have time to get your hair cut in the first place?"
JOHN: "No, it just happened, you know. Ringo's was by design because he joined later."
RINGO: "Yeah, I designed it."
(laughter)
GEORGE 1963(on Hamburg)
GEORGE: "We'd been to Hamburg. I think that's where we found our style... we developed our style because of this fella. He used to say, 'You've got to make a show for the people.' And he used to come up every night, shouting 'Mach schau! Mach schau!' So we used to mach schau, and John used to dance around like a gorilla, and we'd all, you know, knock our heads together and things like that. Anyway, we got back to Liverpool and all the groups there were doing 'Shadows' type of stuff. And we came back with leather jackets and jeans and funny hair, maching schau... which went down quite well."
JOHN 1963
(regarding the effect Brian Epstein had on their stage show)
JOHN: "We wore leather jackets in Hamburg... and we'd always worn jeans because we didn't have anything else at the time. Then when we went back to Liverpool, they all thought we were German because we were billed as: From Hamburg. They all said, 'You speak good English.' (smiles) And we just kept on with the leather gear until Brian came along."
PAUL 1963
(about the group's name)
Q: "Paul, where did the name Beatles originate?"
PAUL: "John thought of it first of all. Just as a name; just for a group, you know. We just didn't have any name. Well, oh yeah; we did have a name, but we had about ten of 'em a week, you know... and we didn't like this idea so we had to settle on one particular name. And John came up with the name Beatles one night. And he sort of explained how it was spelled with an 'E-A,' and we said, 'Oh yes, it's a joke.'"
JOHN 1963(regarding 'Love Me Do' on the British charts)
JOHN: "It came to the charts in two days. And everybody thought it was a 'fiddle' because our manager's stores send in these... what is it... record returns. And everybody down south thought, 'Aha! He's just fiddling the charts.' But he wasn't."
PAUL 1963
(on left-handedness)
PAUL: "The only thing I couldn't cure myself of was being left-handed. I do everything with my left hand, and no matter how I try I can't change the habit. I just seem to do everything back to front. I used to even write backwards. Every time the schoolmasters would look at my handwriting they would throw swinging fits."
JOHN, PAUL, AND GEORGE 1963
(on how long The Beatles' recent fame might last)
JOHN: "How long are you going to last? ...well you can't really say, you know. You can be big headed and say, 'Yea we're gonna last ten years,' but as soon as you've said that you think, 'We're lucky if we last three months,' you know."
PAUL: "We've thought about it, and probably the thing that John and I will do will be to write songs... as we have been doing as a sort of sideline now. We'll probably develop that a bit more."
GEORGE: "I hope to have enough money to go into a business of my own by the time we do... ummm... flop. I mean, we don't know. It may be next week, it may be two or three years."
GEORGE 1963
(regarding the Liverpool sound)
Q: "George, what is the status of rock & roll in England today? Is that what you call your music?"
GEORGE: "No, not really. We don't like to call it anything. The critics and the people who write about it have to call it something... and they didn't want to say it was rock & roll because rock was supposed to have gone out about five years ago. They decided it wasn't really rhythm and blues, so they called it the Liverpool sound... which is stupid, really. As far as we are concerned it's the same as the rock from five years ago."
Q: "Can you describe the Liverpool sound?"
GEORGE: "It's more like old rock... but everything's just a bit louder. There's more bass and drums, and everybody sort of sings loud and shouts."
PAUL 1963
(on what comes after Beatle success)
Q: "None of you are really concerned with going on in this field as a profession?"
PAUL: "Yeah, of course we are. I think all of us really, if it suddenly flopped, then we would do something in this profession. But what we mean... like the conventional answer is, 'I'd like to do ballads and films and straight-acting,' which is so corny. Because half the people who say that can't act or ballad or film. So, umm, we probably wouldn't want to do that unless we thought we could do it. We're having a bash at a film next year, and if we find that any of us can act, say, one out of us may become actors. But we haven't got any great hopes of being actors at the moment."
Beatles Magazines 1963-64
The Beatles By Royal Command - Published by A Daily Mirror (U.K.) 1963.
Beatle Hairdos & Setting Patterns Magazine , Published by Dell Publishing Co., Inc. NY in 1964.
The Beatles Are Back Magazine, Published by Macfadden-Bartell Corporation in 1964.
The Beatles Are Here Magazine, Published by Macfadden-Bartell Corporation in 1964.
Beatle Mania - The Authentic Photos Magazine, Published by SMP Publishing Ltd. in 1964.
The Beatles 'Round The World No. 1 Winter 1964 Magazine, by Acme News Co. INC. in 1964. 
The Beatles Talk! Published by Deidre Publications in 1964.
Dave Clark Five Vs. The Beatles Magazine published by Tempest Publications Inc. in 1964.
The Beatles Meet the Dave Clark Five Magazine published by Kahn Communications Corporation in 1964.
The Beatles Fun Kit Magazine. Published in 1964 by Deidre Pub.
The Original Beatles Book - Two, Published by Peterson Publishing Company in 1964.
Teen Talk Magazine: Beatles on cover - May/June 1964.
Motion Picture Magazine: Beatles on cover - July 1964 - Published by Macfadden-Bartell Corporation, New York.
Beatles' Era - Candy
Candy (1968)
Directed by Christian Marquand
Theme song performed by The Byrds "Child of The Universe"
Beatles' Era - Candy Trailer
Trailer for the 1968 big screen adaptation of Terry Southern's classic book. Features Marlon Brando, Richard Burton, Walter Matthau, Ringo Starr, Charles Aznavour, James Coburn, John Huston and Ewa Aulin.
Ringo no longer signs...
On October 13, 2008, in this short video, Ringo declares he will no longer sign any autographs dated after October 20, just one week after this announcement, and all future fan mail will be trashed, unread. This was in direct response to an inordinate amount of items which have recently appeared for sale on e-bay, and to those that repeatedly send cards and items to be signed.
This message was not aimed at "real fans" and after over 45 yrs of signing we know they will understand. Ringo has always signed items and is in fact the only Beatle to have been doing so.
Ringo also feels strongly that it is a waste of paper and we all should be mindful of our carbon footprint. At the end of the day Ringo wanted to make a message that was clear and to the point and is confident his real fans understand that.
The Beatles: A Hairy Story
by Bill Harry, Beatles' friend and founder of Mersey Beat
Moptops? What do you mean!
I never noticed anything particular about John, George, Paul, Pete or Stuart's hairstyles in the early days -- apart from the fact that initially some of them sported the traditional Tony Curtis style that was popular in Liverpool in the late fifties. It was a style referred to as a d.a. (duck's arse, because of the way the hair curled at the rear).
I had mine done at Max the Mad Russian's, near the Majestic Cinema in town.
Nor did I notice anything specific about their hair when they returned back from Germany. Looking at the photos of the time, taken by Astrid and by Mersey Beat photographers, I couldn't see anything that was radically different from the style most Liverpool youngsters and group members sported.
Then, when Brian Epstein took them over, I noticed that not only did he spruce them up in mohair suits made by his tailor Beno Dorn in Birkenhead, but he took them to Horne Brothers at the corner of Lord Street and had lots of publicity photographs taken of them enjoying a new coiffeur by the unknown barber there. I say unknown, because no one these days could quote the name of the barber who gave them the style, on the instruction of Brian Epstein, when he took them to the fashionable barbers in April 1963. Dezo Hoffmann photographed them having their hair cut and was to comment, "The hairdresser was a friend of theirs who liked Astrid Kirchherr's idea of longer hair for the Beatles. He would groom and discipline their hair for them every week."
Despite Brian and his Horne Brothers publicity pictures to herald a new Beatles image (he took them to the Empire Theatre to watch the Shadows, in their mohair suits, and pointed out how they bowed to the audience at the end of their act. John and Pete didn't like to abandon their leather gear, but they were outvoted. Once suited in mohair, with tidy shirts and tie, John again tried to rebel by unfastened the top button of his shirt when they went on stage, but Paul always stepped forward to fasten it again. Brian gave them neatly typed sheets instructing them not to swear or smoke on stage - paving the way for the Rolling Stones to adopt the image of 'the savage young Beatles', that Brian had carefully smoothed away), their hair style began to change initially in Hamburg.
The first steps were between the lovers, Astrid and Stuart. Millie Sutcliffe, Stu's mother said, "As for the haircut, it started when Stuart's hair was falling down and sticking out. One night Astrid had been moaning about his hair and then took him into the bathroom and cut it."
Hunter Davies, in his authorised biography, writes: "Stu turned up at the Top Ten that evening with his hair in the new style, and the others collapsed on the floor with hysteria. Halfway through he gave up and combed his hair high. But thanks to Astrid, he tried it again the next night. He was ridiculed again, but the night after, George turned up with the same style. Then Paul had a go, though for a long time he was always changing it back to the old style as John hadn't yet made up his mind. Pete Best ignored the whole craze. But the Beatle hair style had been born."
Although it's the 'authorised biography', this is inaccurate but, as writer Bob Spitz was to recall: "During an interview I did with Paul McCartney in 1997 for the New York Times, he confessed that almost half of the official Beatles bio -- done with Hunter Davies in 1967 -- was made up to spare girlfriends, wives, and family from some of the grittier side of the Beatles' legend. All of the nearly 1000 books on the Beatles were embroidered from that myth."
As a result of the implication that Pete ignored the style, many people over the years suggested that this is one of the reasons that he was kicked out, that he was uncooperative by not adopting the hair-style. Yet Astrid states that she never considered attempting to adapt Pete's hair in that style because she considered it too curly. When I discussed it with Pete he said that he was never asked to try out the new hairstyle -- and he would have done so if he had been asked.
Even Ray Coleman, in his book 'John Winston Lennon' writes, "Stuart, the first to have his hair cut and styled by Astrid faced John's scorn when, one night, he arrived at the club for work with what later became known as the Beatle haircut... Paul, always more conscious than the others about his appearance, was the next to ask Astrid to style his hair... John was the last Beatle to succumb to the Beatle cut. Only Pete Best declined, retaining his quaff and Teddy Boy aura that attracted the girls." As the last sentence about Pete indicates, writers speculate, they make assumptions, which I always think is a dangerous thing for writers to do. What evidence did he have that Pete declined? None, because Pete was never asked and would have tried the style if that was the wish of the other members.
But Ray's claim that Paul and John then followed by getting Astrid to style their hair is also wrong. John and Paul didn't have Astrid fashion their hair. They returned to Liverpool with the same hair style they'd left in.
When John received a sum of money from his aunt Elizabeth for his 21st birthday, he invited Paul to join him on a trip to Spain at the end of September 1961. They set off, but never got further than Paris, where they stayed for two weeks. They discovered that Jurgen Vollmer, a friend of theirs from Hamburg, was now living in Paris. They both decided that they wanted their hair fashioned in the way Jurgen had his hair, which was the way a lot of French youngsters had their hair styled.
He was to say "I gave both of them their first 'Beatle' haircut in my hotel room on the Left Bank" and later confirmed, "I gave them the haircut. It was their idea to have it the same as mine. They left Paris, and never brushed their hair back again. That's the real story of the haircut. Don't let anyone tell you different." And in an interview when George Harrison was asked how the Beatles haircut came about, he said, "I only brushed my hair forward after John and Paul came back from Paris."
In 'The Beatles Anthology,' John is quoted as saying, "Jurgen had a flattened down hair style with a fringe in the front, which we rather took to. We went over to his place and there and then he cut -- hacked would be a better word -- our hair into the same style."
While Paul confirmed, "He had his hair Mod style. We said, 'Would you do our hair like yours? We're on holiday -- what the hell!"
The hair style didn't raise any eyebrows on Merseyside, where it wasn't actually radically different from the hair style of the other local groups. Looking at photographs of the Beatles at the Cavern that I asked Dick Matthews to take for me I notice that John and Paul's hair was off their foreheads, while George's hair covered his forehead -- and John still had his sidies!
In their first interview for a major British publication, London's Evening Standard, journalist Maureen Cleave mentioned their 'weird' hair: "French styling, with the fringe brushed forwards." But it barely raised any attention in the British media.
However, it caused a sensation when the Beatles arrived in America in 1964. The affectionate term 'Moptops' was created and almost every comedian in the country cracked gags about their hair style. Hundreds of thousands of Beatles wigs were manufactured and it eventually led to the American youth growing their hair longer than had been previously acceptable for a young male.
Personally, I thought the wigs were more akin to the hair style of Mo Howard from the Three Stooges.
When the group first arrived in America photographers and journalists kept tugging their hair, asking them if they were wearing wigs.
Wigmania took off! New York radio station WMCA ran a competition for listeners to paint or draw someone in a Beatlewig -- either celebrity pictures clipped from newspapers or photos of friends. The most popular subjects were: Nikita Krushchev, Mayor Wagner, Alfred E. Newman (of Mad magazine), Brigitte Bardot and the Jolly Green Giant.
Capitol Records instructed all their staff to wear Beatle wigs during the working day until further notice and issued a memo: "Get these Beatle wigs around properly, and you'll find yourself helping to start the Beatle Hair-Do craze that should be sweeping the country soon."
On their arrival in February 1964, the New York Herald Tribune reported: "The Beatles' hairstyle is a mop effect that covers the forehead, some of the ears and most of the back of the neck.
During their first American press conference the group was asked questions such as 'Will you be getting a haircut?' and 'What's the greatest threat to your career -- dandruff or nuclear warfare?' Such questions continued throughout the press conferences during their autumn tour: 'What excuses do you have for your collar-length hair?' 'What do you do with your long hair in the shower?' 'Do you have any plans for a hair cut?' 'Does you hair require any special care?' and so on.
When Paul was asked 'Do you ever go unnoticed?' he replied, 'When we take off our wigs.'
A 60's joke picture: The Beatles "as we'd like to see them"
The American fervour about the hair style swept the world and in Sweden it was referred to as the 'Hamlet' cut and in Germany it was described as the 'mushroom.'So far I haven't found out who was the first person, or publication, to coin the phrase 'moptop.'
I was intrigued many years ago when I noticed a full page feature in a major British women's magazine which claimed that the Beatles hair style was based on a photograph of Agnes Flannery, mother of Joe Flannery, a Liverpool manager who was a close friend of Brian Epstein.
Joe claimed that when the Beatles visited him at his Aintree flat early in their career they noticed a picture of his mother when young. Apparently, John fell in love with it.
Joe says, "John picked up the photo, admired the hairstyle and said to Paul McCartney, 'That's the way I want my hair to look.'"
Joe continued, "Compare the photo of my mother and John Lennon and the hairstyles are remarkably similar. I have spoken on a number of occasions with Astrid and she has told me that she never ever said she created the hairstyle. In fact the group went to a barber's at Horne Brothers at the corner of Paradise Street and Lord Street."
Agnes said, "The picture that intrigued John was taken at a studio in Bold Street, Liverpool, when I was just sixteen, two years before I married... I'm sure many folk will be thrilled to learn the true story of how the Beatles came by their distinctive hairstyle which, incidentally, I'd created for myself by washing and trimming my own hair in that particular way."
Pull the other one! Virginia and I used to go to Joe's flat when the Beatles were there, but I can't give any credence to this story.
Beatles' Era - Girl on a Motorcycle (1968)
Jack Cardiff's classic 1968 film, starrying Alain Delon and Marianne Faithfull.
Newly-married Rebecca (Marianne Faithfull) leaves her husband's Alsatian bed on her prized motorbike--symbol of freedom and escape--to visit her lover (Alain Delon) in Heidelberg. En route she indulges in psychedelic reveries as she relives her changing relationship with the two men.
Based on the short story "La Motocyclette" by André Pieyre de Mandiargues.
Beatles' Era - Girl In Gold Boots (1968)
Opening credits to director Ted V. Mikels LA set Go-Go dancing crime thriller from 1968.
Don't Peel Your Butcher Covers!
Back in 1966 the album Yesterday And Today was conceived. The Beatles wanted to submit artwork from their Paperback Writer project for this Capitol Lp. According to the contract they had with Capitol Records, Capitol retained the rights to the U.S. cover designs but they insisted Capitol use the Butcher Cover design for this Lp. The one they submitted was the Butcher Cover. Capitol ran a limited number of this artwork and sent it out for evaluation. The reaction was objectionable and this artwork badly received.
The Beatles quickly had another photo taken (the steamer trunk photo seen at the top of this page) and this one was made into a "slick" and pasted over the Butcher Cover design, shrink wrapped and distributed to the retailers. When people found out about this they preceded to peel them off to see the Butcher cover underneath. Depending on the amount and location of the glue some were very successful in taking the trunk cover off in one piece but many were NOT successful and basically ruined the cover.
From then until now people are still fascinated by the Butcher and are still determined to peel off the covers. In this modern era where the glue has aged and hardened even further, it's strongly recommended that collector's have the peel job professionally performed. In fact, it's only recommended that they only peel them in the cases where the trunk cover has excessive wear. All nice paste-overs should be left alone in their pure state.
There was a limited pressing of this Butcher design with the paste-over covers. After 30 years of people pulling them off the numbers of original paste overs are seriously dwindling making the paste-overs more sought after then the peeled versions. For instance, a near-mint mono pasteover will bring around $700-$800 but one of equal quality that's been peeled off will bring you $600-$700. And as time goes by the pasted over versions will go up in price more quickly because of their scarcity.
If you want to see the butcher cover, find a photo of one or maybe buy an "previously peeled" Lp. Or if your paste-over cover jacket is trashed, go for it. Nothing to lose.
The Beatles quickly had another photo taken (the steamer trunk photo seen at the top of this page) and this one was made into a "slick" and pasted over the Butcher Cover design, shrink wrapped and distributed to the retailers. When people found out about this they preceded to peel them off to see the Butcher cover underneath. Depending on the amount and location of the glue some were very successful in taking the trunk cover off in one piece but many were NOT successful and basically ruined the cover.
From then until now people are still fascinated by the Butcher and are still determined to peel off the covers. In this modern era where the glue has aged and hardened even further, it's strongly recommended that collector's have the peel job professionally performed. In fact, it's only recommended that they only peel them in the cases where the trunk cover has excessive wear. All nice paste-overs should be left alone in their pure state.
There was a limited pressing of this Butcher design with the paste-over covers. After 30 years of people pulling them off the numbers of original paste overs are seriously dwindling making the paste-overs more sought after then the peeled versions. For instance, a near-mint mono pasteover will bring around $700-$800 but one of equal quality that's been peeled off will bring you $600-$700. And as time goes by the pasted over versions will go up in price more quickly because of their scarcity.
If you want to see the butcher cover, find a photo of one or maybe buy an "previously peeled" Lp. Or if your paste-over cover jacket is trashed, go for it. Nothing to lose.
...or, just in case... how to PEEL a paste-over Butcher.
One first has to realize that there are 6 (six) separate incarnations
of the Butcher. These are:
1. First State (never been covered) stereo
2. First State (never been covered) mono
3. Paste Over (second state unpeeled) stereo
4. Paste Over (second state unpeeled) mono
5. Peeled State (third state) stereo
6. Peeled State (third state) mono
Before any attempt is made to peel a butcher cover, one must first
determine the exact condition of the cover to be peeled.
Under a bright light look for any stains on the cover that are the
result of a liquid spilling on it. If you attempt to peel a butcher
that has had water, coffee, etc,etc spilled on it you will ruin the
cover. The butcher slick will come right up with the glue. DO NOT
ATTEMPT TO PEEL A LIQUID STAINED BUTCHER COVER.
Check the number on the back lower left on the back cover. You should
see one of the following:
1 or 2 - (pressed in Jacksonville, IL) 5 or 6 - (pressed in L.A.)
12 or 13 - (pressed in Scranton, PA)
Covers with numbers 1,2,5 and 6 use an alcohol soluble glue. Numbers
12 and 13 used a different glue that alcohol will not work on. These
covers must be peeled using saliva (it's the only solvent that I have
found that removes the glue from #12 & 13 covers). The actual method
used to peel covers is the same for all covers, it's just that #12 &
13 covers require saliva instead of isopropyl alchohol. NOTE: The
solvent used (alcohol or saliva) must be applied SPARINGLY! Too
much alcohol can leave the cover with a pink tint. Use a LITTLE AT A
TIME. A syringe with a 26gauge by 1 1/2" needle is a good dispenser
for alcohol. To use saliva, just keep your fingertip wet with it (more
on this later).
Now you are ready to start. The first thing to do is to get as much of
the `Trunk' cover off as possible (but not too much) until you can see
the Butcher slick through the white paper and glue covering it. It's
important to leave a good layer of paper fiber over the glue as this
provides a backing that the glue will adhere to while you are peeling.
For this step you will need a roll of 2" masking tape. Tear off an 8"
strip of masking tape and apply it to the CENTER of the `Trunk' cover
pressing it down firmly. Next, gingerly lift off the masking tape -
the `Trunk' cover will come up with the masking tape. Continue to do
this until all of the trunk cover is removed. NOTE: Be careful not to
get masking tape on any part of the cover except the
trunk portion as this will remove parts of the cover that you want to
keep (e.g. the `File Under: The Beatles' or the `ST 2553' number that
have been pasted over). Again, be careful not to take too much of the
`Trunk' paper off, leave a good backing for the glue to stick to.
Now comes the fun part. Remember, the glue is over 20 years old and
it's pretty crusty and hard. Don't attempt to peel more than 1 square
inch at a time. Starting in the upper left gray area, apply enough
alcohol or saliva to cover about 1 square inch. Saliva is applied
using the finger tip. Let the solvent soak in for about 1 minute so as
to soften up the glue.
Next, use your fingernail to LIGHTLY scrape the paper backing and
glue. Be careful at first to see how far down the Butcher slick is.
DON'T GO TOO FAR. If the Butcher starts to come up or if you see a
`nick' starting to form STOP IMMEDIATELY and move on to a different
part of the cover letting the trouble spot dry completely. You can
come back to it later. Nicks of this kind are usually caused by too
much solvent.
Continue in this fashion peeling 1 square inch at a time until the
cover is completely peeled.
If you do happen to get a nick in the cover, it can usually be taken
care of by LIGHTLY applying a #3 pencil to it (if the nick is in the
gray area) or whatever color you need to cover the nick. There's
something to be said for restoring nicked Butchers like this. It
covers up the ugly nicks and produces an over all better looking peel
job which can up the price and make it more valuable.
This method can be used to `clean' up Butchers that have an excessive
amount of glue on them from a previous attempt at peeling. Since there
is little or no paper backing from the `Trunk' cover for the glue to
stick to on these covers, you must take EXTRA CARE not to nick the
cover. Cleaning a Butcher after it's been peeled requires more care
than peeling from scratch, so BE CAREFUL.
If you do use alcohol and your cover looks like it's starting to get a
pink tint, try using saliva (as far as I can tell, saliva won't turn
the cover pink). Don't worry, the pink tint usually fades with time
(unless you've saturated the cover and left it to sit, but you
wouldn't do that, now would you?).
(BTW - store the record separately from the cover. If you store the
record in the cover, the seams will tend to split with the passage of
time)
John Lennon Interview: Look Magazine 12/13/1966
In the fall of 1966, Look Magazine's European editor Leonard Gross and photographer Douglas Kirkland visited John Lennon on-location during the filming of 'How I Won The War.' The article, entitled 'John Lennon: A Shorn Beatle Tries It On His Own', was published in the magazine's December 13th issue. It is Gross's firsthand account of events on the movie set. The article also contains extended excerpts of conversations with Lennon, which are highlighted in blue.
Whoever would have dreamed that beneath that mop lurked a Renaissance man? Yet there, shorn, sits John Lennon, champion minstrel, literary Beatle, coarse truthsayer, who turned Christendom on with one wildly misunderstood gibe at cant. Now, face white, tunic red, playing wounded in a field of weeds, this pop-rock De Vinci is proposing to act for real. Relaxed to all appearances, he is all knots inside.
"I was just a bundle of nerves the first day. I couldn't hardly speak I was so nervous. My first speech was in a forest, on patrol. I was suppose to say, 'My heart's not in it any more' and it wasn't. I went home and said to myself, 'Either you're not going to be like that, or you're going to give up.'"
As he casts his weak brown eyes at the camera, the entire movie company jockeys for a glimpse. "I don't mind talking to the camera-- it's people that throw me."
Sure enough, he blows his lines. He waggles his head in shame. "Sorry about that." But under the low-key coaxing of Director Dick Lester, Beatle John becomes Private Gripweed, a complex British orderly, in an unorthodox new film, How I Won The War.
Lennon on his own-- rich for life at 26, yet poor still in what men of all seasons crave-- full knowledge of himself. Beatling by itself, he has found, is not enough. "I feel I want to be them all-- painter, writer, actor, singer, player, musician. I want to try them all, and I'm lucky enough to be able to. I want to see which one turns me on. This is for me, this film, because apart from wanting to do it because of what it stands for, I want to see what I'll be like when I've done it."
They stood silently in the deserted German square that Sunday morning, three young British actors costumed like the soldiers who had taken the town 22 years before. Then the one whose notorious locks had recently been chopped short observed, "I haven't seen so much fresh air together for about four years."
For John Lennon, the Beatles' leader, it had been one swift crazy ride to the top. But now, there were distortions, and he had recoiled. Grownups were twisting a Beatles' kids' song into an LSD trip-- an ingenious lament that he and Beatle Paul McCartney had polished off one wild night was, current rumor had it, actually the synopsis of an opera so bitter it could not be sung. A passing remark about religious hypocrisy had made Lennon a devil or a saint, depending on your tastes. Others might enjoy them, but to Lennon, who is nothing if not honest, the distortions had become a threat.
"I don't want people taking things from me that aren't really me. They make you something that they want to make you, that isn't really you. They come and talk to find answers, but they're their answers, not us. We're not Beatles to each other, you know. It's a joke to us. If we're going out the door of the hotel, we say, 'Right! Beatle John! Beatle George now! Come on, let's go!' We don't put on a false front or anything. But we just know that leaving the door, we turn into Beatles because everybody looking at us sees the Beatles. We're not the Beatles at all. We're just us."
"But we made it, and we asked for it to an extent, and that's how it's going to be. That's why George is in India (studying the sitar,) and I'm here. Because we're a bit tired of going out the door, and the only way to soften the blow is just to spread it a bit."
In that kind of mood, a Dick Lester set was just the therapy for Lennon. Each man is the kind who makes the New Theologians jump. To them, the individual is more thrill than threat-- a unique being who should be taken for what he is. Lester, who directed both Beatle films, gratefully recalls his first meeting with the group, when the movies were just an idea. "They allowed me to be what I damn well pleased. I didn't have to put on an act for them, and they didn't put one on for me."
This is what a Lester set is like: Once more, they are in a deserted German square, now, with all the paraphernalia of movie-making, with British 'soldiers,' Lennon among them, ready to comb the streets, with German 'soldiers' lying in wait. "Quiet please!" an assistant shouts-- just as a little boy walks into the scene. Apoplectic, the assistant rushes forward and shoves the child aside. Lester, whose normal weapon is humor, flushes. "Don't push!" he commands.
Once again, they are ready to shoot-- and once again, the child intrudes. For 15 seconds, Lester eyes the man silently. Then, "Boo," he calls, and "Boo" the cast joins in.
For Lester, a director makes no statement against violence by having thousands die. To him, each death must matter-- and in his new film, each does. Such were the ideas that captured Lennon, despite his doubts about himself.
He did not doubt alone. How I Won The War is staffed with seasoned British actors, all trained in repertory, all well-known at home and all suspicious. But none is today.
Samples:
"We expected someone a bit kinky, bitchy, arrogant. He is none of those things. He's completely natural."
"You're not working with another actor, you're working with an OBE, a multimillionaire-- in sterling, not dollars-- whose every word will be reported in the world press. The miracle is that he's so normal. I could wrap him up dialectically in two minutes, intellectually, in three. But he's got a certain inborn, prenatal talent. I have my talent, which I think is considerable, but it doesn't compare in his field."
"I don't think he does anything with a conscious thought of trying to impress. He's remarkably free. He does not act the part."
"We talk about him all the time. All of us feel the same thing. We find it difficult to be as normal with him as he is with us."
Lennon's lack of pretense astonished the actors. "He's someone who just tries anything," one of them marveled. "No stand-in, no special treatment, no chair for him."
During a break for tea one raw morning, Lennon queued with the rest. When his turn arrived, his heart's desire was gone. "You don't have to be a star to get a cheese sandwich," he mused. "You just have to be first."
They like his humor too. That same morning, a German mother pushed her three-year-old son up to the Beatle, clutching his autograph book in his hand. "Sign it!" she demanded. Lennon did as bidden, telling the boy, "Yes, sir, you put us where we are today." On location in Spain one afternoon, the script required Lennon to drive a troop carrier along the beach. Accelerating too fast, he spun the wheels; the rear of the carrier sank. As his crestfallen director approached the cab, Lennon peered sheepishly over his glasses and gave him a limp salute.
Lennon is not on; he is simply original. "America used to be the big youth place in everybody's imagination. America had teenagers and everywhere else just had people." He recognizes his own impact on the changes since then, but he refuses to concede that youth today is all that different-- particularly youth in England.
The last generation might have been just like today's young adults, he maintains, had it not had to fight the war.
"If they said, 'Fight the war now,' my age group would fight the war. Not that they'd want to. There might be a bit more trouble gettin' them in line-- because I'd be up there shouting, 'Don't do it!'"
"It just so happens that some groups playing in England are making people talk about England, but nothing else is going on. Pop music gets through to all people all over the world, that's the main thing. In that respect, youth might be together a bit. The Commie youth might be the same as us, and we all know that, basically, they probably are. This kind of music and all the scene is helping. But there's more talk about it than is actually happening. You know, swinging this, and all that. Everybody can go around in England with long hair a bit, and boys can wear flowered trousers and flowered shirts and things like that, but there's still the same old nonsense going on. It's just that we're all dressed up a bit different."
"The class thing is just as snobby as it ever was. People like us can break through a little-- but only a little. Once, we went into this restaurant and nearly got thrown out for looking like we looked until they saw who it was. 'What do you want? What do you want?' the headwaiter said, 'We've come to bloody eat, that's what we want,' we said. The owner spotted us and said, 'Ah, a table sir, over here, sir.' It just took me back to when I was 19, and I couldn't get anywhere without being stared at or remarked about. It's only since I've been a Beatle that people have said, 'Oh, wonderful, come in, come in,' and I've forgotten a bit about what they're really thinking. They see the shining star, but when there's no glow about you, they only see the clothes and the haircut again."
"We weren't as open and as truthful when we didn't have the power to be. We had to take it easy. We had to shorten our hair to leave Liverpool and get jobs in London. We had to wear suits to get on TV. We had to compromise. We had to get hooked, as well, to get in and then sort of get a bit of power and say, 'This is what we're like.' We had to falsify a bit, even if we didn't realize it at the time."
If Lennon is compulsive about anything today, it's about truth as he sees it. But he protests when he's labeled a cynic.
"I'm not a cynic. They're getting my character out of some of things I write or say. They can't do that. I hate tags. I'm slightly cynical, but I'm not a cynic. One can be wry one day and cynical the next and ironic the next. I'm a cynic about most things that are taken for granted. I'm cynical about society, politics, newspapers, government. But I'm not cynical about life, love, goodness, death. That's why I really don't want to be labeled a cynic."
It is in the context of the young man who recoils at distortion that his now-famous remark should be viewed. "I said it. I said we were more popular than Jesus, which is a fact." What he could not explain then was why.
He does not feel that one need accept the divinity of Jesus-- he, personally, does not-- in order to profit from his words. A frequent reader of ancient history as well as philosophy (his current lists includes a book on Indian thought and Nikos Kazantzakis's 'Report Greco'), he contends that man has mishandled Christ's words throughout the centuries.
"I believe Jesus was right, Buddha was right, and all of those people like that are right. They're all saying the same thing-- and I believe it. I believe what Jesus actually said-- the basic things he laid down about love and goodness-- and not what people say he said."
Christianity has suffered, he believes, not only because Christians have distorted Christ's words but because they concern themselves with structures and numbers and fail to listen to their vows. They 'mutter' and 'hum' their prayers, but pay no attention to the words. "They don't seem to be able to be concerned without having all the scene about, with statues and buildings and things."
"If Jesus being more popular means... more control, I don't want that. I'd sooner they'd all follow us even if it's just to dance and sing for the rest of their lives. If they took more interest in what Jesus-- or any of them-- said, if they did that, we'd all be there with them."
Would he call himself a religious person? "I wouldn't really. I am in the respect that I believe in goodness and all those things." And if being religious meant being 'concerned,' as Paul Tillich the late Protestant theologian, once put it? "Well, I am then. I'm concerned alright. I'm concerned with people."
At the age when most men are just beginning to adjust to the world, John Lennon has already nudged it a bit. The hysteria that surrounds him can no longer disguise the presence of a mind. His ideas are still rough, but his instincts are good and his talent, extraordinary. You may love him, you may loath him, but this you should know: As performer, composer, writer or talker, he'll be around for a long, long time.
©1966 Look Magazine
Whoever would have dreamed that beneath that mop lurked a Renaissance man? Yet there, shorn, sits John Lennon, champion minstrel, literary Beatle, coarse truthsayer, who turned Christendom on with one wildly misunderstood gibe at cant. Now, face white, tunic red, playing wounded in a field of weeds, this pop-rock De Vinci is proposing to act for real. Relaxed to all appearances, he is all knots inside.
"I was just a bundle of nerves the first day. I couldn't hardly speak I was so nervous. My first speech was in a forest, on patrol. I was suppose to say, 'My heart's not in it any more' and it wasn't. I went home and said to myself, 'Either you're not going to be like that, or you're going to give up.'"
As he casts his weak brown eyes at the camera, the entire movie company jockeys for a glimpse. "I don't mind talking to the camera-- it's people that throw me."
Sure enough, he blows his lines. He waggles his head in shame. "Sorry about that." But under the low-key coaxing of Director Dick Lester, Beatle John becomes Private Gripweed, a complex British orderly, in an unorthodox new film, How I Won The War.
Lennon on his own-- rich for life at 26, yet poor still in what men of all seasons crave-- full knowledge of himself. Beatling by itself, he has found, is not enough. "I feel I want to be them all-- painter, writer, actor, singer, player, musician. I want to try them all, and I'm lucky enough to be able to. I want to see which one turns me on. This is for me, this film, because apart from wanting to do it because of what it stands for, I want to see what I'll be like when I've done it."
They stood silently in the deserted German square that Sunday morning, three young British actors costumed like the soldiers who had taken the town 22 years before. Then the one whose notorious locks had recently been chopped short observed, "I haven't seen so much fresh air together for about four years."
For John Lennon, the Beatles' leader, it had been one swift crazy ride to the top. But now, there were distortions, and he had recoiled. Grownups were twisting a Beatles' kids' song into an LSD trip-- an ingenious lament that he and Beatle Paul McCartney had polished off one wild night was, current rumor had it, actually the synopsis of an opera so bitter it could not be sung. A passing remark about religious hypocrisy had made Lennon a devil or a saint, depending on your tastes. Others might enjoy them, but to Lennon, who is nothing if not honest, the distortions had become a threat.
"I don't want people taking things from me that aren't really me. They make you something that they want to make you, that isn't really you. They come and talk to find answers, but they're their answers, not us. We're not Beatles to each other, you know. It's a joke to us. If we're going out the door of the hotel, we say, 'Right! Beatle John! Beatle George now! Come on, let's go!' We don't put on a false front or anything. But we just know that leaving the door, we turn into Beatles because everybody looking at us sees the Beatles. We're not the Beatles at all. We're just us."
"But we made it, and we asked for it to an extent, and that's how it's going to be. That's why George is in India (studying the sitar,) and I'm here. Because we're a bit tired of going out the door, and the only way to soften the blow is just to spread it a bit."
In that kind of mood, a Dick Lester set was just the therapy for Lennon. Each man is the kind who makes the New Theologians jump. To them, the individual is more thrill than threat-- a unique being who should be taken for what he is. Lester, who directed both Beatle films, gratefully recalls his first meeting with the group, when the movies were just an idea. "They allowed me to be what I damn well pleased. I didn't have to put on an act for them, and they didn't put one on for me."
This is what a Lester set is like: Once more, they are in a deserted German square, now, with all the paraphernalia of movie-making, with British 'soldiers,' Lennon among them, ready to comb the streets, with German 'soldiers' lying in wait. "Quiet please!" an assistant shouts-- just as a little boy walks into the scene. Apoplectic, the assistant rushes forward and shoves the child aside. Lester, whose normal weapon is humor, flushes. "Don't push!" he commands.
Once again, they are ready to shoot-- and once again, the child intrudes. For 15 seconds, Lester eyes the man silently. Then, "Boo," he calls, and "Boo" the cast joins in.
For Lester, a director makes no statement against violence by having thousands die. To him, each death must matter-- and in his new film, each does. Such were the ideas that captured Lennon, despite his doubts about himself.
He did not doubt alone. How I Won The War is staffed with seasoned British actors, all trained in repertory, all well-known at home and all suspicious. But none is today.
Samples:
"We expected someone a bit kinky, bitchy, arrogant. He is none of those things. He's completely natural."
"You're not working with another actor, you're working with an OBE, a multimillionaire-- in sterling, not dollars-- whose every word will be reported in the world press. The miracle is that he's so normal. I could wrap him up dialectically in two minutes, intellectually, in three. But he's got a certain inborn, prenatal talent. I have my talent, which I think is considerable, but it doesn't compare in his field."
"I don't think he does anything with a conscious thought of trying to impress. He's remarkably free. He does not act the part."
"We talk about him all the time. All of us feel the same thing. We find it difficult to be as normal with him as he is with us."
Lennon's lack of pretense astonished the actors. "He's someone who just tries anything," one of them marveled. "No stand-in, no special treatment, no chair for him."
During a break for tea one raw morning, Lennon queued with the rest. When his turn arrived, his heart's desire was gone. "You don't have to be a star to get a cheese sandwich," he mused. "You just have to be first."
They like his humor too. That same morning, a German mother pushed her three-year-old son up to the Beatle, clutching his autograph book in his hand. "Sign it!" she demanded. Lennon did as bidden, telling the boy, "Yes, sir, you put us where we are today." On location in Spain one afternoon, the script required Lennon to drive a troop carrier along the beach. Accelerating too fast, he spun the wheels; the rear of the carrier sank. As his crestfallen director approached the cab, Lennon peered sheepishly over his glasses and gave him a limp salute.
Lennon is not on; he is simply original. "America used to be the big youth place in everybody's imagination. America had teenagers and everywhere else just had people." He recognizes his own impact on the changes since then, but he refuses to concede that youth today is all that different-- particularly youth in England.
The last generation might have been just like today's young adults, he maintains, had it not had to fight the war.
"If they said, 'Fight the war now,' my age group would fight the war. Not that they'd want to. There might be a bit more trouble gettin' them in line-- because I'd be up there shouting, 'Don't do it!'"
"It just so happens that some groups playing in England are making people talk about England, but nothing else is going on. Pop music gets through to all people all over the world, that's the main thing. In that respect, youth might be together a bit. The Commie youth might be the same as us, and we all know that, basically, they probably are. This kind of music and all the scene is helping. But there's more talk about it than is actually happening. You know, swinging this, and all that. Everybody can go around in England with long hair a bit, and boys can wear flowered trousers and flowered shirts and things like that, but there's still the same old nonsense going on. It's just that we're all dressed up a bit different."
"The class thing is just as snobby as it ever was. People like us can break through a little-- but only a little. Once, we went into this restaurant and nearly got thrown out for looking like we looked until they saw who it was. 'What do you want? What do you want?' the headwaiter said, 'We've come to bloody eat, that's what we want,' we said. The owner spotted us and said, 'Ah, a table sir, over here, sir.' It just took me back to when I was 19, and I couldn't get anywhere without being stared at or remarked about. It's only since I've been a Beatle that people have said, 'Oh, wonderful, come in, come in,' and I've forgotten a bit about what they're really thinking. They see the shining star, but when there's no glow about you, they only see the clothes and the haircut again."
"We weren't as open and as truthful when we didn't have the power to be. We had to take it easy. We had to shorten our hair to leave Liverpool and get jobs in London. We had to wear suits to get on TV. We had to compromise. We had to get hooked, as well, to get in and then sort of get a bit of power and say, 'This is what we're like.' We had to falsify a bit, even if we didn't realize it at the time."
If Lennon is compulsive about anything today, it's about truth as he sees it. But he protests when he's labeled a cynic.
"I'm not a cynic. They're getting my character out of some of things I write or say. They can't do that. I hate tags. I'm slightly cynical, but I'm not a cynic. One can be wry one day and cynical the next and ironic the next. I'm a cynic about most things that are taken for granted. I'm cynical about society, politics, newspapers, government. But I'm not cynical about life, love, goodness, death. That's why I really don't want to be labeled a cynic."
It is in the context of the young man who recoils at distortion that his now-famous remark should be viewed. "I said it. I said we were more popular than Jesus, which is a fact." What he could not explain then was why.
He does not feel that one need accept the divinity of Jesus-- he, personally, does not-- in order to profit from his words. A frequent reader of ancient history as well as philosophy (his current lists includes a book on Indian thought and Nikos Kazantzakis's 'Report Greco'), he contends that man has mishandled Christ's words throughout the centuries.
"I believe Jesus was right, Buddha was right, and all of those people like that are right. They're all saying the same thing-- and I believe it. I believe what Jesus actually said-- the basic things he laid down about love and goodness-- and not what people say he said."
Christianity has suffered, he believes, not only because Christians have distorted Christ's words but because they concern themselves with structures and numbers and fail to listen to their vows. They 'mutter' and 'hum' their prayers, but pay no attention to the words. "They don't seem to be able to be concerned without having all the scene about, with statues and buildings and things."
"If Jesus being more popular means... more control, I don't want that. I'd sooner they'd all follow us even if it's just to dance and sing for the rest of their lives. If they took more interest in what Jesus-- or any of them-- said, if they did that, we'd all be there with them."
Would he call himself a religious person? "I wouldn't really. I am in the respect that I believe in goodness and all those things." And if being religious meant being 'concerned,' as Paul Tillich the late Protestant theologian, once put it? "Well, I am then. I'm concerned alright. I'm concerned with people."
At the age when most men are just beginning to adjust to the world, John Lennon has already nudged it a bit. The hysteria that surrounds him can no longer disguise the presence of a mind. His ideas are still rough, but his instincts are good and his talent, extraordinary. You may love him, you may loath him, but this you should know: As performer, composer, writer or talker, he'll be around for a long, long time.
©1966 Look Magazine
Beatles' Era - The Monkees Toys
One of the many model kits for the Monkee Mobile
This was the board game put out to coincide with the television show. Beatles Cartoon - Help!
The Beatles are visiting Paris, when Paul and Ringo spot a beautiful woman. They follow her to a fashion show, where a thief has stolen directions for the show. Paul and Ringo chase after him and end up at the Eiffel Tower.
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