Paul McCartney Photographs 1963–64: Eyes of the Storm

Introduction

“Somewhere in the back of my mind, I always knew I had taken some pictures in the 1960s.  At first, I couldn’t pinpoint the year, but I was certain we were quite young, just when The Beatles were really taking off. It was a crazy whirlwind that we were living through, touring and working pretty much every day and seeing loads of people who wanted to photograph us. There were loads of eyes, and cameras, at the center of this storm.

Looking back at these photographs, I have even greater regard for the photographers back then. Despite the simplicity of the camera, the process was challenging, with each roll, you had only 36 images, which you had to get right, because there wasn’t a second chance.

I’m not setting out to be seen as a master photographer, more an occasional photographer who happened to be in the right place at the right time. We were just wondering at the world, just excited about all these little things that were making up our lives. We were fascinated with what we were doing and what was happening to us and it’s something I’ve never really lost. I’ve never lost that sense of wonder.”

—Paul McCartney

Timeline 1963

October 13
The Beatles appear for the first time on the popular British variety TV show Val Parnell’s Sunday Night at the London Palladium. The next day the Daily Mirror coins the phrase “Beatlemania” in response to the fans’ frenzied reaction both in the theater and outside.

November 1
The Beatles begin their UK autumn tour in Cheltenham.

November 4
The Beatles play the Royal Variety Performance at the Prince of Wales Theatre, London. The TV broadcast is watched by 21 million viewers.

Jim McCartney’s cutting from British weekly music paper, Melody Maker, December 7 1963, announcing The Beatles reaching no.1 with “I Want To Hold Your Hand”. (facsimile)

[Artwork Description: Newspaper page. In the top left corner in a red box white block letters read Melody Maker. Under it small black letters read December 7, 1963 6d weekly.

To the right is a rectangle with a wavy rectangular box at the bottom. There is a title Full Top 50 on Page 2. A headshot of a blonde woman with lipstick. Under black letters read Kathy Kirby – up to four. The list to the left reads 1. I want to hold your hand . . . Beatles. 2. She loves you . . . Beatles. 3. You were made for me Freddie and the Dreamers. 4. Secret Love . . . Kathy Kirby. 5. Don’t talk to him . . . Cliff Richard/Shadows. 6. I’ll keep you satisfied . . . Bill J. Kramer. 7. Maria Elena . . . Los Indios Tabajaras. 8. You’ll never walk alone . . . Gerry and the Pacemakers. 9. Glad all over . . . Dave Clark Five. 10. I only want to be with you . . . Dusty Springfield.

Large black underlined letters on the left read Beatles hit charts for seven! Smaller black letters read One . . . two. . . three. . . four. . . five. . . six. . . seven. A magnificent seven! A sizzling seven from the unbeatable Beatles, who leaped effortlessly to No 1 in the Pop 50 this week with their million-seller “I want to hold your hand.” It pushes their first million-topper “She loves you” into second place – an unequaled achievement in the record world. And they are still dominating the top 20 records with THREE EPs, “Twist and shout” at No. 11 “The Beatles hits” at No. 17, and “The Beatles No. 1” at No. 19. To complete their record-breaking conquest, they double-top the Top Ten LPs, with their week-old, half-million seller “With The Beatles” at No. 1 and their first LP “Please Please me” at No. 2. What was expected to be the biggest rush for tickets ever in Bradford’s show business history – for The Beatles Show at Bradford Gaumont on December 21 – fizzled out in rain and fog last Sunday night. A black box reads This week’s Beatlemania. When the box office of the 3,200 seat theatre opened at 10pm there were only 2,000 fans. Some had come from different parts of Yorkshire and had queued for up to 12 hours. The show moves on to London’s Finsbury Park Astoria on December 22. The Beatles were reported to be a tired foursome at Leicester on Sunday. Police expected trouble, after box office opening scenes, but 6,000 fans kept themselves under control. Main casualty was a girl who broke her glasses, and cried because she couldn’t see the boys properly.

To the right is a black and white photo of the band on stage. The young light-skinned musicians all have dark hair combed forward. Paul McCartney stands on the left, singing and holding his guitar in the air. He is wearing light pants, a white collared shirt, thin black tie, and black suit jacket. Next to him John Lennon stands facing the left of the frame. He wears dark pants, a white collared shirt, thin black tie, and a black suit jacket. He holds his guitar by the neck with his left hand. Ringo Starr stands behind him in a similar pose. He has light pants, a white collared shirt, thin black tie, and a black suit jacket. He points down off stage with his left hand and smiles while he sings. At the end George Harrison sings while playing his dark guitar. He makes chords with his left hand and strums with his right. He wears a dark suit, white collared shirt, and a thin black tie. White letters above Harrison read It’s Fab! The caption below reads The Beatles jump for joy as their discs leap up the charts.

Below a black and white photo of Miles Davis, a Black man with short black hair wearing a white shirt, black bowtie, and dark suit jacket playing a trumpet. Below the caption reads Davis Due. Miles Davis is in the line for a British tour next spring. Impresario Harold Davison is negotiating for the trumpet star and his quintet to tour the country for a series of concerts.

To the right, big black letters read Now – A Spate of Kennedy Records. President Kennedy’s assassination this week sparked off a string of records on both sides of the Atlantic. In Britain, Oriole rush-released “John Kennedy”, a single by singer Danny Delmonte. The song, in the folk idiom, was written by Sidney Faber, and will be released in America in another version by British singer Mike Redway, also on Oriole. A company spokesman said there “could be no criticism of the record.” On the next column large black letters read ‘in good taste, quite sincere’. Smaller letters below read He added: “It is in good taste and is a quite sincere tribute to Mr. Kennedy.” A percentage of the profits from the Oriole single will be donated to the Variety Club of Great Britain’s Children’s Fund. Decca this week issued a single, “The Kennedy March,” an instrumental by Joe Meek’s Orchestra. In America, a new disc firm has started in business with an LP called “JFK – the man, the President.” This is a grouping of famous Kennedy speeches with news items and tapes of radio reports from Dallas at the time of the shooting. The disc was put together, and sleeves prepared, in under five days. Pye Records in Britain this week deleted a record which had been on sale for some months called “Sing along with JFK.” A red column with white letters runs down the page on the right side. The letters read Music men hit out at critics. See page eight.]

November 22
With The Beatles, the band’s second album is released and goes on to replace Please Please Me at the top of the charts in the UK.  It stays there for 21 weeks.  It was released as Meet The Beatles in the US in January 1964.

The band are playing at the Globe in Stockton-on-Tees when they hear that US President John F. Kennedy has been assassinated.

Jim McCartney’s cutting from British weekly media guide Radio Times,  December 5, 1963, promoting the band’s appearance on Juke Box Jury. (facsimile)

[Artwork Description: Cover of newspaper. Tiny black letters at the top read Radio Times (Incorporating World-Radio) December 5, 1963. Vol. 161, No 2091. December 7-13. Large red letters below read Radio Times. Small black letters below read North of England Edition. To the right large black blocks with white letters read BBC TV Sound. Below black and white headshots of the band float on a static background. On the left is a column with the word Hit appearing four times. The first head is George Harrison. John Lennon is next to him. Below is Ringo Starr and next to him is Paul McCartney. They are all light-skinned and have thick dark hair that is combed forward. Below is a pencil shaped box, the black point on the left has white letters reading The Beatles. The base is cream colored with black letters reading BBC TV on Saturday in the Juke Box Jury and Their Own Show.]

December 7
The Beatles appear on BBC TV’s Juke Box Jury and later that evening It’s The Beatles. They are watched by an estimated audience of 22 million viewers.

December 14
“I Want To Hold Your Hand” becomes The Beatles’ fourth UK no.

December 21–22
The Beatles perform previews of The Beatles’ Christmas Show at Bradford’s Gaumont Cinema and Liverpool’s Empire Theatre.

December 24
The Beatles begin a 16-night run of The Beatles’ Christmas Show at Finsbury Park Astoria in London.

1964 (McCartney handwritten vinyl graphic)

January 12
The Beatles’ second appearance on Sunday Night at the London Palladium.

January 14
John, Paul and George fly to Paris — Ringo arrives the following day.

“Les Beatles”: French EP (1964). McCartney’s Paris photographs document this French-themed photo shoot with photographer Dezo Hoffmann.

[Artwork Description: A thick black banner across the top has yellow cursive letters reading Les Beatles. Below The Beatles stand in front of a blue background. They all are holding baguettes in the place of microphones. John Lennon is on the left wearing a shiny raincoat over his black suit and a white captain’s hat. He has a black camera hanging around his neck by a thin brown strap. He looks upward with his mouth open singing. He holds a black object with his right hand. Ringo Starr is next wearing a large pirate’s hat. He also wears a black suit and has a camera around his neck. Next George Harrison stands wearing a black suit and a black newsboy hat. Paul McCartney stands at the end also wearing a black suit with a camera around his neck. He wears a tall black conductor’s hat with a silver medallion on the front. Track titles appear below in yellow and blue letters with red squares between them. From me to you, Ask me why, I saw her standing there, Please Please me.]

January 15
The Beatles play a warm up show at the Cinema Cyrano in Versailles. On their return from an evening out in Paris, they are greeted by the news that “I Want To Hold Your Hand” is no.1 in the US.

January 16
The band start a 3-week season at the Olympia in Paris.

January 29
The Beatles record “Can’t Buy Me Love” at Pathé Marconi Studios.

Brian Epstein with portraits of The Beatles by artist David Wynne, which feature in McCartney’s Paris photographs.

Photograph by Rex Coleman for Baron Studios, October 1964
Modern chromogenic print
Lent by the National Portrait Gallery, London

[Artwork Description: Black and white photo of a young light-skinned Brian Epstein posing in front of the sculpture of busts of the band members. He wears a white collared shirt, thin black tie, and black suit jacket. He has thick black wavy hair combed to the right. He rests his elbow on the base of the sculpture and looks directly at the camera with a small smile.]

February 5
The Beatles return from Paris to the UK.

February 7
The Beatles arrive in New York, landing at John F. Kennedy Airport — renamed after the American President who had been assassinated in the previous year.

[Artwork Description: Newspaper with a large red rectangle in the top left with white letters reading Daily Mirror. Small black letters below read 3d. Saturday, February 8, 1964 * No. 18,704. On the top right corner is a black arrow with white words reading Mersey ‘Derby’ Special See page 20. Below a black and white photo of fans rushing toward the band with police stepping between them. The caption below reads Fans rush to touch The Beatles as police help them to their New York hotel. Below giant black letters read Yeah! Yeah! U.S.A.! Below a black and white photo of a female fan screaming and reaching out over a male fan wearing a black leather jacket in an attempt to touch the band. Police stand behind holding back a wall of fans. A caption underneath reads That old Beatlemania hits New York as a screaming girl tries to reach The Beatles. To the right a black and white photo of the band standing behind microphones at a press conference. Paul McCartney stands on the left looking off to the left of the frame. A shorter Ringo Starr stands next to him smiling behind a white mic. George Harrison stands next to him with his tongue sticking out. John Lennon stands at the end with a big smile. They all wear white collared shirts, thin white ties, and black suit jackets. They all have dark hair combed forward. A caption below reads Paul, Ringo, George, and John answer questions at the Press conference. Below to the left large black letters read Irene goes home today . . . Smaller letters read Princess Irene of Holland, whose romance has started a constitutional crisis, is going home today. This was announced in The Hague last night by the Dutch Government. An announcement added that Irene, who recently became a Roman Catholic, had been spending several days in a “house of retreat” in Spain. A second Government statement denied rumors that Queen Juliana might abdicate because of differences with the Cabinet over the romance. Meanwhile, Holland’s Crown Princess Beatrix and her sister returned home yesterday from Austria, where they have been watching the Winter Olympics. Their father, Prince Bernhard flew his own plane to Austria to collect them. And in Madrid, the Princess’s secretary said that Irene would “soon be able to announce some good news in respect of her private life.” Denial It went on: “The Princess has overcome the difficulties she had encountered in her spirit.” The statement denied that 24-year-old Irene’s suiter was Prince Alfonse de Bourbon, grandson of the last King of Spain. On the next column black letters read From Barrie Harding New York, Friday. Five thousand screaming, chanting teenagers – most of them playing truant from school – gave The Beatles a fantastic welcome here today. More than 100 extra police were on duty to control the crowd as the group’s Jet landed at the John F. Kennedy Airport. Struggle – Pandemonium broke out among the stamping banner-waving fans as The Beatles – John Lennon, Paul McCartney, George Harrison, and Ringo Starr – stepped from the plane. One policeman who has worked at the airport for 10 years said: “I think the world has gone mad.” 5,000 greet The Beatles. And a veteran airport employee said “I see it – but I don’t believe it.” As The Beatles waved and clowned, teenagers at the front of the crowd on the airport roof struggled to keep from falling to the tarmac 20 feet below. Then, when the group had left the plane, thousands of their screaming fans rushed the balcony above the Customs hall to watch them pass through. Girls between 14 and 22 pressed their noses against the big windows waiting for The Beatles to pass by. Banner – There were screams and shouts as the guitars appeared on a luggage trolley. There were fresh squeals as The Beatles finally appeared surrounded by a “bodyguard” of New York policemen. Fans waved huge posters. There was a huge banner which proclaimed “Welcome to Beatlesville, U.SA.” Airport officials said the crowd rivaled anything since General McArthur returned from Korea. The airport press conference which followed The Beatles arrival was chaos. Hundreds of reporters and photographers, plus seven TV cameras, had the room bursting at its seams. Part of the question and answer session between the reporters and Beatles went like this: “Will you sing something?” John Lennon: “No!” “Can you sing?” “Not without memory.” “What have you got that appeals to teenagers” – Paul McCartney: “If we knew we’d all become managers and form our own groups.” They were also asked what they thought of an anti-Beatle campaign in the mid-West, where some motorists were exhibiting stickers saying “Stamp Out The Beatles.” Lennon replied, “We have a campaign to stamp out Detroit.” Ambition – American newspapermen who tried to “take the (unreadable word) out of The Beatles got swift replies from Lennon. One newspaperman asked “You’re a young fellow. What is your real ambition in life?” Lennon replied, “I want to go to America.” The Beatles were told just before leaving London that their records I wanna hold your hand and She loves you were joint No. 2 in the US. hit parade.]

Jim McCartney’s cutting from the Daily Mirror, 8 February 1964, reporting on the band’s arrival in New York City (facsimile)

“The Beatles are Coming!”: ‘teaser’ sticker, produced and distributed by Capitol Records in New York to promote The Beatles’ first visit to America. (facsimile)

[Artwork Description: Graphic of red ink depicting The Beatles’ hair with bold red letters below reading The Beatles are coming!]

February 8
Press call in Central Park, followed by rehearsals for The Ed Sullivan Show. George has tonsillitis and remains at the hotel.

Granada TV commissions American film-makers the Maysles brothers to document their US trip, resulting in their film What’s Happening! The Beatles in the USA.

February 9
The Beatles’ first appearance on The Ed Sullivan Show, watched by 73 million viewers — the highest ever TV audience figure to date.

February 11
The Beatles arrive in Washington, D.C. by train to perform their first US concert at the Coliseum.

February 12
The Beatles return to New York for two shows at Carnegie Hall.

[Artwork Description: Bright red magazine cover. Yellow letters on the top read On the Scene. A yellow banner with black letters reads Photographed by United Press International Candid Camera Team. Exclusive. Large white letters read The Beatles at Carnegie Hall. On the left is a show poster in a black marquee display. A yellow oval at the top with black letters reads Theatre Three Productions. Below smaller white letters read Present The First New York Appearance of the. . . Large black letters in the middle read Beatles. Smaller print at the bottom reads Carnegie Hall Wed, Feb 12. 2 shows. The rest of the words are not readable. To the right are the heads of the band members on a red background. Paul McCartney at the top left, then George Harrison to the right. Below Ringo Starr and John Lennon. They all have dark thick hair combed forward. The yellow strip at the bottom has black letters reading Written by Ralph Cosham in New York. Over 60 Illustrations. Red letters read A Panther Pictorial. Black numbers at the right corner read 2/6.]

Above:
The Beatles at Carnegie Hall: souvenir publication to commemorate The Beatles’ first live US show at Carnegie Hall on 12 February 1964, produced by American news agency, United Press International.

February 13
The Beatles fly to Miami. They stay at the Deauville Hotel, Miami Beach.

February 14
Life magazine photo shoot in the morning. In the afternoon, a rehearsal for The Ed Sullivan Show.

[Artwork Description: Front cover of a souvenir publication of photographs. Blue letters with red shadows read The Beatles. It is written in thick black letters. The word America appears in blue stripes with white stars alternating with red stripes. Below a black horizontal banner with yellow letters reads Their own exclusive story and pictures. Below is a picture of the band in Florida. They wear loose short sleeve white button up shirts with the buttons unbuttoned. John Lennon wears a black hat and stands on the left side with his hands in his pockets. In front of him Ringo Star leans back towards George Harrison with a big grin. Harrison looks at the camera with a toothy grin. Paul McCartney stands next to him, arms crossed with a watch on his right wrist. He smiles with his mouth open. A large palm tree rises up behind McCartney and the sky above has a slight cloud cover.]

Above:
The Beatles in America: Their Own Exclusive Story and Picture Souvenir publication of photographs by Robert Freeman, who traveled with the band during their first US visit, produced by the Daily Mirror.

[Artwork Description: Small round pin with light blue and white swirls. Yellow letters in the middle read I’m a Beatles Fan.]

[Artwork Description: Small round pin with light blue and white swirls. Yellow letters in the middle read Beatle Queen.]

Above:
Two pins gifted by The Beatles to the family of Sergeant Buddy Dresner, The Beatles’ personal bodyguard during their time in Miami, who is featured in McCartney’s photographs.

February 15
Meet The Beatles! hits no.1 on the Billboard album chart and stays there for 11 consecutive weeks.

February 16
The Beatles make their second appearance on The Ed Sullivan Show, live from the Deauville Hotel.

[Atwork Description: Color cover of LIFE showing soldiers hunkered down behind sandbags with a red Turkish flag rising above the sandbags. It is red with a crescent moon opening to the right and a white star. The flagpole is white and red striped. A military truck drives up a road ahead with large trees to the right and mountains in the distance. A red rectangle at the top left reads Life in white letters. Small white letters on the bottom right corner read Cyprus – Turks with shotguns guard a road against Greeks. February 28, 1964. 25 Cents.]

[Artwork Description: Black and white photo of the band swimming in a pool. They are all light-skinned and have thick dark hair combed forward. John Lennon is in the front, only his head out of the water, singing with his eyes closed. Behind him to the left is Paul McCartney. His head bobs above the water with his mouth wide open. Behind him to the right is Ringo Starr. He looks at McCartney with a disgusted expression. In the back George Harrison yells, also just his head above the water. In the back of the pool is a diving board. Metal rails extend out of the right side of the pool by the stairs. A white lounge chair is barely visible at the right of the frame. The headline below reads Real Cool in the Pool. When these four young Englishmen go bathing – which is what Englishmen do instead of swimming – they have to keep their hair dry or they can’t do a thing with it. Hair happens to be important in their line of work – although this particular styling seems to work some hardship on the young men in question, whose names (from left) are Paul McCartney, George Harrison, John Lennon and Ringo Starr, all of Liverpool. Whereas most foreign visitors to the U.S. simply fold into the scenery, these mopheads attracted so much attention that they got screeched at and pelted with jelly beans, happy to be in a Miami Beach pool they had all to themselves, they burst into something that vaguely resembled song.]

Above:
Life, 28 February 1964: US magazine, including John Loengard’s famous photograph of The Beatles in a swimming pool, taken in Miami. This would become better known in August 1964, when it was reproduced on the publication’s cover.

February 17–20
The Beatles enjoy a few days’ rest and relaxation in Miami.

February 18
The band meets Cassius Clay who is training for his world Heavyweight Championship fight with Sonny Liston. Days later, he becomes Heavyweight Champion of the World and shortly afterwards changes his name to Muhammad Ali.

February 22
The Beatles return to the UK.

March 2
The Beatles begin shooting their first feature film A Hard Day’s Night, at Twickenham Film Studios, London, and on location. Directed by Richard Lester, it is released in July.

[Artwork Description: Black and white photo where the band is posing with boxer Cassius Clay. The light-skinned young men all have thick dark hair combed forward. Clay stands at the end of the line on the right pretending to punch Harrison in the head. Clay is a tall dark-skinned muscular man. He wears white shorts with a black belt and a black stripe down the side of the hips with white boxing boots. He looks intently at the band. His left arm hangs at his side. George Harrison stands next to him wearing black pants and a white long sleeve button up shirt with a white short sleeve shirt over it. He makes a funny face as the punch hits his head. Next to him Ringo Starr wears a white long sleeved sweatshirt with a logo on the front and a short sleeved white shirt unbuttoned over the top. He looks to the right towards Lennon with a worried look. He wears light colored pants and his right arm hangs at his side with rings on his pinky and fourth finger and a metal chain bracelet on his wrist. John Lennon stands next to him gently resting his hands on Starr’s right shoulder. Lennon’s head is tilted back and his eyes are closed. He is wearing a black long-sleeved shirt under a loose short sleeve white button up shirt and black pants. Paul McCartney stands at the end, leaning back towards Lennon. His head is leaned back, eyes closed, singing. He wears gray pants, white long sleeve shirt, and a black vest. Two men in black pants and white collared shirts with thin black ties hang over the black boxing rope. Behind Clay a woman with long blonde hair holds onto the rope and looks downward with a group of people around her. A handwritten cursive caption at the bottom reads The Beatles and Cassius Clay, Miami, 1964. A.P. Harvey Benson.]

Above:
The Beatles with Cassius Clay: photographer Harry Benson captured The Beatles’ famous encounter with boxer Cassius Clay at a training session for his World Heavyweight Championship fight.
Silver gelatin print
Lent by the National Portrait Gallery, London.

Enhance your visit

Paul McCartney Photographs 1963-64: Eyes of the Storm is an unprecedented exhibition, revealing extraordinary photographs taken by the beloved musical icon. Listen to Paul McCartney’s first-hand account on many of the images and The Beatles’ experience through their meteoric rise of Beatlemania. Scan the QR code or go directly to the audio or download Bloomberg Connects in your app store and search for PAM. PAM-Guest Wifi

The Beatles

In 2020, a trove of nearly 1,000 photographs taken by Paul McCartney on a 35mm-film camera was re-discovered in the musician’s archive. They are a personal record of his time with The Beatles at a critical moment in the group’s evolution. Through his lens, Paul McCartney captured The Beatles’ extraordinary journey, city by city. From Liverpool and London in late 1963, to Paris and then the United States in February 1964. The group’s televised performances on The Ed Sullivan Show were watched by around 73 million people, transforming The Beatles into global superstars and redefining fame in the modern era.

The photographs reveal the intensity of touring, of long days spent in rehearsal, in hotels and traveling: followed by the media at every stage. McCartney’s photographs evoke an affectionate family album, picturing his fellow band members, John Lennon, George Harrison, and Ringo Starr at a time when their lives were irrevocably changing. Where Paul McCartney appears in the photographs, he had handed his camera to one of The Beatles’ team, enabling us to capture glimpses of him performing onstage or posing for pictures.

Ringo Starr (b.1940) drums, vocals
[Artwork Description: Black and white photo of a young light-skinned Ringo Starr. This tightly cropped portrait is focused on Starr’s face. He looks upward and slightly to the right. His ears have been cropped out of the frame. He has thick dark hair that is combed forward and to the right. His bangs cover his eyebrows. He has dark eyes and a large smile, teeth showing with mouth open slightly. He’s wearing a dark shirt with a tight neckline. The background is white.]

George Harrison (1943-2001) lead guitar, vocals
[Artwork Description: Black and white photo of a young light-skinned George Harrison. His body faces the right of the frame with his head turned slightly to the right looking at the camera with a serious expression, eyes looking directly at the viewer. His thick dark hair is combed forward, bangs hanging just above his dark bushy eyebrows and long sideburns obscuring his ears. He has light stubble on his upper lip and chin. He is wearing a white collared shirt, thin black tie, and black suit jacket. The background is black.]

John Lennon (1940-1980) rhythm guitar, vocals
[Artwork Description: Black and white photo of a young light-skinned John Lennon, body facing the camera, head turned to the viewer’s left, eyes gazing upward to the left of the frame with his dark eyes. His dark thick hair is combed forward and slightly to his right. His bangs cover his eyebrows and the bridge of his nose. He has thick sideburns growing along his jawline. His mouth is slightly open and he is clean shaven. He is wearing a white collared shirt with a thin black tie and a black suit jacket. A dark wall reflects light behind his head.]

Paul McCartney (b.1942) bass guitar, vocals
[Artwork Description: Black and white photo of a young light-skinned Paul McCartney. His face fills the frame, left ear cropped out of the photo. He has thick dark hair that is combed forward, partially covering the arch of his dark bushy eyebrows. He has thick dark eyelashes and glassy dark eyes gazing out, slightly to the left of the frame. He has dark stubble on his upper lip, chin, and jawline. He is wearing a black turtleneck and standing in front of a black background with a small sliver of tan at the top.]

National Portrait Gallery London
This exhibition has been organized by the National Portrait Gallery in collaboration with Paul McCartney. We would like to thank him for his generosity and openness in the development of the project.

Paul McCartney Photographs 1963-64: Eyes of the Storm is curated by Sir Paul McCartney with Sarah Brown for MPL Communications and Rosie Broadley for the National Portrait Gallery and organized for the Portland Art Museum by Julia Dolan, Ph.D., the Minor White Senior Curator of Photography.

Paul McCartney: Photographs 1963-64 Eyes of the Storm

Self Portrait London 1963
[Artwork Description: Blurred black and white photo of a young light-skinned Paul McCartney standing in front of a wooden surface with a variety of objects on the surface and a small square shaped mirror in the center. He is slightly blurred in the mirror, but his long dark hair combed forward and slightly to the left is almost in focus. He wears a white long-sleeve shirt and has a serious expression, lips downturned. The top of the reflection is dark brown. The reflection shows a dark brown ceiling above. McCartney holds a black camera at his chest with both hands. A light colored rotary phone lays on the right side along with a few other blurred objects that aren’t identifiable.]

Exhibition Series Sponsors

Presenting Sponsors
Mary and Ryan Finley, William G. Gilmore Foundation, Mary and Pete Mark Family Foundation, The Laura and Roger Meier Family, James F. and Marion L. Miller Foundation, Oregon Community Foundation

Lead Sponsors
Mary and Cheney Cowles, McGraw Family Foundation, Pat and Trudy Ritz, Dorothy Piacentini

Major Sponsors
Travers and Vasek Polak, Mary and Tim Boyle, Cooper Dubois and Sanda Stein, The Smidt Foundation, Mr. and Mrs. William A. Whitsell, The Standard

Sponsors
Sharon and Keith Barnes Endowment, Robert Trotman Interior Design, Dan Wieden* and Priscilla Bernard Wieden, Allen Trust Company, Northern Trust
State of Oregon
Oregon Cultural Trust
Regional Arts and Culture Council
Oregon Arts Commission

Major Sponsors
Alix and Tom Goodman
Fred and Gail Jubitz
Greg and Kathy TIbbles

Sponsors
Ameriprise Financial
Amjad and Helen Bangash
Jill and Tony Garvey
Mark New and Robin Snyder
The Caryll M and Norman F. Sprague Foundation
Anonymous

Supporters
Alexander Benenson
Photography Council of the Portland Art Museum

Photographs and Archival Material
The photographs on view are presented as McCartney composed them through his Pentax camera’s viewfinder; none have been cropped. The prints in this exhibition were made from McCartney’s original negatives. Where negatives have been lost, prints have been produced from his original contact sheets. Contact sheets show all the shots of a roll of film on a single sheet, and McCartney marked many of his preferred shots at the time with an “X” or a check mark in grease pencil, which are apparent in some of the prints on view.

The majority of the prints are pigmented inkjet prints, while the photos made from contact sheets are a mix of pigmented inkjet prints and chromogenic prints. The color prints in the Miami section are chromogenic gloss prints. Four works were printed in the darkroom as bromide prints for the show, Unless otherwise stated, all photographs on display are by Sir Paul McCartney. All original showcase items lent by MPL Archive LLP, courtesy of Sir Paul McCartney, unless otherwise stated.

Self-portrait, Paris, 1964
[Artwork Description: Series of three black and white photos of Paul McCartney. In the first frame McCartney sits with his head partially out of frame. He is wearing a black suit with a white shirt sleeve peeking out beyond the suit. A cigarette extends from his gently pursed lips. His right hand adjusts the lens focus while his left hand stabilizes the camera. In the foreground a blurred silver frame partially covers his body with a thick vertical black line next to it. Various objects sit to his right, but are not distinguishable in the photo. The middle frame depicts McCartney in the same pose, but from a different vantage point where most of his left arm and all of his body below the chest are obscured from view. He has dark hair that sweeps slightly to the left of his forehead. He has a neutral expression, eyes focused straight ahead and a bright white reflective background behind him. The third frame shows a similar pose, his head turned slightly to his right, mouth closed more tightly around the cigarette, and a silver border obscuring the left side of his body. A thick black, blurred vertical line continues to the edge of the frame.]

Liverpool Empire Juke Box, and It’s The Beatles.

David Jacobs, presenter of Juke Box Jury, onstage
[Artwork Description: Black and white photo of a middle-aged light skin man with dark black hair gelled back sits at a stage wearing a tan suit with a white collared shirt and thin black tie, elbows on the stage, hands clasped. He looks directly at the camera smiling. Men in suits are blurred in the background. A large white square is blurred in the foreground at the right corner.]

Julia Mortimer (later Mankowitz) and Michael Braun, journalist, backstage.
[Artwork Description: Black and white photo of a young light-skinned Julia Mortimer. She has thick dark chin length hair. Her heavy bangs cover her eyebrows. Her eyes are closed and she has a small tight smile with deep dimples. She wears a light colored turtleneck sweater with vertical stripes, a dark leather jacket, zipped up, and a long black scarf. She holds a light colored object in her left hand, her long delicate fingers gently grasping the item. Beyond her left shoulder a young light-skinned Michael Braun leans against the wall. He has thick dark wavy hair that is a bit messy on top with curls hanging over his forehead. He has thick sideburns that end by his earlobe. He wears a white collared shirt, dark tie, and dark suit jacket. He looks downward with his lips closed. Another individual’s shoulder wearing a dark suit jacket obscures most of his body. Another individual is partially visible on the left side of the frame. The background is a blurry wall with vertical decorative strips.]

John Lennon
[Artwork Description: Black and white photo of a young, light-skinned John Lennon with thick black hair brushed down in the front and brushed forward on the sides with thick sideburns. He is shown in profile, chin resting on his left hand, fingers folded resting on his face. His dark brown eyes gaze to the left of the frame. He’s wearing a white collared shirt with a pinstripe dark suit jacket. The dark background is blurred with two round reflections of light just in front of his nose.]

Unknown woman, backstage
[Artwork Description: Black and white photo of a young light-skinned woman with straight brown hair with curled bangs, hair puffed out around the ears, and then curling up on her cheekbone. She has dark eyebrows that are arched high on her forehead and she looks to her right with a pensive expression. She wears a dark shirt and there are objects behind her blurred in the background.]

Ringo Starr
[Artwork Description: Black and white photo of a young Ringo Starr. Starr has light skin and thick brown hair that is combed forward, hanging over his eyebrows. His dark eyes are set gazing toward the right corner of the frame. He rests his head on his right fist with his elbow on the table next to him. He has a tired, contemplative look with hints of sadness. He is wearing a white collared shirt, thin black tie, and a black suit jacket with black vertical stripes. He wears a bracelet on his right hand and a large ring on the third finger of his left hand. Reflections of others are blurred in the mirror behind.]

Paul McCartney, backstage
[Artwork Description: Black and white photo of a light-skinned young Paul McCartney. He walks forward and is seen in profile. His eyes are downward and a slight mustache is visible. He is wearing a white collared shirt, black tie, and dark suit jacket. A table with papers and a wall are blurred in the background.]

Ringo Starr, backstage
[Artwork Description: Black and white photo of a young light-skinned Ringo Starr sitting at a table backstage. There are stacks of books and papers on the corner of the table and other objects across it that are not distinguishable. His dark thick hair is combed forward, bangs covering his eyebrows. He wears a white collared shirt with a thin black tie and black suit jacket. His lips are gently closed and he looks to his left, watching waitstaff. The waitstaff wears a white shirt with a black bowtie and carries a silver tray with what appears to be sets of silverware. A mirror behind Starr reflects the wait staff’s back.]

David Jacobs, presenter of Juke Box Jury
[Artwork Description: Black and white photo of a light-skinned man with dark brown hair that is combed upward with a receding hairline. It is parted on the left side of his head. His head is turned slightly and he looks just to the left of the center of the photo. His clean shaven face flashes a soft smile. He wears a light colored collared shirt, a thin black tie, and a light colored suit jacket. The background is blurred.]

Unknown woman and Michael Braun, journalist, backstage
[Artwork Description: Black and white photo of a young woman with shoulder length dark hair resting her chin on her fist. A light-skinned young Michael Braun stands blurred in the foreground.]

George Harrison backstage
[Artwork Description: First in a series of three black and white photographs of a young light-skinned George Harrison backstage. Harrison sits sideways on a chair, legs crossed – left over right. His right arm rests on the back of the chair with his left hand resting on top of his right hand. His shoulders are pulled forward and he looks to his left, head slightly tilted. He has an angular jaw and a softly pointed chin. His dark thick hair is brushed forward, bangs laying just above his dark eyebrows. His mouth is closed and he has a pensive expression. He wears a black turtleneck sweater and black pants. Various props and other items are blurred in the background.]

George Harrison backstage
[Artwork Description: Second in a series of three black and white photographs of a young light-skinned George Harrison backstage. Harrison sits sideways on a chair, legs crossed – left over right. His right arm rests on the back of the chair with his left hand resting on top of his right hand. His shoulders are pulled forward and he looks straight ahead, mouth slightly open. His dark thick hair is brushed forward, bangs laying just above his dark eyebrows. He wears a black turtleneck sweater and black pants. Various props and other items are blurred in the background.]

George Harrison backstage
[Artwork Description: Third in a series of three black and white photographs of a young light-skinned George Harrison backstage. Harrison sits sideways on a chair, legs crossed – left over right. His right arm rests on the back of the chair. His left elbow rests on top of his left knee and his hand falls back gently on his left shoulder. He is turned to his right, looking downward, eyes hidden from the camera by his hair. His dark thick hair is brushed forward, bangs laying just above his dark eyebrows. He wears a black turtleneck sweater and black pants with black shoes. He is posed in front of a mirror with a partially visible reflection. Various props and other items are blurred in the background.]

Tony Barrow, The Beatles’ Press Officer who coined the phrase ‘the fab four’
[Artwork Description: Black and white photo of Tony Barrow, a young light-skinned man with light colored curly hair gelled back looks directly at the camera while blowing smoke through pursed lips. He has brown eyes and thin, light eyebrows and a mustache. He is wearing a white collared shirt with pinstripes, a thin black tie with small white dots, and a black suit jacket. The background is blurred.]

Mal Evans, The Beatles’ roadie
[Artwork Description: Black and white photo of a light-skinned young man with brown wavy hair gelled back wearing glasses with thick frames. He looks to the right of the frame with a sly smile. He wears a white collared shirt, thin black tie, and black suit jacket. The background is blurred.]

Ringo Starr and John Lennon
[Artwork Description: Black and white photo of young light-skinned Ringo Starr and John Lennon. Starr is on the left side of the frame, ear and back of his head off frame. He leans forwards slightly, gazing ahead with a thoughtful expression. His dark thick hair is combed forward and to the right. He has thick dark bushy eyebrows. His lips have a slight pout. He is wearing a white collared shirt, thin black tie, and black suit jacket. In front of him Lennon sits gazing forward at an object out of frame. His lips form an O, possibly from singing. His thick dark hair is combed to the right and he has thick sideburns. He wears thick black rimmed glasses. A light colored curtain with darker graphic designs is blurred behind them. A dark shadow is blurred in the foreground on the bottom right of the frame.]

John Lennon
[Artwork Description: Black and white photo of a young light-skinned John Lennon backstage. He sits on a stool, left leg bent at the knee, ankle resting on his right knee. His left arm is bent behind him, hand resting on his left thigh. Right arm outstretched, hand resting on his left ankle. His thick dark hair covers his forehead and eyebrows. He wears thick black rimmed glasses. He has a pensive expression. On the left side of the frame, the back of another man’s head is blurred. Behind them is a window with a light colored frame and dark panes. Behind Lennon on the right of the frame are light colored curtains with a dark colored geometric pattern.]

Liverpool, December 7, 1963

The Beatles returned to their home city of Liverpool on December 7 to film two BBC television programs: a special edition of the popular BBC music show Juke Box Jury, presented by David Jacobs, followed by a short concert called It’s The Beatles. Recorded at the Liverpool Empire, the audience consisted of The Beatles’ Northern Area fan club.

McCartney’s photographs depict his bandmates and some of the key members of their loyal entourage including Freda Kelly, the band’s secretary and president of the band’s official fan club, Mal Evans their assistant and roadie, and press officer Tony Barrow. By this time, news of the band’s British success had also caught the attention of a young American journalist called Michael Braun who shadowed the band as research for his behind-the-scenes book Love Me Do! The Beatles’ Progress (1964).

Xmas Show, Finshburg Park

Brian Epstein
“Our manager, Brian Epstein. We called him Mr. Epstein and he was the one person who could keep us in line”. Paul McCartney

Brian Epstein (1934-67) became the manager of The Beatles after seeing them perform at The Cavern Club in 1961. With no prior experience of managing a band, he was able to secure a recording contract for the band with EMI’s Parlophone Records and guided them through the early years of Beatlemania, including their first visit to America.

[Artwork Description: Black and white photo of a young light-skinned Brian Epstein. Epstein has wavy dark hair with a slightly receding hairline at the forehead. He looks directly at the camera in the middle of the frame, head tilted slightly to his left. He has a large toothy grin. He is wearing a white collared shirt with a thin black tie and a black coat with a tall collar. Walls are blurred in the background.]

Photographer Robert Freeman chats with John Lennon
[Artwork Description: A young light-skinned Robert Freeman stands in profile on the left of the frame facing to the right. He has light brown hair which is combed to the right with short sideburns. He is wearing a black turtleneck, dark collared shirt, and black suit jacket. He is speaking with a young light-skinned John Lennon. Lennon stands at the right of the frame facing Freeman. He has messy dark brown hair and is wearing a white collared shirt with a thin black tie and black suit jacket. The background is blurred with a few figures and three oval shapes near the top, possibly lights.]

Ringo Starr
[Artwork Description: Black and white photo of a young light-skinned Ringo Starr with thick dark brown hair, layered, and combed to his right with long sideburns smokes a lit cigarette, holding it gently with his left hand. He is wearing a black shirt and a large silver and black ring.]

The Beatles pose for a photoshoot
We were often asked to pose for shots where we would be four heads stacked vertically on top of each other. It turned out this was for a single column in a newspaper as the editors didn’t always have the room for a wider image.
– Paul McCartney

[Artwork Description: A black and white photo of the young light-skinned members of The Beatles posing for a photo. They are stacked vertically in front of a fancy theater curtain with scalloped pleats. They all have thick dark hair, combed forward over their forehead and thick sideburns. They are all wearing white collared shirts, thin black ties, and dark suit jackets. Ringo Starr is kneeling at the bottom looking forward, left eye slightly squinting and mouth slightly open. George Harrison is second, leaning to his right and looking at the camera with a relaxed smile showing teeth. Paul McCartney stands behind him, leaning forward, mouth closed, looking up to his left. John Lennon stands at the back of the line looking forward with a relaxed toothy smile. He rests his left hand on McCartney’s back.]

Singer Billy J Kramer, one of The Beatles’ support acts, appears on stage
[Artwork Description: A young light-skinned Billy J. Kramer wearing black pants, black shoes, and a long black coat with a white collared shirt and dark tie at the top of the stage steps. He has light brown hair that is parted on the left and juts out beyond his forehead. He grins as he looks forward. Stage set extends behind him and another man is blurred in the foreground. That man has dark hair, parted on the left and is wearing glasses, a white collared shirt, dark tie, and light suit jacket.]

The Beatles pose for a photoshoot
[Artwork Description: The Beatles posing for a photo in front of a light colored curtain. A  young light-skinned John Lennon sits in a chair wearing a white collared shirt, thin black tie, and black suit jacket. His dark thick hair is brushed forward over his forehead. He looks downward with a straight expression and has his arms folded in his lap, pointed finger of his left hand dangling a metal keychain from the tip. A young light-skinned Ringo Starr stands to his right wearing a black turtleneck and black suit jacket. He has dark thick hair brushed forward over his forehead. He points with his right hand to something off frame. Two male figures are blurred behind them. The photographer is blurred in the foreground wearing a light suit jacket. He has glasses and thinning gray hair.]

Bloomberg Connects Audio Guide 102

George Harrison
One of the things that kept us sane was goofing around. There were a couple of hats laying around at the Christmas show and George thought it was funny to put on two. And he was right, and it made a great picture. – Paul McCartney

[Artwork Description: Black and white photo of a young light-skinned George Harrison. His dark brown eyes are fixed looking out just right of the center of the frame. He has long dark bangs and sideburns with dark bushy eyebrows and a five o’clock shadow. He’s wearing a white collared shirt, thin black tie, and black suit jacket. He is balancing two light colored top hats on his head, stacked on each other. Both have a thick silver sequin ribbon at the bottom. The background is blurred behind him.]

Bloomberg Connects Audio Guide 103

Ringo Starr
[Artwork Description: Ringo Starr, a light skinned young man with temple-long dark hair blowing to his right side laughs, eyes closed and mouth open. Starr wears a black collared shirt and a black suit jacket with vertical black stripes. He stands in front of a light colored curtain with a lighter partial wall to the right.]

The Kestrels, supporting act, Peter Yolland, director of The Beatles’ Christmas Show
[Artwork Description: Black and white photograph of four light-skinned young men laughing. They are all wearing white collared shirts with thin black ties. In the background on the left, a young man with light colored hair, gelled up and back smiles at the camera. To his left a seemingly slightly older man with a receding hairline smiles. In front of them two young men stand back to back. The one on the left is considerably shorter. He has brown hair gelled up and back. The one on the right is taller and has his head angled back slightly. He looks directly at the camera with his mouth partially open. Curtains are blurred in the background.]

During the run of the show, the band took part in a promotional photoshoot in a local pub. The photographs taken on McCartney’s camera that depict John Lennon and McCartney posing together were possibly taken by roadie Mal Evans, who is also pictured here.

Peter Yolland, director of The Beatles’ Christmas Show
[Artwork Description: Black and white photo of a middle-aged Peter Yolland. A light-skinned man with dark hair gelled back and a deep receding hairline. He has brown eyes and gazes at the camera with a close-mouthed smile. He is wearing a dark shirt. Another figure is blurred in the foreground.]

Cilla Black on stage
[Artwork Description: Black and white photo of a young light-skinned Cilla Black performing on stage. The photo is taken from stage right, looking out as she sings in front of a microphone at the edge of the stage. Her light colored dress draped over her thin frame. Her light colored hair styled to poof out in the back. Her knees are slightly bent as are her elbows. Equipment and stagehands are blurred in the left of the frame and the background is a blurred black.]

Cilla Black on stage and backstage
[Artwork Description: Black and white photo of a young light-skinned Cilla Black poses backstage, leaning against a wall. Her brown hair is parted on the left and frames her face, curling under at the chin. Her chin is slightly elevated and she looks down at the camera with her dark eyes. She is wearing a light colored coat with a large button. A bright light is blurred in the upper left corner and other items are blurred underneath it in the background.]

Cilla Black onstage
[Artwork Description: Black and white photo of a young light-skinned Cilla Black performing on stage. The photo, taken from her left, shows her left bare arm extended upward, out of frame. Her profile shows a big smile and her hair styled, curling under at the tips and extending out past her forehead, combed to the right. The background is solid black.]

Louise Harrison, George’s mother
[Artwork Description: Black and white photo of an older Louise Harrison. A light-skinned woman with wavy white ear-length hair. She has dark eyes and is looking upward with her mouth slightly open. She wears a black jacket with a silver and diamond broach on the left breast. A black object is blurred in the background.]

Singer Billy J Kramer on stage
[Artwork Description: Black and white photo of a young light-skinned Billy J. Kramer on a fully black stage with a spotlight revealing his head and chest. He has brown hair that jets off his forehead and is gelled back. He is wearing  white collared shirt, thin black tie, and dark suit jacket. His eyes are closed and he is facing the left. There’s a black microphone stand in front of him.]

Actress Dora Bryan
[Artwork Description: Black and white photo of a middle-aged Dora Bryan. She has wavy light brown hair that is curled in a bob with bangs that resemble a crashing wave. She has bright dark eyes and dark lipstick. She is wearing a black shirt. She looks straight at the camera, eyebrows raised, mouth closed with a surprised and joyful expression. A man wearing glasses and a black suit jacket is blurred behind her to her left.]

Harold Harrison, George’s father
[Artwork Description: Black and white photo of an older light-skinned Harold Harrison. He is centered in the frame and has light hair gelled and parted on the left. He looks directly at the camera with a big smile and is wearing a white collared shirt, thin black tie, and black suit jacket. Artwork is blurred on the wall behind him.]

Judy Lockhart Smith, PA at EMI
[Artwork Description: Black and white photo of a middle aged light-skinned Judy Lockhart. She is positioned in the middle of the frame in front of a light colored curtain with a figure blurred on the left edge of the frame. She flashes a big smile with deep dimples. Her dark hair is highlighted with gray and is pulled back into a messy ponytail. She is wearing a white collared shirt with a leaf broach in the middle and a black coat.]

Billy Hatton, bass player with the group The Fourmost
[Artwork Description: Black and white photo of a young light-skinned Billy Hatton. He is centered in the frame looking slightly upward with a cheesy grin, bottom jaw jutted forward. He has messy dark hair and is wearing a white collared shirt, thin black tie, black vest, and tan coat with the collar folded up. A figure wearing black is blurred behind him and a blurry white object shows on the right.]

Bill Corbett, The Beatles’ driver
[Artwork Description: Black and white photo of an older light skinned man with a receding hairline and light hair gelled back. He is wearing wire frame glasses and looking to his right. His face rests on his left hand, thumb supporting his chin and third finger outstretched over his lips. His right hand rests on his knee. He is wearing a white collared shirt, thin black tie, and black winter coat. He sits in front of a bright window that white washes much of the frame. A chalky x from the negative appears over his chest. A curtain hangs behind him on the right with a diamond pattern.]

Our roadie, assistant and friend Mal Evans.
-Paul McCartney

[Artwork Description: Black and white photo of an older light-skinned Mal Evans sitting in a chair. He has light brown hair with a deep receding hairline that is gelled up and back. He is wearing brown glasses, a wedding band, gray collared shirt with black buttons, and a dark suit jacket and pants. He looks to the right of the frame, hands folding on his abdomen. There is a blurred black object behind him in front of the gray curtains with a diamond pattern.]

George Harrison
[Artwork Description: Black and white photo of a young George Harrison sitting on a couch. He has dark hair combed forward, thick dark eyebrows, and dark glassy eyes. His expression is solemn. He is wearing a white collared shirt, thin black tie, and a black suit jacket. His shirt, tucked into his pants, is loose with ripples. He rests his left arm on a white pillow with black squiggles, holding a cigarette between his second and third fingers. The background is blurred behind him.]

John Lennon
[Artwork Description: Black and white photo of a young light-skinned John Lennon. He sits, arms crossed, with his right hand at his chin, fingers bent, third knuckle between his lips. His dark eyes gaze intently towards the left corner of the frame. He has long dark hair that is covering his eyebrows and is wearing a black sweater. A white chalky x marked on the negative appears on his left shoulder. His arms rest on a fuzzy material that is white with small black squiggles.]

Paul McCartney and John Lennon
[Artwork Description: Black and white photo of a young light-skinned Paul McCartney reading from a paper he is holding with a young light-skinned John Lennon standing in profile to his right. McCartney has dark hair combed forward and to the right of his forehead. He is wearing a white collared shirt and thin black tie with a black suit jacket. Lennon’s face is blurred.]

Paul McCartney and John Lennon
[Artwork Description: Black and white photo of young light-skinned John Lennon and Paul McCartney. Lennon has dark hair that is brushed forward over his eyebrows. He is wearing a black turtleneck under a black suit jacket. He is looking downward with a focused expression. McCartney stands in front of him, facing to the left of the frame. His long dark hair is also combed forward. He wears a white collared shirt with a dark tie and a black suit jacket. He is looking down with a serious expression and holding a white microphone in his right hand, thumb nail pressed between the body and head of the microphone. The background is white.]

John Lennon in car.
[Artwork Description: Black and white photo of a young light-skinned John Lennon. He rests his chin in his left hand and looks into the distance with a contemplative expression. He is wearing thick black glasses and a light colored coat. His dark hair is long, sweeping to the right, tucked behind his glasses. He has bushy brown eyebrows. His watch with a black band is peeking out from under his sleeve.]

George Harrison in car.

I love the intimacy of these shots. We were a tight-knit group, so only one of us would have been able to get these kinds of photographs.
– Paul McCartney

This international phenomenon didn’t come out of nowhere – it was a trajectory – from going to newspaper offices on our own turf, to playing theaters in the UK – to appearing on radio programs, before being invited to do TV work, after which we’d be stopped on the street for autographs, especially after a Saturday night show. – Paul McCartney

Backstage at the London Palladium

The band’s first appearance on the television show Val Parnell’s Sunday Night at the London Palladium, a popular British variety television show, in October 1963 had introduced The Beatles to millions of British households and triggered the national frenzy dubbed “Beatlemania.”  This group of portraits show The Beatles preparing for their second appearance on the same show, which took place on January 12, 1964.

McCartney’s backstage photographs reveal another side to The Beatles’ early experience of fame: not only the dreary dressing rooms and inevitable boredom of waiting, but also the support and encouragement they received from friends and family. George Harrison’s parents Louise and Harold both feature in McCartney’s photographs from this time. In affectionate portraits, they are shown visiting the Christmas Show in Finsbury Park, and Louise is also pictured backstage at the Palladium.

Louise Harrison
[Artwork Description: Black and white photo of an older Louise Harrison. A light-skinned woman with gray hair wearing a light colored knitted hat with reflective earrings and a black coat with a large silver and crystal broach. Her dark eyes look directly at the camera and she smiles, revealing deep dimples. She stands in front of a wall with decorative wallpaper, the design blurred in the background with a couple framed pictures hanging.]

Ringo Starr
[Artwork Description: Black and white photograph of a young light-skinned Ringo Starr sitting in front of a dark couch with a floral pattern. He is wearing a black coat and has a serious expression. His dark thick hair is combed forward over his forehead, obscuring part of his face. A newspaper is blurred on the couch.]

George Harrison
[Artwork Description: A black and white photo of a young light-skinned George Harrison. His thick dark hair is combed forward. He is wearing a white collared shirt, thin black tie, and black suit jacket. He is sitting in a chair, leaning forward playing a black guitar. A white fence is blurred behind his left shoulder and a white door or wall behind his right.]

Paul McCartney
[Artwork Description: Black and white photograph of a young light-skinned Paul McCartney sitting in a chair and talking on a dark colored telephone. His dark thick hair is combed forward partially covering his eyebrows. His gaze is forward, but distant, seemingly preoccupied with the phone call. He is wearing a white collared shirt, thin black tie, and black suit jacket. The wall behind him is light colored and has sections like bricks, but larger. There is a mantle along the top. The background is blurred with gray and black resembling clouds.]

Paul McCartney
[Artwork Description: Black and white photo of a young light-skinned Paul McCartney reading a newspaper. His long thick dark hair falls over his head creating a shadow. A bright light illuminates him from his right side. He is wearing a white collared shirt, thin black tie, and black suit coat. He rests against a white wall or pillar with ornamental designs.]

Ringo Starr
[Artwork Description: Black and white photograph of a young light-skinned Ringo Starr sitting in a chair in front of a dark colored couch holding a white bag with a black and white graphic of a man wearing a striped tie and a black suit jacket. Starr’s dark hair is combed forward over his forehead, hiding his eyebrows. His dark eyes are in the shadows. His lips are gently closed and he has a pensive expression. In the foreground are blurred flowers. On the left of the frame is a table with coffee cups and a small pitcher. The wall behind Starr has wallpaper with a dark design.]

John Lennon
[Artwork Description: Black and white photo of a young light-skinned John Lennon looking in a small mirror. The mirror seems to be on the front of a small cabinet. He leans forward gazing at his reflection. His dark hair is combed forward and he has thick sideburns. He is wearing a light colored collared shirt. Walls are blurred in the background and a light colored curtain is blurred on the right of the frame. In the top right corner a dark blurry object with fringes hangs, dropping into the frame.]

John Lennon
[Artwork Description: Black and white photo of a young light-skinned John Lennon. The photo is taken through the reflection of a small round mirror with a black border. Lennon stands to the right of a black curtain looking at the mirror with a curious expression. He has dark, thick hair, combed forward and is wearing a light colored shirt and holding a white fabric object. The objects around the mirror are blurred.]

John Lennon
[Artwork Description: Black and white photo of a young light-skinned John Lennon. He looks up at the camera, right eye squinting as a bright light washes over the right side of his face. Drops of water or sweat glisten in the light and the tips of his dark brown hair are wet. He has bushy eyebrows and dark eyes. His lips are open slightly and he is wearing a light colored striped shirt.]

John Lennon
[Artwork Description: Black and white photo of a young light-skinned John Lennon getting ready backstage looking into a mirror. His arms are bent at the elbow, hands on his head, comb in his right hand. His eyes look upward at the reflection. His mouth is slightly open and his head tilted slightly to the left. He is wearing a white collared shirt, thin black tie, and black suit jacket. The light walls are blurred in the background.]

Paul McCartney’s account statement, issued by NEMS Enterprises Ltd, Brian Epstein’s company, including group fees for performances during the autumn tour and for Juke Box Jury at the Liverpool Empire (facsimile)

[Artwork Description: Accounting ledger showing fees for the tour. The writing is too small to read, but the columns and boxes are visible. The page is set in landscape. The top left has a square box with several lines of text. Under it is a smaller box with two lines of text. To the right is a thick vertical box with three columns of figures. To the right is a larger rectangular box with several lines of text near the top, two lines in the middle, and then shorter lines at the bottom. The far right has a vertical box with three columns of data. The bottom has three lines of text and a box with three figures.]

Programme of events for the special recording of Juke Box Jury and It’s The Beatles at the Liverpool Empire, December 7, 1963
[Artwork Description: Flier with black text. The top reads: Northern Area Fan Club Convention. Empire Theater, Liverpool: Saturday, 7th December 1963. Doors open 1:30 for 2:00pm. Larger bold letters read: Programme of Events: Fan Club Convention Edition of BBC Television’s Juke Box Jury. A large black star has a white number one on it to the left. Smaller letters read: Panel Members: John Lennon, Paul McCartney, George Harrison, Ringo Starr. Second Jury: Anne Collingham and Bettina Rose (Joint National Secretaries of the Official Beatles Fan Club) Freda Kelly (Merseyside and Lancashire Area Secretary of the Fan Club). A smaller black star appears on the left and right with the word Interval in the middle. Thin black horizontal lines appear above and below. Special Fan Club stage performance by The Beatles. Large black star with a white 2 in the middle. To be filmed by BBC Television who will screen the programme under the title “It’s The Beatles!” this evening.]

Love Me Do! The Beatles’ Progress (1964) (book)

During their autumn tour, The Beatles were shadowed by the American journalist Michael Braun, who appears in several of McCartney’s photographs, who turned his experience into the first book about The Beatles: a vivid contemporary record of the period covered in this exhibition.

[Artwork Description: Cover of book. In the background, a black and white photo of fans, hands in the air, screaming towards the band. The photo is fairly blurry with only a few faces clear enough to distinguish, including three young women with dark hair in the front row and one in the back. A small orange penguin logo is printed at the top left corner. Next to it thick red capital letters read “Love Me Do”. An orange exclamation mark sits under the quotation marks at top with the dot just above the D in Do. Orange writing below reads 7/6. In the top right corner is a red flower graphic with eight petals. Next to it in capital orange letters read The, with a stylized pink flower next to it. Under it, large orange letters read Beatles’ Progress. White letters below read Michael Braun.]

Program and ticket for The Beatles’ Christmas Show (facsimile)
[Artwork Description: Yellow program with purple letters. At the top, centered in a rectangular double lined frame, letters read Brian Epstein Presents: The Beatles Christmas Show. Below a photo of the band with an all black background, only heads visible, with the left side of their faces in the shadows fills the entire width of the program. John Lennon is on the left, then George Harrison, then Paul McCartney. Ringo Starr is in front of McCartney, lower. They all are light-skinned and have dark hair, brushed forward. They all look directly ahead with serious expressions. At the bottom of the program capital cursive letters read Souvenir Programme.]

[Artwork Description: Pink ticket from The Beatles’ Christmas Show. Black letters read Astoria. The Beatles Christmas Show. 2nd Performance 9-8. Saturday January 11. Circle G14 10/-. To be retained. Some smaller print appears throughout the ticket but is not readable.]

Photograph of The Beatles in costume for a sketch as part of The Beatles’ Christmas Show by photographer Tony Gale
[Artwork Description: Black and white photo of The Beatles in costume. On the left, George Harrison, a light-skinned man with dark hair brushed forward and thick dark eyebrows looks towards the center of the frame and smiles. He is wearing a white scarf with dark polka dots around his head, a white t-shirt, a tan sweater, and a large dark pleated skirt. His elbows are bent and his left hand pulls his sweater over his right hand. Next to him Ringo Starr, a young light-skinned man wearing a black turtleneck and black pants with dark hair combed forward looks toward the camera smiling while holding a large white bag with dark capital letters reading snow. The bag has a single strap resting over Starr’s right shoulder. Sitting next to Starr, is a young light-skinned Paul McCartney. He is wearing a light colored button up shirt with light colored vertical stripes, dark pants, and dark suspenders with a light colored newsboy hat. His thick dark hair is brushed forward and sticks out under the hat. He is kneeling on his right knee and has a light colored string tied on his thigh just above the knee. He wears dark shoes that are barely visible. Behind him a young light-skinned John Lennon stands, arms outstretched to his sides. He is wearing a gray turtleneck, a black collared shirt with shiny buttons and the collar popped up, black pants, a black top hat, and sunglasses hanging just below his nose. His thick dark hair is combed forward and to the right and his bangs peek out from under the hat. He wears a cape over his shirt and it drapes behind his bandmates, hanging down from his arms. The inside is light colored and the outside is dark. A thick bottom band of dark material runs along the bottom of the inside of the cape. They stand in front of a light colored stage curtain.]

Facsimile contact sheet including images taken during a photoshoot in a pub in Finsbury Park, London, December 1963

McCartney has marked up his favorite images with a grease pencil. Some of these prints are displayed nearby.

[Artwork Description: Contact sheet of black and white photos from a pub photoshoot with the band. Six rows of five photos and the seventh row at the bottom has 2 photos. They are too small to make out clearly, but can see light-skinned figures wearing suits posing in a variety of poses.]

All original showcase items lent by MPL Archive LLP, courtesy of Sir Paul McCartney, unless otherwise stated

On Tour in England, November 1963

The earliest photographs in this exhibition were taken during The Beatles’ autumn tour, which opened at the Odeon cinema in Cheltenham Gloucestershire, in South West England, on November 1, 1963. The term “Beatlemania” had recently been coined by the British press to describe audiences’ rapturous responses to the band.

McCartney captures The Beatles’ support acts on stage, including Peter Jay and The Jaywalkers and The Vernons Girls, a singing group who went on to record a song entitled  “We Love The Beatles.” The photographs also show his bandmates backstage, away from the screaming fans, along with their entourage and fellow performers including Jean Owen of The Vernons Girls, pictured smiling at her dressing table.

The Beatles, backstage
[Artwork Description: Black and white photo of The Beatles hanging out backstage. A young light-skinned John Lennon stands against the wall, facing the opposite direction of the others, and leans over, head turned to the right, looking over his shoulder. His mouth is slightly open and his thick dark hair is brushed forward and to the right with thick sideburns. He is wearing a black suit jacket. Next to him a young light-skinned Paul McCartney who also has dark thick hair brushed forward, leans forward, hands folded at his knees. He is wearing a dark turtleneck and a slightly lighter suit jacket. To his left, Ringo Starr sits in a chair in the middle of the frame. He is facing the left of the frame and holding a camera to his face with both hands. His thick dark hair is combed forward and he has thick sideburns. He is wearing a white collared shirt, black tie, and black suit jacket. He has a metal watch on his left wrist and thick silver rings on his fourth and pinky fingers on the left hand. His lips are open slightly as he squints looking through the camera. Chairs, and other furniture are set around them. Black pleated curtains hang behind Lennon.]

Neil Aspinall, The Beatles’ roadie
[Artwork Description: Black and white photo of a young light-skinned man with wavy brown hair stands to the left of the band smoking. He looks towards the band, one member blurred in front of him obscuring part of his left cheek. He holds the cigarette between his second and third fingers on his left hand, palm open, facing his chin. He has a metal watch on his left wrist. Black curtains and a white shelf with small objects are blurred in the background.]

Ringo Starr
[Artwork Description: Black and white photo of Ringo Starr, a light skinned young man with temple-long dark hair sitting in a chair against a light colored wall wearing a white collared shirt, thin black tie, and black suit coat. He wears a thick metal ring on his left hand and a metal bracelet. He wears a metal watch on his right wrist and grasps his right second finger and thumb with his left hand. Another light skinned person stands in front of Starr on the right of the frame wearing a black sweater. The person is holding a camera with the flash going off – facing the photographer of this photo. The photographer’s head is out of frame.]

Unknown woman with The Beatles, backstage
[Artwork Description: Black and white photo of a young light-skinned woman with long wavy black hair and thick bangs and puckered lips with dark lipstick wearing a dark trench coat. She sits on a table, legs crossed, holding a black and silver camera with both hands at her chest. She is turned to her right, looking at the photographer with dazed eyes. John Lennon sits in front of her, feet on the table in front of him and knees at his chest. He bites his left thumbnail as he gazes intently at the woman. He has thick dark hair, long sideburns, and is wearing a white collared shirt under a dark suit jacket. Another band member sits to his right, blocked by Lennon’s head. At the end of the table Ringo Starr leans on his left fist. He is wearing a white collared shirt, black sweater, tie, and suit jacket. He gazes at the woman with half open eyes. A geometric shaped wooden art piece hangs on the white wall behind the woman and dark curtains hang behind Starr. A stack of papers sits on the table behind the woman.]

Jean Owen of The Vernons Girls who later performed as Samantha Jones
[Artwork Description: Black and white photo of a young light-skinned Jean Owen. Owen is centered in the frame and looks directly at the camera with an energetic smile. She has dark glassy eyes and light brown hair that is curled back at the top of her head with long sideburns. She wears thick mascara and has deep dimples. She is wearing a light colored coat with a collar and a strap on the left shoulder with a buckle. The background is blurred. A red x appears in the upper left corner.]

Jean Owen of The Vernons Girls who later performed as Samantha Jones
[Artwork Description: Black and white photo of a young light-skinned Jean Owen sitting in front of a mirror. Owen’s reflection is centered in the frame and looks directly at the camera with a soft smile. She has dark glassy eyes and light brown hair that is curled back at the top of her head with long sideburns. She wears thick mascara and has deep dimples. She is wearing a light colored coat with a collar and a strap on the shoulders with a buckle. She sits in a chair, left leg crossed over the right with her hands resting gently in her lap. The background is blurred, but it appears she is sitting in front of a curtain with a metal stand at the right side of the frame. Several small objects sit on a surface in front of the mirror, but are too blurry to make out.]

John Lennon and Paul McCartney on stage
[Artwork Description: Black and white photo of young light-skinned John Lennon and Paul McCartney standing with microphones singing on stage with a row of small rectangular lights illuminating them. Lennon stands on the left playing guitar and singing into a mic on a stand. McCartney stands on the right, also playing guitar and singing. Both are wearing white collared shirts and dark suits and black shoes. Bright light shines from above and the background is black. Shadows and audio cables line the black stage behind them.]

The Vernons Girls on stage
[Artwork Description: Black and white photo of two young light-skinned women wearing light colored knee-length dresses and high heels standing on a dark stage singing into a mic on a stand. Several rectangular lights line the edge of the stage illuminating the singers. The woman at the back is near the mic stand, facing the audience to the right. The woman in the foreground has her back to the camera and holds an unidentifiable object in her right hand. The background is black.]

Peter Jay and The Jaywalkers rehearsing
[Artwork Description: Black and white photo of Peter Jay, a young light-skinned man with poofy dark hair wearing a white collared shirt, thin black tie, and dark suit jacket. He is pulling his left sleeve down with his right hand. His shoulders slightly forward and he is looking at the camera with a neutral expression. A light-skinned man with curly light hair stands in the corner of the frame facing away from the camera tuning a guitar. Another guitar player stands next to him and men are blurred working in the background. Two drums stand between the men. He stands in front of a white curtain draped in large swoops to the left and a vertical accordion wall to the right.]

The Beatles performing on tour, England, 1963
Taken on McCartney’s camera by one of The Beatles’ entourage
[Artwork Description: Black and white photo of The Beatles performing on stage enlarged and displayed as a mural. Paul McCartney, a light-skinned young man stands to the left side of the frame, standing back from the edge of the stage a ways. John Lennon stands next to him, guitar strap over his shoulder and holding a mic behind his back. His right foot slightly forward and his head tilting to the left. George Harrison stands at a mic stand at the edge of the stage, illuminated by a glowing spotlight. He holds the base of the neck of his guitar with his right hand and gestures with his left. All have thick dark hair combed forward and are wearing white collared shirts, dark suits, and black shoes. A row of rectangular lights are attached to the edge of the stage illuminated. The stage and the rest of the background are black. Shadows and audio cables line the stage.]

Bloomberg Connects Audio Guide 101

“The photographs remind me of an England that was more my parents’ generation than my own; of the early concerts and those original fans; of “Beatlemania,” a true English invention and of a London that in 1963 spoke of promise and ambition and everything new to four young men from the North.”
—Paul McCartney

At Home with the Ashers
McCartney and the actress Jane Asher became a couple after meeting at Swinging Sound – a concert broadcast by the BBC from the Royal Albert Hall, London, in April 1963. A few months later The Beatles relocated from Liverpool to London and towards the end of that year, McCartney was invited to stay in the Asher family home in Wimpole Street, in Central London. It became a ‘home away from home’, enabling him to step away from the rollercoaster of life with The Beatles.

In Wimpole Street, and with Jane as inspiration, McCartney was able to spend time exploring photographic composition and lighting techniques. The results are more intimate and considered than other photographs he took at the time.  In developing his practice, McCartney was able to observe and learn from professional photographers who were working with The Beatles at that time, such as Robert Freeman, who had photographed the band for the album With The Beatles (released as Meet The Beatles! in the US).

Jane Asher
Asher (b.1946) began her acting career as a child with the film Mandy (1952) and The Greengage Summer (1961). Other films include Alfie (1966) and The Deep End (1970). She has acted extensively on radio, television, and in the theater, and is also a writer and cook.

[Artwork Description: A young Jane Asher sitting in the shadows with light spotlighting her light, smooth skin. Her dark eyes look downward and her head is turned slightly to her left. Her red hair is parted in the middle and falls straight down her shoulders. A curtain and shelves with various objects are blurred in the background.]

Self Portrait London 1963
The Asher family put me up in a garret flat on the top floor, and I think the self-portrait in the mirror was taken in that room. Not only did the Ashers give me a home away from home, but it was full of interesting people and conversations, and was also a very good place to write. – Paul McCartney

[Artwork Description: Blurred black and white photo of a young light-skinned Paul McCartney standing in front of a wooden surface with a variety of objects on the surface and a small square shaped mirror in the center. He is slightly blurred in the mirror, but his long dark hair combed forward and slightly to the left is almost in focus. He wears a white long-sleeve shirt and has a serious expression, lips downturned. The top of the reflection is dark brown. The reflection shows a dark brown ceiling above. McCartney holds a black camera at his chest with both hands. A light colored rotary phone lays on the right side along with a few other blurred objects that aren’t identifiable.]

Bloomberg Connects Audio Guide 104

Jane Asher
[Artwork Description: Black and white photo of Jane Asher. Her face fills the middle of the frame and she is surrounded by dark shadows. Her red hair parts in the middle and hangs down to her shoulders. Her bangs are thicker on the sides and thin in the middle. She is wearing eyeliner and mascara. She sits with her body facing the right of the frame, head turned to the right slightly to look up at the camera with her big dark eyes. She has a solemn expression on her face.]

Paul at home at the Ashers’
[Artwork Description: Black and white photo of a young light-skinned Paul McCartney holding his guitar sitting in front of a replica of a house. He is wearing a collared shirt and tie with a sweater over it. His right hand is at the top of the neck, fingers on the strings, and his left hand resting with fingers gently curved over the body of the guitar. His thick dark hair covers his eyebrows and part of his eyes. He has a solemn expression, lips closed.]

Jane Asher
[Artwork Description: Black and white photo of Jane Asher, a young, light-skinned woman with jaw-length, straight, red hair. She is wearing a black short-sleeve sweater and pulling her hair up in the middle styling it. She is looking straight into the mirror and her surroundings are blurred.]

Musician and producer Peter Asher, Jane’s brother
[Artwork Description: A black and white photo of a young light-skinned Peter Asher laying in a bed, propping his head up with his right arm folded behind it. His left arm is outstretched against the wall with dark wall paper with a vertical pattern with elongated vertical diamonds with a smaller elongated horizontal diamond on top of it and polka dots between. He has light brown wavy hair and is wearing black framed glasses and a black shirt. He lays under a thick bedspread with gray and white stripes.]

George Harrison
[Artwork Description: Black and white photo of a young light-skinned George Harrison. He is standing at attention, right hand touching the brim of his black police style hat. He is wearing a black leather jacket with small round buttons. He looks directly into the camera with a resolute expression. His eyes and the bridge of his nose are covered in a shadow from his hat.]

Ringo Starr
[Artwork Description: Black and white photo of a young light-skinned Ringo Starr wearing a large black hat resembling a pirate hat with a white circle of pleated material at the top. His thick dark hair is combed forward covering his eyebrows. He has a five o’clock shadow. He faces slightly right and looks to the left of the frame. His left eye is slightly closed and looking far to his left. He wears a light colored collared shirt and dark suit jacket.]

French model Sophie Hardy
[Artwork Description: Black and white photo of a young light-skinned French model, Sophie Hardy. She is wearing a fitted flat black sleeveless dress with a slit up the left side to the upper thigh and black fishnets with black shiny heels. Her blond hair is cut in a bob with several layers and waves. She is photographed in profile, looking to the left of the frame while smoking a cigarette between her left second and third fingers. A black photoshoot light stands behind her and various stage materials are blurred to the left.]

The Olympia Theatre, Paris
[Artwork Description: Large black and white photo of fans on the sidewalk crowded around the Olympia Theatre where The Beatles were performing. On the left, a fan with dark short hair wears a light colored trench coat. Next to him others wear dark coats. The marquee reads: The Beatles and Sylvie Vartan in large white letters. Smaller signs are partially visible, but parts of the words are hidden.]

George Harrison and John Lennon on a Paris street
[Artwork Description: Black and white photo of John Lennon and George Harrison huddled together in the alcove of a brick wall. Lennon gazes directly at the camera with a thoughtful expression. His thick brown hair is combed across his head and he has long sideburns. He is wearing a white collared shirt and a black sweater with a scoop neck. Harrison glances over his left shoulder, past the camera with an almost worried expression, brows furrowed and lips slightly open. His dark hair is combed forward and slightly wavy. He also has thick sideburns. He is wearing a white collared shirt under a dark wool sweater. A window with thick dark screens and irregular wood frame is visible behind them.]

John Lennon
[Artwork Description: Black and white photograph of a young light-skinned John Lennon. He is standing against a brick wall in a partial profile looking towards the left corner of the frame. He is wearing a white collared shirt and black coat. His thick dark hair hangs over his eyebrows and sweeps to his right. His dark eyes are fixed intently with a solemn expression. Two large doors with four pane windows are blurred in the background.]

George Harrison
[Artwork Description: Black and white photo of a young light-skinned George Harrison. His thick dark hair is combed forward over his forehead obscuring his eyebrows. His dark eyes gaze to his left, mouth partially opened with a concerned expression. He is wearing a white collared shirt and black coat with the collar folded up. The background is blurred behind him.]

Bloomberg Connects Audio Guide 105

Paris

“I said ‘I don’t think we should go to America until we’ve got a number one hit’. So we waited, and we happened to be in the George V hotel in Paris when the telegram arrived from Capitol Records in America. We just screamed and jumped on each other and ran around the hotel room and danced. It was a lot of fun.”
—Paul McCartney

McCartney, John Lennon and George Harrison had arrived in Paris on January 14, 1964, just two days after completing the run of their Christmas Show, and the day after appearing on Sunday Night at the London Palladium. Ringo Starr flew in from Liverpool the following day.

McCartney’s photographs provide a remarkable insight into the intensity of The Beatles’ schedule during this visit, including photoshoots and recording sessions. These appointments were planned around an 18-day season at the Olympia Theatre that sometimes included three sets a day. They were supported by singers Sylvie Vartan and Trini Lopez.

On January 15, the band received a telegram informing them that their single “I Want To Hold Your Hand” had reached no. 1 in America. This was the turning point for The Beatles.

The Beatles in Paris

Official 3-day itinerary for prize-winners in a competition run by British newspaper Sunday Mirror (facsimile)
[Artwork Description: Typed itinerary for prize-winners in a competition run by British Newspaper the Sunday Mirror. The words are too blurry to read. It is divided into three sections with section headings left aligned and underlined. A column of times appears on the left with details of each event on the right.]

C’est Magnifique
Photo-story on The Beatles’ time in Paris from Fabulous magazine, 28 March 1964, including a portrait of McCartney with his Pentax camera.

[Artwork Description: Photo-story on The Beatles’ time in Paris from Fabulous magazine. At the top left corner is a graphic with a hand, finger pointing down. To the left letters read Les Beatles in Paris. To the right along the top is the copy. It is too blurry to make out. Underneath large bold letters at the left read C’est magnifique. Under is a series of pixelated, blurry, black and white photos of the band. The photos depict the band signing autographs, riding in cars, talking with fans, singing on stage, and taking photos. One photo is of Paul McCartney taking photos on his Pentax camera.]

Official Programme
Official programme for The Beatles’ season at the Olympia Theatre in Paris, in which they performed alongside variety acts and musicians including Trini Lopez and Sylvie Vartan, who are pictured alongside McCartney and George Harrison on the cover.
(original cover and facsimile title page)

[Artwork Description: Black and white programme for the performances at the Olympia Theatre. The front is headshots of some of the acts including George Harrison on the top left, Paul McCartney on the top right, Trini Lopez on the bottom left, and Sylvie Vartan on the bottom right. Harrison, a light-skinned young man with thick black hair combed forward faces to the left of the frame and turned his head to the left to look at the camera with direct eye contact and a large toothy grin. He wears a dark suit and is surrounded by black. A young light-skinned McCartney faces the camera with his head tilted to the right. He has a toothy grin. His thick dark hair is combed forward and he has thick dark eyebrows. He is wearing a black turtleneck and is sitting in front of a light colored background. Lopez appears slightly older. He has light skin and thick black hair gelled up. He faces to the right of the frame with a big smile. He is wearing a white collared shirt that is unbuttoned at the top with a dark jacket and sits in front of a light background. Vartan looks directly at the camera, resting her chin on her right fist. She has blonde hair that curls under at the bottom and is teased out with thick bangs wisped across her forehead nearly covering her dark eyes. Her lips are closed with a slight smile. She is wearing a dark shirt and sitting in front of a black background with a bright light illuminating her hair from behind. The back lists the acts in large black letters. The smaller type is not legible. The larger words include: et Pourtant, par Daniel Janin, Larry Griswold, Roger Comte, Pierre Vassiliu, Les Hoganas, Gill Miller, et Arnold Archer, Trini Lopez, Sylvie Vartan, Vinicio, Les Beatles.]

Performing and Recording

At the Olympia Theatre, The Beatles shared the bill with the American singer Trini Lopez and singer and actress Sylvie Vartan. McCartney photographed Vartan performing on stage. She had recently become engaged to French rock star Johnny Hallyday, whom McCartney also photographed.

In addition to their daily performances at the Olympia, The Beatles were writing songs for their forthcoming film, A Hard Day’s Night. One of these new songs, “Can’t Buy Me Love” was partly recorded at the Pathé Marconi Studios in Paris, pictured in these images. During this session they also recorded “Komm, gibmir deine Hand” (“I Want To Hold Your Hand”) and “Sie liebt dich” (“She Loves You”) for release in West Germany.

Sylvie Vartan on stage
[Artwork Description: Black and white photo of a young light-skinned Sylvie Vartan singing on a sparsely decorated stage. She stands at the front of the spotlight portion of the stage, holding a mic in her right hand and holding her left hand outstretched in front of her. She wears a fitted, but flowing light colored knee high dress with a band at the waist. Her blonde hair is cut in a chin length bob. A metal mic stand stands in front of her and a bright round light shines at the top right corner of the frame. At the back of the stage three backup dancers wearing similar dresses stand behind three mic stands. They are all light-skinned and have chin length dark hair. They sing in a line with their arms outstretched on either side as if they are surfing. The band including a guitarist and saxophone player stand between the grand piano and the singers. The men have dark hair and are wearing dark suits. The back of the pianist is barely visible. He has dark hair and is wearing a black suit jacket. The background is fully black.]

French rock star Johnny Hallyday with unknown man
[Artwork Description: Black and white photo of two young light-skinned men sitting in front of a wall. Johnny Hallyday sits on the left of the frame wearing a long sleeved white collared shirt. He leans forward, resting his elbows on his knees and folding his hands between his legs. He looks off into the distance. His thick tall brown hair is gelled and brushed back slightly. To his right another man with receding black wavy hair wearing a white collared shirt, thin black tie, and black coat with a white handkerchief in the left breast pocket. He looks down at the paper he holds in his hands and leans close to Hallyday.]

Brian Sommerville, The Beatles’ press officer, with their manager Brian Epstein, George Harrison and Ringo Starr
[Artwork Description: Two exposures of black and white photos of Brian Epstein, Ringo Starr, and George Harrison stand in a group looking back towards Brian Sommerville who stands facing away from the camera. In the first frame, Somerville is a middle-aged light-skinned man who is bald on the top of his head with dark hair on the sides. He wears glasses and a light colored trench coat. In front of him, Brian Epstein, a young light-skinned man with dark hair combed to the right, wears a long black trench coat. Next to him on the right, Ringo Starr, a light-skinned young man with thick dark hair combed forward, stands looking at Sommerville holding an item in his hand. He is wearing a white collared shirt, thin black tie, and black suit jacket. Just behind him a young, light-skinned George Harrison looks towards Sommerville. His dark thick hair is combed forward and his mouth is slightly open. He is wearing a black trench coat. The light-colored wall behind them has vertical stripes resembling a curtain. On the left of the frame is a large black vertical stripe with a white rectangle in the middle. In the second frame McCartney and Harrison turn to face Sommerville taking photos of him. Epstein is hidden behind McCartney. The background remains the same as the first frame.]

Musicians recording at the Pathe Marconi Studios
[Artwork Description: Three young light-skinned musicians record music in a large room with tall windows. On the left, a young man with short dark hair wearing a dark shirt and jacket plays a white drum set. In the middle, a young woman with chin length dark hair, curled under with heavy bangs wears a white collared shirt with light stripes and a dark sweater. She has a purse over her left shoulder. She looks straight ahead with her lips pursed. Behind her on the right side of the frame a man with dark hair plays trumpet. The left side of his body is off frame. A table with coats and other objects is blurred in the background.]

Musicians recording at the Pathe Marconi Studios
[Artwork Description: Black and white photo of musicians in a recording studio. On the right foreground a middle-aged light-skin man with short dark hair leans against a piano holding a trumpet with both hands. He is wearing a white long sleeve collared shirt, thin black tie, and light pants. Behind him a light-skinned young woman with chin length blonde hair, curled under, with bangs sweeping across her face sits on a bench wearing a white turtleneck sweater, black necklace, and dark skirt. She crosses her legs, holding her right knee in the palms of her interlocked fingers. White trimmed windows are blurred behind her and various blurred objects sit on the bench beside her. A black music stand and a blurred shoulder and side of head show in the right corner.]

Ralph Di Pietro, bass player for Johnny Hallyday’s band, Joey and the Showmen. Here he is shown playing Hallyday’s own Guild Guitar.
[Artwork Description: Black and white photo of a musician recording in the studio. On the bottom right corner the blurred image of a young light-skinned man with short black hair wearing a plaid shirt and dark jacket sits in front of a grand piano playing a black guitar. He looks down towards the guitar as he strums. Behind him in the background is another light-skinned man with short dark hair holding a trumpet in his left hand and covering his mouth with his right hand. He leans against the piano, left knee bent, and left foot crossed over his right. He is wearing a white long sleeved collared shirt with a thin black tie, tan pants, and black shoes. A table behind him holds a pile of blurred objects.]

Unknown woman in the Georges V Hotel
[Artwork Description: Black and white photo of a light-skinned woman seated in a stuffed chair. Her neck and head are out of the frame. She is wearing a light colored long coat with large buttons, black gloves, and black shoes that are only partially visible. She holds a cigarette between the second and third fingers on her right hand as it rests on her knee. She crosses her left leg behind her right and prominently displays her right leg from the knee down. Another chair is partially visible at the left of the frame with a glass table holding blurred objects behind it.]

The Beatles’ roadie Neil Aspinall
[Artwork Description: Black and white photo of a young light-skinned Neil Aspinall laying on a light colored couch with big dark throw pillows. His gelled hair is messy and he gazes up into the air. His right arm is propped up on the couch, forearm outstretched and palm gently closed. He wears a light colored collared shirt, thin black tie, and black suit jacket.]

Neil Aspinall in the George V Hotel
[Artwork Description: Black and white photo of Neil Aspinall, a light-skinned young man with dark hair and long sideburns sits smoking a cigarette in front of a TV in a hotel room. He is wearing a white collared shirt, thin black tie, and black jacket. The white cuffs of his shirt extend beyond his black jacket. He leans forward, elbows on his thighs looking to his left. At the right of the frame a piece of equipment resembling a suitcase sits on the floor in a doorway and furniture in the room behind is blurred.]

John Lennon in the George V Hotel
[Artwork Description: Black and white photo of a young light-skinned John Lennon with thick dark hair combed forward wearing a white collared shirt and dark pants playing an acoustic guitar behind a bouquet of tulips and other flowers. On the left side of the frame furniture is blurred in the next room. On the right is a white wall with a floor lamp with a thin gold base and light colored shade.]

Brian Epstein, George V Hotel
[Artwork Description: Black and white photo of a young, light-skinned Brian Epstein sitting in a chair laughing as he holds a camera. He has dark hair and is wearing a white collared shirt and a black suit jacket. He holds the camera in his left hand and his right hand is blurred in motion. His head is tilted slightly back, eyes closed in mid-laugh. A white door is behind him on the right and a table with blurred objects and curtains to the left.]

Brian Epstein, George V Hotel
We got to know Brian much better during the Paris and US trips.
-Paul McCartney

[Artwork Description: Black and white photo of a young, light-skinned Brian Epstein sitting in a chair with a large grin while he holds a camera. He has dark hair and is wearing a white collared shirt and a black suit jacket. He looks directly at the camera. A white door is behind him on the right and a table with blurred objects and curtains to the left.]

Bloomberg Connects Audio Guide 106

John Lennon and George Harrison pose for sculptor David Wynne
[Artwork Description: Black and white strips of photo series, five frames each, one positioned above the other. Each frame shows a young light-skinned John Lennon with dark thick wavy hair combed over his forehead and thick sideburns interacting with the bust sculpted in his image. Lennon appears on the left of the frame in profile and the bust appears on the right. In the first three photos he is poking the bust’s mouth. In the fourth he grabs it by the neck, while flashing a cheesy toothy grin and cocking his head to the left. In the fifth Lennon stands behind the bust, hiding. The bottom strip continues the theme. The first two frames have Lennon and the bust nose to nose. The third has him starting to tickle the bust under the chin. The fourth pretending to prepare to punch the bust under the chin. Finally the fifth, pretending to box with it, both Lennon’s hands in fists around the bust’s face. A chandelier looking sconce is blurred on the wall behind.]

John Lennon
[Artwork Description: Black and white photo of a young light-skinned John Lennon appearing in profile on the left of the frame looking intently at his sculpted bust appearing on the right side of the frame. He looks intently into the bust’s eyes and nearly touches its chin with his bent second finger. He has long thick dark hair that is wavy and combed over his forehead and thick sideburns. A chandelier style wall sconce is blurred behind him. A single red line runs across the bottom of the frame.]

John Lennon and George Harrison post for sculptor David Wynne
[Artwork Description: Black and white photo of a young light-skinned George Harrison. He sits at the right of the frame in a black sweater. His dark eyes fixed straight ahead and his dark, thick hair combed forward over his forehead. Sculptor David Wynne stands in front of him to the left of the frame sculpting his bust. Wynne wears a dark long sleeve plaid shirt and has messy black hair.]

On the street and in the George V Hotel

Including John Lennon, George Harrison, Ringo Starr, manager Brian Epstein, press officer Brian Sullivan, Daily Mail journalist Vincent Mulchrone, and photographer Harry Benson.

[Artwork Description: Black and white film contact sheet with photos showing the band on the street and in the George V Hotel. In most photos the bandmates are wearing white collared shirts with black ties and suit jackets. A few frames include other artists, support persons, and fans.]

Portraits in Paris.

Subjects including John Lennon, George Harrison, and model Sophie Hardy.

[Artwork Description: Black and white film contact sheet with photos showing the band on the street in Paris. In most photos the bandmates are wearing white collared shirts with black ties and suit jackets. A few frames include other artists, support persons, and fans.]

The Beatles posing with clay portrait busts with sculptor David Wynne

These contact sheets represent some of the photographs McCartney took in Paris. Contact sheets show all the shots on a roll of film on a single sheet. McCartney had them made in February 1964 so that he could review all the images he had taken on his Pentax camera during this trip. Since that time, the original film negatives have been lost, but it has been possible to produce prints for this exhibition by making high quality scans of these small images, which create a vivid portrait of The Beatles’ time in Paris.

[Artwork Description: Black and white film contact sheet with photos showing the band with sculptor David Wynne as he sculpted their busts. In most photos the bandmates are wearing white collared shirts with black ties and suit jackets.]

Press photographers including Dezo Hoffman and Alisdair Macdonald of the Daily Mirror
[Artwork Description: Black and white photo of five male photographers taking photos of the band. They stand in a clump, holding their cameras to their eyes. They are wearing a variety of coats and one wears a stocking hat. A light skinned male with dark hair and a light skinned female with dark hair stand behind the photographers watching.]

Fans and photographers in Paris
[Artwork Description: Black and white photo of fans on the street watching the band. In the front left, a middle-aged light-skinned photographer wearing a light colored coat with large round metal buttons holds a camera vertically in front of his left temple. His left elbow mostly obscures the face of the shorter photographer next to him. Behind that photographer a young woman with straight brown bangs grins and waves with her left hand. A light-skinned male with brown hair and glasses stands behind her shouting. Another onlooker stands in the crowd, face obscured, right hand with a black glove raised. On the right side of the frame an older light-skinned policeman wearing a black coat with round metal buttons and a black police hat with a large brim bordered with a metallic strip and a logo blurred in the middle. Another police officer stands behind him, just his right ear and eye showing and part of his hat. An older light-skinned man stands next to him. He has a dark mustache and is wearing a tall black hat. Next to him another young light-skinned photographer with light colored wavy hair gelled and brushed to the left holds a camera to his face. Building facades line the street, but the details are blurred and the sky is blown out casting a haze over the photo.]

John Lennon on a Paris street with press and photographers.
[Artwork Description: Black and white photo of a young light-skinned John Lennon wearing a black newsboy hat. He has dark thick hair hanging over his eyebrows and thick sideburns. He looks over his right shoulder with a natural grin. He is wearing a white collared shirt and a black coat. The background is blurred behind him.]

Paris street scenes
[Artwork Description: Black and white photo of fans crowding a Paris street as the band passed. On the left a middle-aged light-skinned man with blonde hair parted on the left and brushed back wears a light colored coat and holds a camera to his eye. A man with light brown hair hunkers next to him holding a camera to his face with his right hand. Behind them three young women with brown hair smile and look on, one in the middle with her right hand raised wearing a black glove. On the right a line of policemen stand looking towards the band. They wear black coats with round metal buttons and hats with metallic trim around the brim and a logo blurred on the front. Building facades line the street with the sky blown out creating a white haze.]

Hand-written sheet from McCartney’s diary documenting the trip he had made to Paris with John Lennon in 1961 to celebrate John’s 21st birthday.

He describes seeing French rock star Johnny Hallyday at the Olympia Theatre, where The Beatles would later perform. (facsimile)

Transcription of Paul McCartney’s diary entry from 1961, from his hitchhiking trip to Paris for John Lennon’s 21st birthday

It was 10 o’clock, o’clock it was, when we are entertaining the “Olympia” in Paris, to see the Johnny Hallyday rock show, ‘cos we remember thinking at the time. The cheapest seats in les theatre (French) were 7/6 (English) so we followed the woman with the torch.

When Johnny Hallyday came, everybody went wild — and many was the stamping of cheering in the aisles; and dancing too. But the man said sit down, so we had to.

The excitement rose, and so did the audience and in the end there were many boys and girls dancing along the back rows. Also old men, which is even stranger, isn’t it?

This was a real rock and roll riot — and we were excited to watch rock hitting the French town of Paris.

Meanwhile, later the same week we go to Les Rock Festival featuring Danny et les Pirates, and many more groups for your evening’s entertainment. Topping the bill was Vince (“Come back Ron”) Taylor, star of English screen and “Two I’s.”

The atmosphere is like many a night club, but the teenagers stand round the dancing floor which you use as a stage. They jump on a woman who sings with golden trousers and a microphone and then hit the man when he says go away.

A group follows, and so do the rest of them — playing Apache worse than Joe Loss, or his brother — Geraldo Loss. When the singer joins the band — the leather jacket fiends who are the audience join in dancing and banging tables with the leg of a chair and joining in.

The singers have to go one better than the audience, so they lie on the floor or jump on a passing drum or kiss one of the guitars, and then hit the man playing it. The crowd like this and many stand on chairs to see the fun, and soon the audience are all singing and shouting like one man, but he didn’t mind.

Vince “Ron” Taylor finally appears and joins the fun, and in the end he has so much fun that he passes out, raising a cry of “Il cest unconscious” from the French people in the audience. But in spite of all this it has been a wonderful show, lovely show… lovely.

[The rest of the page is filled with typographic logo ideas for The Beatles. These ideas evolved into the logo on the Les Beatles’ EP sleeve]

© 1961 Paul McCartney under exclusive license to MPL Archive LLP

Handwritten lyrics for ‘I Want To Hold Your Hand’ written in pen by Paul McCartney on torn pages of a lined notebook

I WANNA HOLD YOUR HAND
Oh yea, I’ll tell you something
I think you’ll understand
When I say that something
I wanna hold your hand
Repeat twice
Oh please say to me
You’ll let me be your man
and please say to me
you’ll let me hold your hand
and when I touch you
I feel happy inside
it’s such a feeling
that my love
— I can’t hide
I can’t hide
Oh you got that something
I think you understand
When I feel that something
I wanna hold your hand

Handwritten lyric sheet:
© Paul McCartney under exclusive license to MPL Archive LLP

Lyrics used by permission: © 1963 MPL Communications Inc and Songs of Universal Inc.
Administered in the U.S. by MPL Communications Inc and Songs of Universal Inc.
Administered outside the U.S. by Songs of Universal Inc.
All rights reserved.

A Day in the Life

McCartney had visited Paris with John Lennon in 1961. Arriving as hitchhikers and aspiring musicians, they attended a performance by the French rock star Johnny Hallyday. By 1964, they had become stars, but McCartney’s photographs of Parisian streets and landmarks nevertheless convey a tourist’s delight in the sights of the city. Many of the images were captured from the window of the Austin Princess car, that had been driven from London by their chauffeur Bill Corbett.

During their time in Paris, The Beatles also agreed to pose for a portrait sculpture by the British artist David Wynne, and McCartney took the opportunity to take some pictures of the band alongside their likenesses, molded in clay. He also pictured them posing for a playful magazine photoshoot alongside the model Sophie Hardy, dressed in iconic French costumes.

In preparation for their first film A Hard Day’s Night, the director Richard Lester and screenwriter Alun Owen were invited to shadow The Beatles in Paris, staying in adjacent rooms at the George V Hotel. They observed how the band members seemed to take the experience in their stride and, as Lester recalls, “The film was writing itself as we went.”

Crowds in Paris
[Artwork Description: Black and white photo of a crowd of young people attending a concert in Paris. In the center a young light-skinned female with long straight black hair and heavy bangs wearing a black coat and gloves grins, mouth open, with deep dimples, raising her right hand in the air. A light skinned male stands next to her, gazing at her and speaking into her ear. He has light brown hair that is parted on the left and brushed back. Another light skinned male with curly black hair appears behind her. Others are blurred in the background.]

View of the Champs-Élysées​
[Artwork Description: Black and white photo of the Champs-Élysées taken from inside a car​. The black silhouette of a person in the front seat fills the left side of the frame. The dark car ceiling fills the upper frame and the rearview mirror hangs down on the right. Through the windshield the Champs-Élysées​ stands high above the street, arch in the middle, with a large rectangular top. A row of barren trees lines the street on the right side. Other cars are blurred on the road ahead. The gray sky is almost whitewashed, filling the frame like fog.]

Poster for The Beatles, including photo taken by their friend Astrid Kirchherr
[Artwork Description: Black and white photo of a large poster of the band being displayed on a large building. It features six vertical columns of photos of the band that resemble photo booth printouts – three sets of two vertical strips next to each other with white between them. The top of the poster has a dark banner with white letters reading “Les Beatles a Olympia du 1 Javier, Au 4 Fevrier. To the right another poster hangs with two copies of two advertisements. The smaller letters are not readable. The large letters read Judith and Theater Hebertot Yerma. A large truck with a canvas wrap over the truck bed is parked in front of the posters blocking the bottoms from view. Vertical planks of wood line the building above the posters and a dark building rises above the roofline with a partially visible sign reading Publia. A tree and street lamp rise up to the left of The Beatles’ poster; rounded shop windows reveal the shadow of a blurry figure entering the shop and two men in black suits walking towards the shop. A tall white building with rows of ornate windows is visible on the left.]

John Lennon
[Artwork Description: Black and white photo of a young light-skinned John Lennon standing outside wearing black round sunglasses, a white collared shirt, thin black tie, and black jacket carrying a bag with a black leather strap and silver buckle on his right shoulder. Lennon’s thick dark hair is brushed to the right across his forehead and he has thick sideburns. He is looking over his right shoulder slightly with an attentive expression, lips slightly open. A man with dark brown hair wearing a black coat stands facing in the opposite direction. Behind them is a light colored wall with a black iron fence and a white building with large windows with ornate metal coverings.]

Brian Epstein
[Artwork Description: Black and white photo of a middle-aged Brian Epstein. A light-skinned man with dark hair gelled back and a deep receding hairline. He is wearing a white collared shirt, thin black tie, and black suit jacket. He has a soft smile and is looking down.]

The Beatles with clay portrait busts by David Wynne
[Artwork Description: Black and white photo of the band posing with busts sculpted in their images. The busts are light colored and held up with rustic wooden stakes. John Lennon, a light-skinned young man with dark thick brown hair brushed forward over his forehead to the right, leans forward, hands on his knees just off frame behind his bust. He is smiling, mouth open, and wearing a light colored collared shirt and black pants. A young light-skinned Paul McCartney stands next to him with long black thick hair that is slightly messy on the forehead. He wears the same type of clothing as Lennon and looks directly at the camera with a large open-mouth grin. A young light-skinned George Harrison stands next to him. He is wearing all black and is leaning forward slightly, his right hand bent at the wrist hanging next to the stake of his bust. He has thick dark hair brushed forward and to the right and has bushy eyebrows. He looks directly at the camera with a toothy grin. A young light-skinned Ringo Starr stands at the end of the line. He stands upright and has messy brown hair with heavy bangs and sideburns. His eyes gaze to his left. HIs mouth is open in an awkward pose – possibly mid-speak. Curtains and decorative wooden frames are blurred behind.]

French model Sophie Hardy
[Artwork Description: Black and white photo of a young light-skinned French model, Sophie Hardy. She stands in profile, body facing the left of the frame, head turned looking over her left shoulder. Her blond hair has large curled bangs and is curled into a teased bob. Her mouth is open revealing thin cheeks with a strong jawline. Her dark eyes are fixed on something to the right of the frame. She wears a black sleeveless dress. Her right hand holds her neck, elbow extended to the left of the frame. She has a large metal teardrop shaped earring that dangles over her upper arm. Her left arm hangs gently at her side. The black background is blurred.]

Ringo Starr
[Artwork Description: Black and white photo of a young light-skinned Ringo Starr smoking a cigarette. He faces the right corner of the frame and lifts his left hand up towards the cigarette that is already lit causing smoke rigs to form around his hand. His dark thick hair is brushed forward and to the right and his sideburns blend into the black shadows. He wears a white collared shirt, and dark jacket. Light beams down from above illuminating his head, hand, and blurred objects in front of him. A bright light erupts from his hand and fills the background in a vertical then horizontal line.]

Ringo Starr
[Artwork Description: A young light-skinned Ringo Starr sits cross legged, left leg over right. His hands rest on the armrests. He is wearing a white collared shirt, thin black tie, and black suit. He sits on a tan colored large chair with a second seat next to it. Rippled brown material hangs on the wall behind him and a white and gray striped cord hangs just inside the right of the frame. His thick dark hair is brushed forward, partially covering his eyebrows. His eyes appear closed and his lips are gently closed.]

Paris street view from car
[Artwork Description: Black and white photo taken from The Beatles’ car on a street in Paris with a traffic cop in the middle of the street. The cop is wearing a big black hat and a long black trench coat. His left hand is extended pointing forward. Six lines of cars come from the opposite direction. Tall buildings with bare trees and street lights line the road. The car window frame and the outline of a person in the front of the car are blurred.]

John Lennon
[Artwork Description: Black and white photo of a young light-skinned John Lennon. He has long thick dark hair brushed over his forehead under his black newsboy hat and has thick sideburns. He is looking over his right shoulder with a natural grin. The background is blurred behind him.]

Paris Street Scene
[Artwork Description: Black and white photo of Parisian fans watching from the sidewalk as the band drives down the street. The first on the left is an older light-skinned man wearing a black hat, black coat, and glasses. He looks directly at the band with a serious expression. Next to him is a young light-skinned man with wavy black hair. He is wearing all black and has a solemn expression. Behind him is an older light-skinned woman with wavy black hair wearing sunglasses. Next to her is another young light-skinned man with thick black wavy hair that makes a shelf above his forehead. He is shown in profile facing the right of the frame wearing a black coat. Behind him is an older light-skinned man with a receding hairline and wavy black hair. He looks directly at the photographer with a slight smile and is wearing a black coat.  Two women stand to the right, both with black hair. One wears a white coat and the other a black. They face away from the camera. A metal corrugated awning extends above them and a tree trunk flanks the left of the frame.]

John Lennon and George Harrison
[Artwork Description: Black and white photo of young light-skinned John Lennon and George Harrison. Lennon sits on the left side of the frame wearing a large black pirate style hat with a white circle of pleated material at the top. He is wearing a white collared shirt, thin black tie, and black suit jacket. He looks to his right. To his left Harrison sits looking to his right with an open-mouth smile. His long dark hair peeks out from under a round black police style hat and covers his left ear. He wears a light colored collared shirt and a black coat. A light colored strap is visible on his left shoulder.]

British sculptor David Wynne, sculpting a portrait of George Harrison
[Artwork Description: Black and white photo of a middle-aged David Wynne. He has brown hair that is parted on the left and combed to the right. He’s wearing a black shirt. He uses his left hand to stabilize his right hand as he sculpts the nose on George Harrison’s bust sculpture. The sculpture has visible clay strips on the head and smaller dots on the face.]

Brian Epstein
[Artwork Description: Black and white photo of a middle-aged Brian Epstein. He is a light skinned man with dark hair gelled back and a deep receding hairline. He is wearing a white collared shirt, thin black tie, and black suit jacket. He is sitting reading a newspaper, sucking on his bottom lip. A dark table with a crystal lamp is blurred in the background.]

Unknown woman
[Artwork Description: Black and white photo of a young light-skinned woman with thick black hair that is teased at the top and then curls out at the check bone. Her dark eyes look softly at the camera and she has a very slight smile. She is wearing a thick black coat. Behind her another light-skinned woman with her light brown hair cut in a similar style stands facing the right of the frame wearing a dark dress. A window is blurred in the background radiating light.]

Ringo Starr
[Artwork Description: Black and white photo of a young light-skinned Ringo Starr laying on a couch propped up by large throw pillows. He is wearing a white collared shirt that is unbuttoned at the top. His thick dark hair is combed forward and a bit messy. His dark eyes look directly at the camera and he has a weary expression.]

Paris Street Scene
[Artwork Description: Black and white photo of Parisians sitting at a restaurant with tall windows watching as the band passes on the street. An older waiter with brown skin and receding black hairline wears a white shirt and jacket with a black vest and bow tie. His left arm is bent and a white towel hangs over it. He reaches into his jacket with his right hand. To the right a young light-skinned couple sit at a small round bistro table filled with indistinguishable white objects. The woman wears a black dress and big black coat and a large fur hat. She holds a cigarette to her lips with her right hand which has a large ring. The man is shorter and sits to her left. He holds the table with his left hand and looks over his left shoulder out into the street. Next an older light-skinned woman with long blonde hair that is curled and cascades down her right shoulder sits at another table wearing a black dress and ornate jewelry. On the street, three light-skinned people walk in a line passing the restaurant. The man closest to the window is wearing all black, has his dark hair gelled back, and has his head turned gazing in the window. To his left a tall woman with short black hair wearing all black looks towards the band in the street. Next to her is a shorter woman with short black hair wearing a white turtleneck, black skirt, and black coat, with a large handbag hanging off her left wrist that is made of stripes of light and dark material. Behind her an older light-skinned man that is balding wears a white collared shirt, thin black tie, and a brown coat. He sits at a small bistro table picking up a teacup with his right hand. Other customers are blurred in the background.]

George Harrison with portrait bust by David Wynne
[Artwork Description: Black and white photo of a young light-skinned George Harrison with dark thick hair combed over his forehead, bushy eyebrows, and focused dark eyes. He is wearing a black shirt and posing behind his bust which was being sculpted.]

Bloomberg Connects Audio Guide 107

From New York to Miami

At each airport they visited, the scenes of screaming Beatles fans repeated and amplified as the month progressed. McCartney chose to direct his lens towards the airport workers, the police, and the press photographers, who responded to the attention with surprise and delight. He captured the baggage handlers, with their fingers in their ears to block out the screams.

Having taken the country by storm with their performances on The Ed Sullivan Show in New York, The Beatles were booked to appear on the show for a  second broadcast live from the Deauville Hotel, Miami Beach. McCartney’s photographs show some of the seven thousand fans waiting in the sunshine at Miami International Airport, among them three beauty queens and a pet chimpanzee.

Welcoming scenes at Miami Airport
[Artwork Description: Black and white photo of fans, airport staff, and police welcoming the band’s plane in Miami. Around 100 individuals stand on the rooftop viewing deck behind a metal fence. Another set of fans stand in the terminal packed in like sardines around the three vertical windows at each gate. The terminal exterior is composed of thin, white, vertical boards. A large air stair sits in front of the terminal and is viewed from underneath. It is supported by two large metal poles with smaller cross beams. The stairs are surrounded by luggage carts and other tarmac equipment. Seven airport staff mill about the tarmac working on the equipment in white coveralls. Most are light skinned, but one dark-skinned man leans against the terminal wall. A light skinned worker wearing white coveralls wears a hard hat while walking under the stairs. Two others wear dark clothing. Three pilots look on wearing uniforms including captain’s hats. Security and three light skinned men wearing dark suits with white shirts and black ties or bowties stand along the tarmac. Some men operate machinery on the tarmac. One younger worker wearing dark pants and shirt plugs his ears with his fingers as he looks toward the left of the frame. Behind him another young worker who is wearing white coveralls sits on a luggage cart plugging his ears with his hands looking to the right of the frame. At the right side of the frame a light-skinned man wearing a dark suit and tie with a white shirt also plugs his ears with his fingers. In the background is a large garage-like space with a light colored vehicle parked in it, details too blurry to see.]

Welcoming scenes at Miami Airport
[Artwork Description: Black and white photo of travelers, fans, airport workers, and police filling the tarmac welcoming the band. A mass of people tightly packed into a small area fill the top of the photo. It is difficult to make out individual attributes as the image is grainy and blurry. A few people walk through the middle of the frame. At the bottom is a large group of airport workers wearing white coveralls. The sun shines from the left of the frame casting long shadows to the right of each figure. The workers at the bottom of the frame are wearing hard hats.]

Welcoming scenes at Miami Airport
[Artwork Description: Black and white photo of crowds of people filling the Miami Airport to welcome the band. Around 100 individuals stand on the rooftop viewing deck behind a metal fence. Another set of fans stand in the terminal packed in like sardines around the three vertical windows at each gate. Below the window is a large round dark sign that says stop in white letters at the top and 95 in gray below. Smaller gray letters appear between, but are not readable. Below airport staff stand on the tarmac amid trucks and tugs. The external wall of the terminal has thin, white, vertical stripes. The sky is whitewashed above.]

Welcoming scenes at Miami Airport
[Artwork Description: Black and white photo of crowds packed on the roof, in the terminal, and on the tarmac waiting to greet The Beatles. There are about 150 visible on the roof, though there are likely others behind who cannot be seen. Several also stand on a staircase at the right of the frame. Inside the terminal people are crowded around the windows. Their details are too grainy to make out. On the ground a line of people stand against the building wall. In front of them is a line of police cars. On the left, cameramen stand on air stair platforms taking photos. On the right, airport crews wait on another air stair platform, preparing to greet the plane. On the tarmac a crowd of press, VIP’s, and police stand cheering as the plane approaches. In the center at the bottom a man wearing a captain’s uniform and hat stands looking outward, his right hand shading his eyes. Behind him police surround two young women who appear to be VIP beauty queens. They are wearing swimsuits and high heels with sashes across their chests.]

On Board
On board the plane to New York, McCartney used both color and black and white film to take affectionate portraits of his fellow travelers: his bandmates, their manager Brian Epstein, and John’s wife Cynthia Lennon. Numerous invited journalists and photographers accompanied The Beatles.

McCartney’s engaging photographs convey the general sense of excitement and anticipation on board.

View from plane window
[Artwork Description: Black and white photo of an airplane wing. The silver wing stretches out on the left side of the frame. Two jet engines extend from the wing to the right of the frame. They are dark for three fourths and the top fourth is silver. Several seams can be seen on each with evenly spaced rivets. On the side facing the plane window is a round logo with something in the center that is not distinguishable. A layer of horizontal cloud banks appears in the distance. Small puffy white clouds looking like popcorn appear below the plane.]

John Lennon talking to journalists
[Artwork Description: Black and white photo of a young light-skinned John Lennon talking to journalists on a plane. He sits on the arm of the plane seat, dark brown hair combed forward over his forehead wearing thick black glasses and a black suit jacket. He turns over his left shoulder to look at the photographer with a small smile. The man in the seat next to him is slightly older and has wrinkled light skin. He has brown hair gelled up and then brushed back and has a cigarette in his mouth. Next to him a younger light-skinned man sits in the plane seat. He has gelled back brown hair and peeks over the seat back gazing at the photographer, appearing to speak. A blonde light-skinned flight attendant wearing a white dress is blurred standing in the aisle and another passenger seated ahead and one standing at the front of the plane are blurred. The white light from the windows casts a haze over the scene.]

Brian Epstein
[Artwork Description: Black and white photo of a young light-skinned Brian Epstein sitting on a plane seat with a pillow behind his head. He has wavy black hair, slicked back with gel and is wearing a white collared shirt with a thin black tie. He leans back and looks upward with his dark eyes with pursed lips.]

Cynthia Lennon
[Artwork Description: Black and white photo of a young light-skinned blonde Cynthia Lennon with chest length straight hair and light bangs. She has dark eyes and is looking at the camera with a soft smile. She leans back gently in her plane seat. Another passenger is blurred in the background and sun filters through the window white washing the photo.]

George Harrison
[Artwork Description: A black and white photo of a young light-skinned George Harrison sleeping in a plane seat. He is wearing a black suit jacket with textured vertical stripes. His brown hair is brushed over his forehead and he has thin sideburns.  He lays on a white pillow and gray textured seat next to the light colored plane wall. A red check mark appears on the wall next to him, likely a marking on the negative.]

Michael Braun US journalist and author of Love me Do! The Beatles’ Progress
[Artwork Description: Black and white photo of a light-skinned Michael Braun peering through the accordion wall of an airplane. His dark hair is gelled back and he wears round metal glasses. His head is turned to his right and he shoots a sideways glance towards the camera. He holds a pillow and other passengers seated behind him are blurred.]

The Beatles leaving Heathrow Airport 7 February 1964
[Artwork Description: Color photograph of The Beatles on the tarmac at Heathrow Airport. A young light-skinned George Harrison is in the middle of the frame looking downward as he listens to another light-skinned man talking. Harrison has messy brown hair, combed forward over his forehead and is wearing a white collared shirt, thin black tie, and gray plaid coat with three shiny buttons, and black pants. His left hand is in his pants pocket and his right hand holds a dark bag on his shoulder. Next to him a young light-skinned Ringo Starr looks on. His brown hair is messy, blowing in the wind. He is wearing a white collared shirt, thin black tie, black suit jacket with big large black buttons, and a long black wool coat. He is carrying a black bag on his left shoulder. Next to him a young light-skinned John Lennon stands facing the opposite direction waving at the crowd. His messy brown hair pokes out from his black newsboy hat. He is wearing a white collared shirt, thin black tie, black suit jacket with large black buttons, and a black trench coat with a red lining. He is carrying a black bag with a thin strap on his right shoulder. To the left of the band, the young light-skinned man talking with Harrison has messy brown hair blowing in the wind and wears a long black wool coat with a black silk scarf with white polka dots. His left hand is wearing a black glove and he holds the other glove in it as he prepares to put it on his right hand. He holds a black briefcase with a gold zipper under his right arm. Behind him at the edge of the frame is a tall light-skinned man with reddish hair and glasses wearing a white collared shirt, thin black tie, and light colored coat with gray pants. He looks down as he walks towards the group. To his left is a younger light-skinned man with curly brown hair blowing in the wind. He is wearing a white collared shirt, thin dark tie, and a dark coat. An airplane and luggage trucks are blurred in the background.]

View from plane window
[Artwork Description: Color photograph of another plane on the tarmac from the airplane window. The window creates an arched frame of the scene. A green fuel truck is parked in front of the plane with a thick brown hose connected to the nose. Below a yellow baggage tug sits in front of a gray and blue luggage cart. A white and green luggage tug faces the opposite direction with yellow letters reading T.A.I. on the front. A worker stands under the plane wearing a black coat and light pants. The plane is white with a navy blue nose and a navy blue strip above a thinner yellow strip. White letters reading DC-8 appear just to the left of the door. The door is open with mobile stairs backed up to it. The sky is blurred in the background along with a line of street lights and other buildings and vehicles.]

Ringo Starr
[Artwork Description: Colored photograph of a young light-skinned Ringo Starr sitting in the window seat of an airplane. He looks up at the photographer with thick brown hair brushed forward over his forehead. His lips are slightly apart with a curious look on his face. He is wearing a light colored collared shirt, thin dark tie, and black suit jacket. Light beams in from the window creating a bright haze across his chest. Textured gray fabric lines the plane wall.]

Brian Epstein
[Artwork Description: Color photograph of a young light-skinned Brian Epstein sitting on an airplane reading a newspaper. He has thick wavy black hair parted on the left and combed up to the right. He has a sly smile and is wearing a plaid collared shirt, thin dark tie, and blue suit jacket. A white pillow lays behind him in front of a wallpapered wall with a geometric design.]

Departures and Arrivals

The Beatles flew to New York on February 7, 1964, McCartney’s first transatlantic flight. The band had a busy schedule planned, traveling between New York, Washington, DC and Miami.

This room brings together photographs taken by McCartney on planes and in airports. While they echo newsreel footage from the time, in which the band are shown waving to thousands of screaming fans from the steps of airplanes, McCartney’s photographs offer an alternative view. Taken whilst looking out at the sea of faces and photographers, his pictures evoke the joy and wonder he felt as The Beatles embarked on this life-changing journey.

Scenes at Kennedy International Airport, New York
[Artwork Description: Black and white photo of policemen escorting the band through the Kennedy International Airport. The officer on the left is young and light-skinned. He has short brown hair and is wearing a black uniform with a police hat. A dark strip goes across the top of the rim and an ornate icon is in the middle. The coat has a high collar with a pin on the right side. It is double breasted and only the top and bottom round silver buttons are buttoned on the right side. He holds his right gloved hand open in front of him, resting on his gloved left hand. He looks directly at the camera with a solemn expression. To the right, an older light-skinned officer wearing the same uniform, but without the decoration on the collar. He smiles, looking just to the left of the photographer. A third officer stands behind the first, partially visible – light-skinned with a grin wearing the same uniform excerpt he has a patch of three upside down V’s on his right arm. A crowd of people stand behind them grouped in a variety of conversations. One woman visible in the middle is wearing a black coat, white gloves, and a white hat over her blonde hair that is curled at the bottom. A group on the right walks towards the airplane. Just the nose of the plane is visible.]

The Beatles leaving Heathrow Airport, 7 February 1964
[Artwork Description: Black and white photo of the band walking up the steps onto the plane at Heathrow Airport. A young light-skinned John Lennon is shown in profile at the bottom of the steps. He is wearing a black newsboy hat and his brown hair peeks out from underneath. He wears a black coat and carries a dark bag on his right shoulder. He gazes down at a young light-skinned blond woman wearing a light colored beret and a black coat. She has white gloves on her hands and clasps something in her left hand. She looks down as she walks towards the steps. A sea of heads is visible. Some look toward the plane and some are in conversation with those around them. A young light-skinned George Harrison stands above on the steps wearing a white collared shirt, thin black tie, and a dark coat. He gazes over his left shoulder and looks like he is speaking. Another larger man stands next to him walking up the steps wearing a black hat and black coat. In front of them two older light-skinned men walk up the steps. The first has dark wavy hair surrounding his bald spot and wears a dark jacket carrying a dark leather case on his left shoulder. The second has light hair and is wearing a dark jacket. To his right an older light-skinned man with gray hair wearing a long dark coat appears to be trying to move down the stairs against the flow of people boarding. Another older light-skinned man with brown hair parted on the left and combed over the right stands holding a camera. He is wearing a white collared shirt and dark coat. The plane door is white with a small round window above the lever lock.]

Scenes at Kennedy International Airport, New York
[Artwork Description: Black and white photo of fans welcoming the band at Kennedy International Airport. The blurry photograph has a blurred light colored image in the foreground. In the middle, police or security wearing black uniforms and hats stand at the metal gate looking out over an enthusiastic crowd, mostly made up of females. The women crowd together, several have hands raised, and are screaming. The first woman in the middle has a thick white headband and a light shirt. The heads of the women next to her are barely visible with dark hair. A third dark haired woman with light skin and glasses wears a black shirt and white jacket and screams as her right hand is outstretched towards the band. Others are blurred in the background. Signs at the ceiling read National Airlines Gate 5.]

Scenes at Kennedy International Airport, New York
[Artwork Description: Black and white photo of photographers watching the band walk through Kennedy International Airport in New York. The two men in the foreground face away from the camera. Both have dark hair and are wearing dark coats. The older light-skinned photographer in the center holds a very large camera with a large round metal flash. He wears a black hat and shirt with a dark jacket. He holds the camera in front of his chin. A man to his right looks over his shoulder back at the band. He has dark hair gelled back and is wearing a black jacket. Other passengers walk ahead and a back lighted sign hanging from the ceiling reads Gate 3 with a dark sign next to it reading no smoking. The wall to the left has windows at the top and dark panels on the bottom.]

Bloomberg Connects Audio Guide 109

Scenes at Kennedy International Airport, New York
[Artwork Description: Black and white photo of a crowd of press and fans greeting the band’s plane at Kennedy International Airport. At the bottom in the center a light-skinned bald man looks up at the camera smiling and pointing with his left hand. He is wearing a white collared shirt, thin black tie, black suit jacket, and tan coat. He wears two black and silver cameras around his neck and a wedding ring on his left hand. To the left is a light-skinned woman wearing a black dress with a collared shirt underneath. Her short brown hair is curled and styled and she has a large bracelet on her right hand. She holds a paper in her left hand and looks up with a big grin. Another light-skinned woman stands next to her holding a program in her hand. She has curly brown hair and is screaming with a big smile. Two light-skinned men with dark hair stand next to her wearing white collared shirts, dark ties, and dark coats. They have more reserved smiles. To the right of the photographer in the foreground is a group including an older light-skinned woman wearing a white scarf over her blonde curly hair. She wears a large light colored coat and appears to be handing something to a light-skinned man with dark hair facing her with his back to the camera. Two other light-skinned women stand next to them. Both have dark hair and are wearing black coats. The one in the corner faces the camera and holds her right hand to her mouth as if blowing a kiss. The woman behind holds a stack of books and papers and looks away from the camera. Other figures are blurred in the background.]

Scenes at Kennedy International Airport, New York
[Artwork Description: Black and white photo of a crowd of press and fans greeting the band’s plane at Kennedy International Airport. In the center, a bald light-skinned man wearing a white collared shirt, thin black tie, plaid suit jacket, and dark coat stands with a big grin revealing a gap between his front teeth. He has bushy dark eyebrows and is holding his hands upright. Two black and silver cameras hanging around his neck. A younger light-skinned man with wavy black hair and thick eyebrows peeks up from the bottom of the frame looking at the plane. Next to him a light-skinned woman with light hair wearing a white scarf and gray coat hunkers behind a light-skinned man with black gelled hair wearing a white collared shirt, black tie, and black jacket. He looks upward toward the plane with dark eyes and exasperated expression. At the left corner a young light-skinned police officer wearing a black coat and black hat with a shiny brim and a reflective strip at the top of the brim with a metal badge above at the center of the hat looks over his right shoulder toward the plane with his dark eyes and has a neutral expression. Behind them a middle-aged woman with poofy curly blonde hair looks up toward the plane. She is wearing a light colored patterned collared shirt and a black sweater with dangling pearl earrings. A slightly younger light-skinned woman with a similar haircut stands next to her wearing an oversized plaid coat. She is gazing at the plane with a wide smile. She waves with her left hand, wearing black gloves with a leopard print handbag hanging over her arm. To the right a woman with dark wind-blown hair wearing a black coat holds a stack of newspapers and looks towards the woman’s handbag. Behind her an older light-skinned man raises his right hand and waves. He has dark hair gelled back and is wearing a white collared shirt and thin black tie under a black coat. Next to him a younger light-skinned man with dark hair gelled upward also wearing a white collared shirt, thin black, tie, and black coat looks directly at the plane with a smile. Behind them two light-skinned airport workers stand wearing white coveralls. The one on the right is only visible chest down. The one on the left leans into the frame with a big smile on his face, the top of his head out of frame. Next to him on the left is a photographer with wavy thick black hair wearing black frame glasses. He is wearing a white collared shirt, thin black tie, and dark suit jacket. He is holding a large black and silver camera with his left hand, a large white flash above his hand and gestures outward with his right hand. In front of him a much older photographer with a black fedora, white shirt, black tie, and black jacket adjusts focus on his camera which has three lenses. He wears a tag on his lapel with undistinguishable text. Behind him a middle-aged light-skinned man with a thin mustache and glasses looks up at the plane. He is wearing a white shirt, small dark tie, and black coat and is carrying a variety of photography equipment including a camera with a large white flash in his left armpit, left hand wrapped around the camera’s edge.]

Bloomberg Connects Audio Guide 108

Airport workers, Miami Airport
[Artwork Description: Black and white photo of light-skinned male airport workers on the tarmac under a plane engine wearing white coveralls. The two closest to the plane have dark hair and face away from the camera. The man in the middle is taller and has his shoulders shrugged, looking up with a grin while his right hand is held at his chest and left arm outstretched. A shorter dark haired man behind him wears glasses and smiles as he puts his hand on the other man’s right shoulder and extends his left hand. Behind him a taller man with dark hair and a hat looks on with a smile. Tarmac and a pair of feet are blurred in the background.]

Police and airport staff, Kennedy International Airport, New York
[Artwork Description: Black and white photo of policemen and airport workers at Kennedy International Airport looking up at the plane The Beatles just boarded. On the left, a group of male airport workers wearing white overalls and hard hats look up, one pointing at the plane standing in front of a large metal apparatus with lines of circular holes. The two in the front are light-skinned and one in the back is dark-skinned and is wearing a dark zippered jacket over his coveralls. Next to him a group of seven light-skinned policemen stand looking toward the plane with smiles. They wear black pants and shoes, long black jackets that are double breasted with large metal round buttons, thick collars with metal pins on the lapels, silver badges on their left, and police hats with shiny brims, metallic strips at the top of the brim, and large metallic badges in the middle. In front of them on the right side of the frame are a group of plain-clothed onlookers. An older light-skinned man with gray hair wears a black newsboy hat, a white shirt, and a black coat with a black fur hood laying across his back. He smiles with his eyes closed. In front of him a light-skinned woman with brown hair blowing up in the wind wears a light coat. Her eyes are closed and she is in mid-sentence, mouth open. A light-skinned man to her right listens intently. He has brown hair and is wearing a light colored coat. In front of him a middle-aged light-skinned man with a large black fedora and black glasses smirks while wearing a dark jacket. In the corner an older light-skinned man, wears a hard hat and white coveralls, and a plaid shirt. He smiles as he looks at the plane. A van or bus is blurred in the background.]

Arriving at Kennedy International Airport, New York

The Beatles’ arrival at Kennedy International Airport, New York, had been widely advertised by Capitol Records and local radio. They encouraged teenagers to take a day off school in order to greet the band.

Soon after the plane touched down, The Beatles were immediately ushered into a lounge for a chaotic press conference.

Their Press Officer, Brian Sommerville, attempted to impose order, shouting to the journalists, “Gentlemen, will you please shut up!” The band’s nonchalant demeanor and quick-witted retorts set the tone for the trip.

Video Playing on Monitor in Gallery

Fans on West 58th Street, crossing 6th Avenue, photographed through rear window of a car. The crowds chasing us in A Hard Day’s Night were based on moments like this. – Paul McCartney

[Artwork Description: Black and white photo of pedestrians running up 58th street to get a view of Paul McCartney crossing on 6th Avenue. Towering brick buildings line the street with awnings, signs, lights, and flag poles jetting out from the bricks. A line of cars drives down the center of the street with others parked along both sides. The sky is blown out behind the cars casting a glow onto the surrounding buildings. In the left corner is a large black truck with a black tarp resembling a military truck. At the right corner is a delivery van shaped like a bus. Ten people run down the street toward McCartney. The closest is a light-skinned man on the left. He is wearing a white collared shirt, thin black tie, dark sweater, dark pants, and black boots carrying a light colored backpack. Just behind him two men wearing dark clothing run, feet in the air. To their right another man wearing a white shirt and dark jacket and pants runs next to the parked cars. Just behind him a woman with dark hair and a dark coat runs past a parked car. Other figures are barely visible behind. The ground on the right side of the frame is wet with areas of snow or puddles reflecting the car tires.]

Columbus Circle, Manhattan, photographed from car
[Artwork Description: Black and white photo of Columbus Circle in Manhattan taken from inside the car. In the foreground the blurred rearview mirror obscures part of the view. To the right a dark-haired man wearing a dark coat walks away from the camera. Another car’s top is visible at the bottom of the frame. Just above it is a large dark sign with Coca-Cola in cursive letters with block letters below reading Thirst Knows No Season. Above it is a large circle thermometer. The dial indicates it is 40 degrees. A black rectangle on the left side of the thermometer says rain and one on the right says cloudy. Underneath are black letters reading Tomorrow’s Weather. Behind it is tall scaffolding. Behind that to the left is a shorter light colored building with several windows on the front with a rounded facade above them and ornate details on the brickwork below. To the right is a brick skyscraper with ten rows of windows on the main portion and a smaller portion on top with tall windows and doors. A sign on top held up with scaffolding reads Hotel Mayflower. In front of that building on the right is a tall column with a statue on top. The statue has a bent left arm, left hand on the waist wearing a sash over the right shoulder. Two black anchors are painted on the column below. Behind Hotel Mayflower is an even taller dark colored skyscraper. Eight floors of windows are visible behind the hotel. A smaller building on top has a center portion with vertical stripes and sides with horizontal stripes. Other shorter skyscrapers are visible to the right in the distance. To the left of the thermometer is a large billboard with black letters reading Imported Heineken Beer. To the left of that is a triangle shaped skyscraper. It is darker than the other buildings and has twelve stories of windows visible. A much shorter white building is partially visible behind it.]

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New York

When The Beatles arrived in America, their song “I Want To Hold Your Hand” was top of the US charts and they were scheduled to appear on the popular The Ed Sullivan Show.

McCartney’s first images of Manhattan were taken through the window of the band’s chauffeur-driven car, capturing the fans who pursued them down West 58th Street. They were booked to stay at the luxurious Plaza Hotel on 5th Avenue, where McCartney photographed the mounted police controlling the crowds.

View towards Central Park
[Artwork Description: Black and white photo of New York City skyline including part of Central Park. At the right of the frame is the top of a multi-story light colored brick building. It has a small balcony with black metal rails. A row of large windows at the top have white curtains pulled to the side with furniture barely visible inside. Above is a dark metal roof. Below it to the left is the roof of a shorter skyscraper with water towers and HVAC systems. There are three towers, one mostly out of frame in the front left corner, one in the middle with a metal top and a black spire, and a rectangular one on the right side. To the left is a light colored building with black pipes. Beyond in the center of the frame is Central Park, lined with leafless trees and covered in snow. Beyond the park the skyline is filled with blurred skyscrapers.]

New York City Portraits

I like these portraits of New York’s ‘finest.’ They capture the friendly and curious gaze we found ourselves under every day. – Paul McCartney

[Artwork Description: Black and white photo of an older light-skinned man wearing a black fedora. He looks at a man in front of him with a solemn expression. He wears black framed glasses and a dark coat. The blurred heads of two others who stand in front of him are visible on each side of the frame. A white wall is blurred behind the man.]

New York City Portrait
[Artwork Description: Black and white photograph of an older light-skinned policeman. He has a large smile with closed lips and deep dimples. His dark eyes have a warm softness to them. He is wearing a police hat with a shiny black bill and white ribbon across it. He has a dark shirt and stands in front of blurred shadows in a diamond design.]

New York City Portraits
[Black and white photo of a middle-aged light-skinned man wearing thick black glasses and a black police hat. He faces the right side of the frame and has his head turned toward the camera. He has a calm expression, but his eyes gaze intently toward the camera. Dark shadows are blurred in the background on the right side of the frame.]

DJ Murray the K, 1922-82
Murray the K (1922–1982) was an American radio DJ. Brian Epstein invited him to broadcast his popular prime-time radio show live from The Beatles’ hotel suite at The Plaza in New York. He went on to travel with the band to Washington, D.C. and Miami.

[Artwork Description: Black and white photo of a middle-aged light-skinned Murray the K. He is positioned near the right of the frame, facing the left of the frame. His dark wavy hair is brushed backward and he has a big, toothy smile. He is wearing a black sweater that is solid black on the back and sleeves and has thick strips of cream forming a large V, a thick tan strip forming a smaller V and a black turtleneck underneath. Behind him is a table or vanity with several objects on top that are blurred. An ice bucket, glasses, a white jar, and a white lamp. A window with dark curtains is also blurred in the background. The walls are white.]

New York street scene
[Artwork Description: Black and white photo of a New York street taken from an upper window, possibly about the 6th floor. Five cars are parked on the right side of the street and five drive down the middle of the street. The upper left side of the frame shows the right side of four parked cars on the left side of the street. Pedestrians mill about the sidewalk on the right side of the street.  Four walk in the street. Most are wearing dark colored coats, a few wear light colored ones. A silver street light rises up near the bottom of the frame. Just below it is a dark awning with white letters that are not readable. Near the middle of the right side is a black and white striped awning. Facades of buildings are partially visible on the right. Some are light colored with rows of small horizontal windows. Next to it is a building with large vertical windows. The buildings beyond are darker in color with smaller windows.]

George Harrison
[Artwork Description: A young, light-skinned George Harrison sits at a table reading a magazine. He has thick dark wavy hair that is combed forward down his forehead and dark bushy eyebrows. He is wearing a white collared shirt. He gazes intently at the magazine, lips slightly parted. A cup and door are blurred in the background. A blurry dark figure fills the front right corner.]

Brian Epstein and John Lennon, Plaza Hotel
[Artwork Description: Black and white photo of a young light-skinned Brian Epstein sitting next to a young light-skinned John Lennon in a hotel. Epstein has wavy dark hair combed to the right side. He is wearing a white collared shirt, thin black tie, and brown suit jacket. The white cuff of his sleeve sticks out beyond his jacket sleeve. He holds something in his hands and looks down at it. To his left, Lennon sits reading a magazine in his lap and holding a coffee cup with his right hand. The cup is white with wavy dark horizontal lines. He is wearing a white collared shirt with the top buttons undone. His thick dark hair is combed forward and to the right. A light colored wall extends behind him with dark curtains behind Epstein.]

Ronnie Spector, singer with The Ronettes, with an unknown man, in the Plaza Hotel
The Beatles had met The Ronettes in January 1964 when they toured England. All four of us loved The Ronettes. – Paul McCartney

[Artwork Description: Black and white photo of mixed race Ronnie Spector. She has smooth skin, high cheekbones, and full lips. Her long black hair is teased on top and long wavy hair flows down her back. She is wearing a shiny black thigh-high dress and sheer black nylons. She faces the right of the frame and has her head turned to look at the camera with her large dark eyes. Her chair is light colored with a dark colored motif. Behind her to the left is a young light-skinned man with thick dark hair wearing a white shirt, black tie, and black coat sitting and leaning on his right hand while he gazes at her. A light colored table is partially visible in the left corner. To the left of the man is another table against the wall. It holds a large light colored lamp and other objects that are too blurry to identify. A couch matching Spector’s chair lines the wall. In front of it a coffee table with a glass and other objects.]

Cynthia Lennon, Plaza Hotel
[Artwork Description: Black and white photo of a young light-skinned Cynthia Lennon. She sits on a dark couch holding a newspaper with her left hand, chin resting in her right hand, second finger resting gently under her bottom lip. She wears dark framed glasses and a black turtleneck with a dark skirt. Her blonde hair is parted in the middle with long bangs. Her wedding band is visible on her left hand. The rest of the paper lays across her left leg which is crossed over her right. The bottom left edge of a large frame is visible on the wall behind her.  On the left of the frame is a dark colored end table with wavy edges on the top. It holds three glasses of clear liquid. Books are stacked under the table and a cord is visible hanging down from the back of the table. Books are stacked on the coffee table in front of her with newspapers laying open on top of them.]

John Lennon, Plaza Hotel
[Artwork Description: Black and white photo of a young light-skinned John Lennon sitting on a hotel couch reading a newspaper. The photo is double exposed showing two images of Lennon. He is wearing a white collared shirt, thin black tie that has been loosened, and a black suit jacket. He wears thick black framed glasses. His dark thick hair is brushed forward to his left. Cynthia sits to the right, but only her right shoulder and knee are visible. An unidentifiable figure with dark pants and a white shirt is blurred along the right edge of the frame. Piles of books and newspapers fill the coffee table in front of them. On the left is a porcelain cup and saucer with a paper over the top. A large painting hangs over the couch with a thick ornate frame. The scene shows people milling about an open air market with fabric awnings on the right.]

Bloomberg Connects Audio Guide 11

Rehearsing for The Ed Sullivan Show

Ringo Starr with his drum kit on a podium, part of one of the elaborate sets that were designed for the band’s performances.
[Artwork Description: Black and white photo of a young Ringo Starr setting up his drum kit in preparation to play on the Ed Sullivan Show. The stage has several large white shapes resembling elongated hour glasses. There is a large white round platform in the middle of the stage. In the middle of the base is a smaller circle, raised up about four feet on a black metal mesh. The drum kit sits on top. A base, snare, tom, and three cymbals sit on top. Starr sits on the stool, left hand on the snare, turned to his right looking downward. A light-skinned man wearing a white collared shirt and black pants walks behind the pedestal.]

Rehearsing for The Ed Sullivan Show
[Artwork Description: Black and white photo of The Beatles on stage at The Ed Sullivan Show rehearsing. The highly illuminated white stage has a large circular platform in the center. Ringo Starr, a young light-skinned man with thick dark hair sits on a smaller circular platform attached to the back of the larger platform playing a dark colored trap set. In front of him his three bandmates, also young light-skinned men with thick dark hair stand behind microphone stands playing guitar. They are all wearing white collared shirts, dark ties, and dark suits. Behind them are tall column-like white structures that are shaped like elongated hourglasses. At the top of the frame dark colored spotlights and riggings with cords hanging down span the length of the stage. The right corner is dark, filled with outlines of cameramen and their equipment. Near the middle of the bottom of the frame is the outline of a large video camera. At the left bottom corner of the frame is another camera with a spotlight on a light-skinned male wearing a white collared shirt, black vest, and black pants and shoes standing facing the camera with his hands on his hips. Behind him a group of two men and a woman talk in a circle in the shadows. Booms hang above their heads.]

The Beatles on The Ed Sullivan Show, February 9, 1964

The Beatles first performance on The Ed Sullivan Show on February 9 made history, attracting a record-breaking 73 million viewers. The variety show was a family favorite, broadcast by CBS live from New York every Sunday evening.

One of McCartney’s contact sheets includes photographs taken during rehearsals for the show the day before. George Harrison, sick with tonsillitis, had to stay in bed at The Plaza Hotel. The images that capture McCartney performing were taken on his camera by another hand. Some of these include the jazz guitarist Hy White, a member of the show’s house orchestra, and Vince Calandra, a crew member who acted as a stand-in for George, whilst wearing a Beatles wig.

The live broadcast the following day is now considered a watershed moment in American cultural history.

Ed Sullivan contact sheet graphic 1
[Artwork Description: Black and white contact sheet revealing four photos, all of which are described individually above. The first is Lennon reading a newspaper on the couch at the hotel. The second is of Ronnie Spector and an unknown man in a hotel room. The final two are of Cynthia Lennon reading a newspaper on the couch at the hotel. The contact sheet is displayed horizontally. It has a thick outline with white letters reading Hypersensitive Panchromatic along the top and image numbers in white below.]

Ed Sullivan contact sheet graphic 2
[Artwork Description: Black and white contact sheet showing five photos. The first two show a tall building on the beach with waves crashing at the base. The third is a cityscape with multiple skyscrapers, the third is of Ronnie Spector and an unknown man, described above. The fifth is John Lennon reading a newspaper on a hotel couch, described above. The contact sheet is displayed horizontally. It has a thick outline with white letters reading Hypersensitive Panchromatic along the top and image numbers in white below.]

Ed Sullivan contact sheet graphic 3
[Artwork Description: Black and white contact sheet showing five photos of the band rehearsing on the stage of the Ed Sullivan Show. The first shows a young light-skinned Ringo Starr wearing a dark jacket setting up his trap set on a white round platform raised about three feet above the larger round platform in the middle of the stage. Two men stand talking in the background behind large white stage decorations that are shaped like elongated hourglass shapes. Lights shine out from backstage on the right side of the frame. The second frame shows Starr sitting on the stool playing the drum kit. Another light-skinned man with dark hair wearing a white shirt and black pants walks behind Starr. The final three frames show the band performing on the Ed Sullivan Show. It is described above. The contact sheet is displayed horizontally. It has a thick outline with white letters reading Hypersensitive Panchromatic along the top and image numbers in white below.]

Ed Sullivan contact sheet graphic 4
[Artwork Description: Black and white contact sheet showing four photos of the band rehearsing on the stage of the Ed Sullivan Show and one of the ocean with the cityscape in the distance. The first two frames show two light-skinned men with dark hair wearing white collared shirts, thin black ties, and dark suits playing guitars in front of the round platform on stage. The man on the left is Paul McCartney. The neck of his guitar in his right hand while he strums with his left. He has a focused expression on his face. Next to him Vince Calandra wears a dark wig to stand in for George Harrison. He holds the base of the guitar neck with his left hand and strums with his right with a big smile on his face. Ringo Starr’s legs and feet are visible behind the drum kit on a smaller platform behind them. His drums are black and gray. The third and fourth frames show the same musicians, but have McCartney and Calandra standing close to each other looking towards one another. Ringo Starr is shown fully in the top right corner of the frame as he plays the drums. He is wearing a white collared shirt, thin black tie, and black suit. The last shows ocean waves with a cityscape in the background. It has a thick outline with white letters reading Hypersensitive Panchromatic along the top and image numbers in white below.]

Ed Sullivan contact sheet graphic 5
[Artwork Description: Black and white contact sheet of five photos. The first frame shows young, light-skinned John Lennon and Ringo Starr on the set of The Ed Sullivan Show smoking cigarettes. Lennon wears a white collared shirt, tan vest, and black jacket and has his eyes closed with the cigarette hanging out the right side of his mouth. His thick dark hair is combed forward and to his right. Starr looks towards the left corner of the frame. His thick dark hair is combed forward and to the right. The cigarette hangs out of the left side of his mouth. He wears a white collared shirt, thin black tie, and dark suit jacket. The third shows Vince Calandra, a young light-skinned man wearing a dark wig to stand in for George Harrison. He has a toothy grin with a cigarette hanging out from between his teeth. He wears a white collared shirt, thin black tie, and black suit jacket. The third shows four older light-skinned men wearing black suits standing on the set of the Ed Sullivan Show. Seven floor to ceiling stage decorations that are shaped like elongated hourglasses line the back of the frame. Starr’s trap set is blurred in the background. The last two frames show wider angles of the set. They are fairly blurry, but about six adult figures can be made out spread out across the set. Camera equipment, mics, and lights are also visible, but blurry. It has a thick outline with white letters reading Hypersensitive Panchromatic along the top and image numbers in white below.]

Ed Sullivan contact sheet graphic 6
[Artwork Description: Black and white contact sheet depicting five photos. The first shows a young light-skinned John Lennon standing behind DJ Murray the K who is also light-skinned posing for photos. Lennon wears a white collared shirt, thin black tie, and black suit jacket. He has a black beanie sitting on top of his head and has a toothy grin. Murray has a receding hairline with fluffy wavy dark hair. He is wearing a fur coat. They pose in front of a white wall. The next four frames show The Beatles on the Ed Sullivan set with unnamed white men. In the second frame the band sits along the wall while two young light-skinned men also wearing black suits and ties stand in front of them. The third shows Lennon smoking while sitting along the wall while Starr and another man look on. The last two frames show a young light-skinned man with light hair and dark glasses wearing a white collared shirt, thin tie, and black suit jacket talking with Lennon. It has a thick outline with white letters reading Hypersensitive Panchromatic along the top and image numbers in white below.]

Ed Sullivan contact sheet graphic 7
[Artwork Description: Black and white contact sheet showing five different photos. The first frame shows a light-skinned DJ Murray the K wearing a black coat with a thick fur neck. His face is cut off and he stands with his left hand hanging to his side and his right hand holding a black case. In the second frame Murray holds the coat open with his left hand revealing a multicolored sweater. Black at the collar, with a brown upside down triangle under it, and a large upside down white triangle under that. The side has an upside down black triangle with brown along the waist. He wears a black beanie and looks straight ahead at the camera. In the third frame a young light-skinned Brian Epstein stands next to DJ Murray the K, holding Murray’s fur coat with his left hand. Epstein is turned to his right, gesturing with his right hand off the left side of the frame. Murray’s face is blurred. The fourth frame depicts DJ Murray the K wearing the fur jacket sitting on a chair or couch, hands folded in his lap. The final frame shows Lennon standing behind DJ Murray the K. It has a thick outline with white letters reading Hypersensitive Panchromatic along the top and image numbers in white below.]

New York to Washington, D.C.

Gallery Video of Ed Sullivan Show Performance

Ringo Starr

“On the train coming down to Washington, the newspapers had sent their correspondents to chat to us in off-duty moments. It had been snowing, which gave the trip additional character and excitement.”

—Paul McCartney

This group of photographs were taken on a train from New York to Washington, D.C., and from the window of a car driving through the city from Union Station to the Coliseum, where The Beatles were scheduled to perform their first US concert.

They had originally planned to fly from New York but changed their arrangements due to heavy snow.  Returning to New York the following day by train, the band performed two shows at Carnegie Hall.

[Artwork Description: Black and white contact sheet of a young light-skinned Ringo Starr in a variety of poses. In the first he sits, head leaning against the wall, eyes closed. He is wearing a black hat and black shirt. The wall behind him is light colored with vertical black stripes. In the second frame his head is turned slightly to his left and his eyes remain closed. In the third he faces the right of the frame while smoking a cigarette with his left hand. In the fourth he looks to the left of the frame, resting his chin on his left hand. In the final frame he looks to the left of the frame with a big, open-mouth smile. It has thick black borders and white letters on one side read Kodak Safety Film. Blurred letters and numbers label the frames on the other side of the strip.]

Unknown man, taken from window of train
[Artwork Description: Black and white photo of an unknown light-skinned man with a thick black mustache standing on the cement train platform. He is wearing dark coveralls, a black hat, and black boots. He stands in the middle of the frame, looking at the camera. He smiles while partially covering his mouth with his left hand. His right hand holds a tall handle of a shovel. Behind him is a dark colored train car with white letters reading: Pennsylvania. 72608. Smaller letters at the bottom are blurred. CAPY 10 LMT 114500 LT0 P5. Vertical panels with rivets cover some of the letters on the right side of the frame. Two metal rods form steps just under the P on the left side.]

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View from train
[Artwork Description: Black and white photo of an electrical substation with one large metal pole in the foreground centered in the frame. The geometric shapes formed by the poles, towers, and lines, fill the frame. At the top it has two flat metal beams with a round insulator on each side. To the right is a cement column. To the right of that is another large metal beam with connectors holding multiple lines. In the distance is a metal catwalk with metal rails on each side consisting of four evenly spaced horizontal rails. Six vertical rails are evenly spaced across the walkway. Beyond that are four square towers formed of metal rods connected to the four outer beams in a diamond shape. They form an upside down triangle on the top and have stacks of insulators connecting to five power lines.]

View from train window from New York to Washington
[Artwork Description: Black and white photo taken from the train window. Two small children wearing all black stand in a snow drift between the train tracks and a large old building. A large double billboard with four black round poles stands between the tracks and the building. On the left of the billboard is a photo of a black battery with gray letters reading Delco Dry Charge Battery. A speech bubble to the right reads I’m itching to start something. Black letters at the bottom right read Simply Say Delco. A black circle with a gap through the middle appears in the corner. On the right side of the billboard is a Crown Gasolines and Motor Oils advertisement. The title is in white letters on a black background with a star on the top and four individual horizontal thick stripes that meld together in the center. It is bordered by black and white photos of oil rigs. Large capital letters at the bottom read Quality You Can Trust. The building behind has nine dark doors, bottoms covered in snow. The middle of the building is painted from the roof to just above the doors. There is a white background with large black letters reading Cronin. The rest of the word is hidden behind the billboard. Below is a black box with white capital letters reading Guaranteed Retreading. Black letters below read Tire Headquarters. Charg-it. Just above on the right it reads Springfield Tires. A white sign on the end of the awning has black writing that is obscured by the billboard pole. A black sign with white lettering sticks off the right side of the building reading Happy Motoring Services. Another building beyond has a white stripe down the middle with black letters reading America’s First. A black strip on the right has a white oval at the bottom with black letters reading Esso. A side street runs to the right of the building with a stop sign with a One Way sign. Shorter dark buildings are blurred in the background along with a church steeple with a cross on top in the background. A power pole obscures the front of an oval sign hanging from the next building with black letters reading Esso. In the foreground in the right corner are old fashioned metal equipment covered in snow. A series of power lines are visible at the top of the frame.]

View from train window from New York to Washington
[Artwork Description: Black and white photo of three dark-skinned men standing against a brick wall. The first wears a black hat, black jacket, light colored pants, and black boots. He is smoking a cigarette, has a snow shovel handle leaning on his stomach, and has his hands in his pockets. He looks towards the others. The one in the middle is wearing light colored coveralls with a slightly darker coat and black gloves, boots, and hat. He holds a snow shovel in his left hand. The third man is mostly obscured by a blurry power pole. Just the tip of his black hat, his right shoulder and hand are visible. Behind them is a white sign on the brick wall with black letters reading Only 4 hours 10 min to New York. Trailways. Only $7.85. Snow is solid to the left and has been partially shoveled to the right.]

Press officer Brian Sommerville amongst journalists
[Artwork Description: Black and white photo of a middle aged light-skinned Brian Sommerville sitting in conversation with another light-skinned man. Somerville has a receding hairline, his dark hair parted on the left side and combed over his head. He is wearing thick black glasses and a dark watch. He rests his right cheek on his bent right hand. He is wearing a white collared shirt and black and white striped tie. The man he is speaking with faces away from the camera. He has short gelled brown hair and is wearing a dark suit jacket. Behind Sommerville another light-skinned man stands with his back to the camera. He wears black pants and a brown jacket. Beyond him a group of men stand in a tight circle. One wearing a black jacket, one with a white collared shirt and a strap over his left shoulder. Next to him are two partially visible heads. They stand in front of a mirror with lights at the top. Near the left corner of the frame another light-skinned man sits in a chair facing away from the camera watching the group talking. On the bottom right corner is a blurry brown patch that appears to be a blurred image of another person’s shoulder.]

View from train from New York to Washington
[Artwork Description: Black and white photo of three dark colored train cars going under a large multi-lane bridge. The train car on the left has big white letters B&O and an open door. The middle car is obscured by a flat bed car on the track next to it. The third car is a solid dark color. The bridge has four sets of support beams with four vertical pillars on each one. A small pond is covered in snow just with metal train wheelsets covered in snow next to it. Dark reeds seem to blow in the wind around the pond. In the left foreground is a large black beam with a black line running parallel to it. In the background power poles, street lights, and buildings are blurred and fade into the skyline.]

Louise Harrison, George’s Sister
[Artwork Description: Black and white photo of a light-skinned Louise Harrison. She has blonde hair, parted in the middle with the bangs curled to each side and the rest of the hair teased up. She has dark eyebrows and eyes. She looks directly at the camera, smiling with her mouth closed, deep dimples showing. She wears a tweed jacket with a white collared shirt. She sits on dark furniture, back showing behind her with a light colored pillow in the bottom corner.]

George Martin, The Beatles’ producer
George Martin (1926-2016) was a British record producer, arranger, composer and musician. As head of EMI’s Parlphone Records, he had worked with The Beatles since 1962. During the period of these photographs he had worked with the band in Paris, where they recorded “Can’t Buy Me Love” at the Pathé Marconi Studios, and accompanied them to America. He would later collaborate with the group on a more experimental approach to studio recording.

[Artwork Description: Black and white photo of a young, light-skinned George Martin. He sits facing the camera, chin resting on his right palm with a lit cigarette between his second and third fingers. His light colored hair is gelled back. He looks off to the top right of the frame with a gentle expression. He is wearing a light colored sweater and black suit jacket. Another individual’s bent elbow fills the left side of the frame.]

Washington to Miami

Washington street scene
[Artwork Description: Black and white photo of a Washington, D.C. street covered in snow. Six people in dark coats and hats carefully step across the snowy street. Two use umbrellas to steady their step. Cars are parked in both directions and others drive in both directions, hoods covered in snow. Dark brick buildings line the left side of the frame. The first has a long dark snow covered awning. A sign in front says Park. Further up the street another sign reads Ton. A gas station sits beyond with a round sign reading Esso. Other buildings are barely visible behind including a large multistory building being built. Beyond blurred billboards stand in front of a radio tower. On the right side are several multistory buildings including a parking garage and two buildings beyond with rows of windows. A cloudy sky is blurred above. The right side of the frame has a blurry black shadow, likely the edge of the car window.]

Washington
[Artwork Description: Black and white photograph of a car from the 60’s driving down a side street in Washington, D.C. The light colored car has two round headlights on each side, an icon that looks like a flattened boomerang on the front bumper and a license plate that is unreadable. A light-skinned man in a black coat hangs out the passenger’s window taking photos. On the shoulder just in front of him is a white three legged traffic sign. A dark cone sits beyond it. In the background are industrial buildings with smoke towers. Details are difficult to see, but there is a large white sign in front of the closest building. On the right side of the frame a large dark truck drives away from the car. Two other trucks are parked along the road, one with a large white sign that is not readable. Near the top right of the frame is a tall white building with a plain side. Other signs appear on the street lamp just before the building, but they are not readable.]

Washington
[Artwork Description: Black and white photo of a marquee in Washington. Large capitol neon letters spell Art above. The reader board below reads Christine Keeler Goes Nudist Plus Playgirls. Two sets of double doors are below the sign. A sign case to the left of the left set of doors and one to the right of the right set of doors have black posters with large white capital letters reading Art written diagonally. Between the doors an awning over the ticket window reads Hippodrome in white capital letters. A single light skinned man wearing a dark coat and pants walks past the doors. Four bright lights frame the marquee board with lines of smaller lights between. White square tiles fill the background with a single row of dark tiles behind the R in the Art title.]

First sight of The White House
[Artwork Description: Black and white photo of the side of the White House with the grounds covered in snow. On the left side of the frame two women wearing dresses and long coats and hats walk together in front of white brick pillars which frame the iron rod gate. Behind them a few feet a man also wearing a long coat walks, left hand in his pocket. A fourth pedestrian is seen on the right side of the frame also wearing a long black coat and walking away from the camera. The iron rod fence is black and the gate has artistic details at the bottom. Curved rods form half circles that intersect with each other with shapes resembling three petal flowers in between them. Above that is a row of rectangles that resemble bricks. Two large metal lanterns sit on top of the pillars that border the gate on the right side of the frame. Leafless trees with overlapping branches stand between the fence and the White House. Eight second story windows are visible behind the trees. The roofline has a stone fence with sections of slats. A door on the left side of the frame is bordered by two large pillars and a curved archway. Above the door is a half circle window.]

First sight of The White House
[Artwork Description: Black and white photo of the White House with a solid gray sky behind and snow on the lawn and on the road. The large façade has four rows of four columns holding a pediment above the front doors. Two sets of nine vertical rectangular windows run across the front of the White House. Each is boarded by ornate frames. A white parapet borders  the roof with six sections of eight vertical cutouts. Above it multiple white chimneys line the roof. One on the right has black smoke or a black object on top. A bare tree extends from the right side of the frame, dark branches a stark contrast to the white paint. A single large lantern hangs above the door, suspended by multiple large black cables. A thick line of bushes line the yard near the White House and a black metal fence with ornate knobs on top. Four blurry figures walk down the sidewalk past the White House. All are wearing winter coats and two in the foreground carry briefcases.]

The Capitol Building
[Artwork Description: Black and white photo of the Capitol in Washington, D.C. The photo is bordered by the dark, blurry, car window. A Do Not Enter sign stands in the snowy field, a couple blocks in front of the Capitol. On the left side of the frame cars line the street, parked on the opposite side. Two cars drive towards the camera in the middle of the street and pedestrians cross behind them. A line of trees runs along the sidewalk, although leafless, their branches are so thick they obscure the view of the Capitol through them. Similar trees line the top right of the frame and extend in front of the Capitol. In the center of the snowy area are two pedestals with sculptures. The first is taller and has a sculpture of a figure on top. The second is about half the height and has a square metal object that cannot be distinguished. The five story Capitol has arched windows across the front. Seven are visible on the front of the building. The connecting buildings are recessed a bit and have a similar facade. Both are covered with snow and have a square decorative top. The dome extends from the center of the main building upward with four layers of evenly spaced columns separated by three horizontal strips of solid stone. A thin column made up of smaller columns connects the top of the dome with the statue.]

Marquee at the Coliseum, advertising The Beatles’ first live performance in the US
[Artwork Description: Black and white photo of Coliseum marquee sign. Large dark capital letters sitting on top of the sign spell Coliseum. Dark moveable letters read Tues Nite Feb 11 838 P. The second line has larger letters reading The Beatles. The third line in smaller letters reads Sold Out. The right edge of the photo has a yellow tint running unevenly from top to bottom.]

“I was in the car taking pictures of palm trees and the general glamour of Miami, when one of our police outriders pulled up right next to the car, and they are right where my camera lens was. It was still slightly shocking for us to see a gun in real life, as we didn’t have armed police officers back home.”

—Paul McCartney

[Artwork Description: Black and white photo of a motorcycle cop on a street in Miami. Only his torso and thighs are showing. The cop’s holstered gun is centered in the frame. It has a metal barrel, black handle, and is tucked into a black leather holster with a silver snap. Above the snap six bullets are attached to the holster. He has a thick black leather belt that has multiple straps and buttons. A thin leather strap goes around his shoulder and hooks to the bottom of the gun. He wears a solid colored shirt and black pants with a light stripe down the side. Part of the black leather motorcycle seat is visible along with a black rectangular storage compartment on the back of the motorcycle. The silver elements under the seat are highly polished. At the top left of the frame a white car passes going the opposite direction.]

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Driving down the Julia Tuttle Causeway to Miami Beach
[Artwork Description: Black and white photograph of cars on Julia Tuttle Causeway. The photo is taken from the backseat of the car. The driver’s hand, part of the steering wheel, and part of the rearview mirror are visible. The roof and dash frame the photo in blurry black. The car in front of the camera is shiny black with vertical rounded rectangular lights with little fins above them. Blurred cars dot the three lanes ahead. On the left side of the frame is a solid line of cars in three oncoming lanes. The first three are white. White streetlights are evenly spaced down the causeway and there is a large median in the center. The water borders the Causeway on both sides and skyscrapers and a tree line are visible at the end of the Causeway.]

The Beatles arrive at the Deauville Hotel, Miami Beach
[Artwork Description: Black and white photo of about ninety fans waiting at the hotel to welcome The Beatles. A police motorcycle guides the car to the entrance and four policemen on foot work to control the crowd. The photo is framed on top by the roof of the car which casts a blurry black shadow on the top of the frame. The hotel has a rounded awning with a square on the right side with a decorative diamond pattern of cutouts. The fans are packed in like sardines, pushing to work their way towards the front. On the far left against the wall is a man in a suit jacket smoking a cigarette and carrying a cane with his right hand. Mostly women fans are crowded to his right with a young light-skinned policeman reaching his arms out to keep the crowd contained. Behind him the cop on the motorcycle wears dark pants and a light shirt and white helmet. He rides a black motorcycle with a white metal box on the back holding the police lights. The women smile and some scream. Many are young, but a few older women are in the crowd. There is a light colored pole just behind the motorcycle. One man leans against it, looking off to the left of the frame. Next to him are three younger girls with an older man between them. Behind them is a sea of heads that are only partially visible. To the right another young light-skinned policeman reaches his hand out to stop an enthusiastic woman who is screaming, arms outstretched, attempting to run towards The Beatles’ car. She wears a light colored dress with white a collar and a slightly darker sweater. Her shoulder length black hair flies in the wind. About ten children stand next to her with a few adults sprinkled among them in the crowd. Three young light-skinned boys stand in the front, holding books and rolled papers looking up with anticipation. Next to them a young light-skinned cop wearing a dark uniform and a white helmet stands looking towards The Beatles’ car with a metal whistle in his mouth. He has a badge and various patches on his uniform. Behind him are a group of mostly adults with a few children looking on. A young woman with chin length dark hair bites the fingernails on her left hand. She wears a loose blouse and a long light colored sweater. Two fans behind her look on with sunglasses and a boy in the back with a crew cut takes a photo. A few older men look on at the right of the frame. One wears sunglasses and a shirt with vertical stripes. Another wears a captain’s hat, black sunglasses, and dark pants. He is holding his white shirt over his right arm and is wearing a metal pendant. The right arm of another police officer is visible at the right edge of the frame. The wall behind the crowd is dark with a light colored diamond pattern.]

Press call in Central Park
[Artwork Description: Black and white photo of press surrounding a young Paul McCartney who has a dazed look. His thick dark hair is parted on the left side and combed forward and to the right. His lips are partially open. He is wearing a white collared shirt with a thin black tie and a black suit jacket. The photographers face McCartney and are all wearing winter coats of various types. A few are wearing black hats. A few men are visible facing the camera in the back right. One wears a tall black hat, black tie, and black coat and smiles gazing upon McCartney. They stand in front of a multicolored brick wall with a metal sconce and a caged window.]

Press call in Central Park
[Artwork Description: Black and white photos of press coming to photograph The Beatles in Central Park. All of the press visible are light-skinned males. Most wear wool coats and carry a variety of camera equipment. In the left corner is a middle-aged light-skinned photographer with gelled black hair and a dark goatee. He carries two cameras, one in his hand and one hanging from a strap on his right shoulder. A large flash bulb hangs from his chest next to a black and white case. He wears a white collared shirt and looks at the camera. Behind him the heads of four photographers are partially visible, all looking down at their cameras. In the center a group of five journalists stand in a huddle. The first light-skinned man has straight hair that is cut like a mushroom and is wearing dark pants and a dark coat. He holds the camera to his eye. Next to him another person with dark pants and a tweed coat speaks to a person in front of them. Further to the back a young light-skinned man wearing a black coat and black pants with a camera case hanging from his right shoulder looks toward the crowd of police. Another light-skinned journalist to his left looks on also and wears a unique hat that appears to be a dark velvet like material with a gold ribbon around the middle. In front of them are two men facing away from the camera wearing coats with the collar flipped up. They look towards a light colored car that an older light-skinned man stands next to. To the right is a group of policemen wearing black coats, black police hats, and metal badges. They are all light-skinned with short cropped hair peeking out from under the hat. Snow covered tree branches line the background.]

Press call in Central Park
[Artwork Description: Black and white photo of two light-skinned photographers wearing dark wool coats standing close to take photos of the band members who in turn took their photograph. The photographer in the foreground has gelled, wavy hair and is holding a large camera with three lenses on the front and a secondary set of lenses on the right that resemble a large gear with smaller dark circles on it. His mustache peeks out behind his thumb that is stabilizing the camera. His right hand grips the side of the camera, fingers bent resting on the top. Slightly behind him a second photographer who is taller and has dark hair blowing in the wind holds a smaller black camera with a single lens and adjusts the focus with his left hand. The fingers of his right hand are spread evenly across the camera’s side. He has his left eye closed and is flashing a large toothy grin. Crowds of people are blurred in the background including a man wearing a suit and a dark hat. The hat of a police officer is visible just behind the photographers.]

On the day The Beatles arrived in New York City, they were invited to a press call in Central Park. George Harrison, sick with tonsillitis, remained at The Plaza Hotel. Still unsure of their names, the photographers called out “Hey Beatle, hey Beatle!” to attract the band members’ attention. Where McCartney features in the pictures, these were taken on his camera by one of the band’s entourage.

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Press call in Central Park
[Artwork Description: Black and white photo of Paul McCartney, John Lennon, and Ringo Starr at a Press Call in Central Park. McCartney, a young, light-skinned man with thick dark hair angled to the right wearing a white collared shirt, thin black tie, and black suit jacket is on the left, captured as he is speaking. A light-skinned young Lennon with long brown hair combed forward and to the right stands in the middle, looking off to the right, and gazing towards the photographer with a relaxed smile wearing a white collared shirt, thin black tie, and black suit jacket. A young light-skinned Ringo Starr stands on the right. His thick dark hair is combed straight down his forehead with thick sideburns. He is wearing a black collared shirt, black tie, and black suit jacket. His nose is crinkled slightly, upper lip raised, and teeth showing as he looks towards the photographer. High rises with bare trees are blurred in the background and a large round black object is blurred in the right foreground.]

Fans, press and police await The Beatles’ arrival at The Plaza Hotel, 5th Avenue, photographed from car.

We were staying at The Plaza hotel, who were pretty horrified by all the hullabaloo. – Paul McCartney

Columbus Circle, Manhattan, photographed from car
[Artwork Description: Black and white photograph of photographers and policemen on horseback in Columbus Circle, Manhattan. The edge of the car window where the photo was taken from shows on the right side of the frame. On the left side is a light-skinned policeman riding a brown horse. The horse wears a dark jacket with a light colored ribbon along the edges. It has two straps on the front. The policeman wears a black uniform and hat. He holds the reins in both hands with his elbows straight out to his sides. Next to them on the right is a single middle-aged light-skinned photographer. He has a round face and wears a black fedora, black suit, and a white collared shirt, the sleeve of which is peeking out of his jacket sleeve. He holds a large square camera with a large flash bulb. To his right are three policemen on horses facing the right of the frame. They are all middle-aged light-skinned men and wear the same black uniform as the first. Their horses also wear dark coats that have P.D. sewn in white block letters on the back side of the coat. Two black street lanterns are visible behind the policeman. Leafless trees line the park. Behind them light colored skyscrapers fade into the sky. The one on the left has a triangular tower on the top. Next to it is a tall boxy building with eight windows evenly spaced along each floor. The two closest on the right of the frame appear slightly distorted.]

‘The crowds chasing us in A Hard Day’s Night were based on moments like this’
[Artwork Description: Black and white photo of a crowd of fans lining the street in New York hollering as the band passed. Large police barricades keep them off the street. They have black letters that read Police Line Do Not Cross. At the bottom left corner a policeman leans on the barricade. He keeps his legs and back straight and turns his head to the right. He is wearing all black and a black policeman’s hat with a metallic badge on the front. About fifty fans are crammed behind the first barricade. Most of them are young light-skinned women, but a few men are among the crowd. Another forty are packed in behind the second barrier. To the right a group of policemen stand in front of the barriers, facing the right of the frame. They wear black uniforms and coats with shiny black police hats. To their right another policeman sits on the back of a large dark horse who is wearing a dark jacket with light colored edging. The policeman isn’t visible, but the horse’s long dark tail falls to the bottom of the frame. Bare trees line the edge of the street and three brick buildings are blurred in the background. The one on the left has two vertical windows per floor on the side. The one in the middle has six windows per floor. They are larger and have smaller sections on each side that open. The building on the right has a stone balcony near the third floor and below it two of the windows have fire escapes next to them.]

Columbus Circle, Manhattan, photographed from car
[Artwork Description: Black and white photo of a photographer and police running toward the band in Columbus Circle. Hoards of fans surround them along the edges of the plaza. In the bottom left corner is the photographer. A middle-aged light-skinned man wearing black pants, a black coat, and black hat. He holds his camera with a large flash bulb up to his left eye. A second camera hangs on his chest. Behind him a shorter round-faced middle-aged policeman wearing black pants and a long black coat with two seats of round silver buttons running up the sides. He has a silver badge on his left chest. His hands are outstretched, coat blowing in the wind as he runs. Another policeman stands directly behind him, just his shoulders visible. A third younger and taller policeman runs to catch up with them. He is wearing the same uniform. Behind them a whole line of policemen physically holding the police barricades up against the pressing crowd. They look to the right of the frame while pressing their whole bodies against the barricade. In the middle of the crowd is a plinth with a sculpture on top. It’s difficult to make out, but appears to be a woman in a dress walking alongside a horse. Two dark metal street lanterns flank the sculpture and a line of leafless trees stands between the crowd and the brick buildings in the distance. The people in the crowd are too blurry to clearly distinguish. A person in a dark coat stands facing away from the camera in the bottom right corner.]

Fans, press and police await The Beatles’ arrival at the Plaza Hotel, 5th Avenue, photographed from the car
[Artwork Description: Black and white photograph of fans waiting for The Beatles to arrive at the hotel. The photo is taken from inside the car with the rearview mirror and part of the dash visible. Reflection in the rearview mirror shows a young man with short black hair wearing a black hoodie. Just below the mirror is an unidentifiable group of objects floating above the fans’ heads. It resembles three women in loose dresses dancing together. About one hundred fans crowd in behind the police barricades. Most are too blurry to make out distinguishing details. A line of police stands next to the barricades holding them up. Towards the right a few police try to contain fans that have squeezed past the barricades. On the far right two young women smile at the camera as they pass the barricades, just out of reach of the closest policeman. Blurred snow lines the street and a black street lantern stands next to a tree trunk on the left side of the frame. An identical one stands near the right side of the frame. It has a square sign with black lettering that is not readable. Light colored buildings fill the background. Those on the left are obscured by the trees. The one on the middle has evenly spaced vertical windows. They have dark trim and an ornate decoration at the top. The side of the building has long slightly darker bricks that appear to interlock. The building on the right has a flat facade and has five large landscape oriented windows that have corners that open.]

“This was something we wanted, so that when it happened, when there were crowds outside The Plaza Hotel and the mounted policemen were holding them back, it was like being in a very exciting film and we were the stars.”
—Paul McCartney

Mural of crowds pressing against stanchions

Unknown woman, Washington
[Artwork Description: Black and white photograph of a middle-aged light-skinned woman with chin length brown hair with blonde highlights. She is wearing a double breasted dark wool coat and black gloves. She reaches up with her right hand. Her mouth is slightly open and her eyes are squinting. To the right is a white window frame beam. Next to it a young light-skinned man with his blonde hair slicked to the side stands with a big grin revealing exceptionally white teeth. He wears a white collared shirt, thin black tie, and black jacket. His image is covered by reflections of trees on the windows. On the other side of the woman are five light-skinned female nurses. They wear matching uniforms, white dresses with high collars and an apron. The collar and bottom of the apron have two dark horizontal stripes. The one on the left is an older woman with curly dark black hair. She holds her right hand up flat just below her chin and has her left hand partially curved reaching towards her right hand. Behind her an older woman with curly brown hair stands smiling. Next is an older woman with white wavy hair. She rests her chin on her right hand, palm pacing her chin, fingers bent. Next a younger woman with long black hair waves. Most of her face is obscured by reflections on the window. The last nurse is younger. She has dark hair and is wearing dark lipstick. She holds her right hand up against the glass with a wide smile. The opposing roofline shows in the reflection at the top of the windows. A single can light hangs from the light colored window in the middle of the frame.]

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The photographs in this room, taken in Washington, D.C. and Miami, include some of McCartney’s favorites. In his portrait of a young girl framed in a car window, McCartney achieved a sense of serenity that was rare during a period of such intense activity. Against a background of jostling figures, the girl gazes calmly into McCartney’s lens, her headscarf catching the light.

Days later, McCartney photographed a police outrider escorting the open-top cars that transported The Beatles from Miami Airport to Miami Beach. Their arrival was anticipated by hundreds of fans waiting outside the Deauville Hotel, where they were due to perform on The Ed Sullivan Show for a second time.

Unknown girl, Washington
[Artwork Description: Black and white photo of fans taken by McCartney from inside a car. The black metal and vinyl around the window serve as a frame. Three women and a girl stand close looking in. In the center a young girl with dark hair wearing a bandana and a brown coat smiles gently while gazing through the window. A woman with chin length, straight black hair wearing big round black sunglasses stands behind the girl with her gloved hand on the girl’s left arm. To her right a woman with short curly black hair leans against a metal beam. On the other side is another woman with chin length straight dark hair wearing a dark coat and black gloves. She leans against the beam, holding it with her right hand. Her left arm is bent, elbow on her right hand and she rests her face on her left hand. She smiles with a dreamy expression. A brick wall is visible behind the women.]

Ringo Starr
[Artwork Description: Color photograph of Ringo Starr standing outside in a yard in Miami, Florida. He has dark messy hair, combed forward and slightly to the right. He wears large black sunglasses. His lips are bright red, mouth partially open. He wears a yellow shirt with a white collar and faces the right of the frame, turning to the right to look at the camera. A shirtless light-skinned man stands behind Starr. The side of the house and a partially open sliding glass door is blurred in the background.]

The Beatles’ roadie, Neil Aspinall, sunbathing
Aspinall (1941-2008) had met McCartney at school and, in the early days of the band, would drive them to and from gigs. He went on to become chief executive of The Beatles’ Apple Corps company.

[Artwork Description: Color photograph of a light-skinned young Neil Aspinall sunbathing, reclining in a patio chair with five thick white horizontal stripes. He is shirtless and wears blue shorts. There is a white towel behind his head and his hair is messy. He holds a lit cigarette in his left hand. There is a small white table on the right side of the frame with fabric laying on top of it. Behind him are palm tree trunks and dark shrubs with brilliant red flowers. Another table holding towels is just barely visible in the bottom left corner.]

Mal Evans playing basketball
Evans (1935-1976) worked as a doorman at The Cavern Club before Brian Epstein hired him to work alongside road manager Neil Aspinall as roadie and bouncer for the band. Evans excelled in setting up, testing, and maintaining The Beatles’ electrical equipment. He traveled with them on tour and was often present at their studio recording sessions.

[Artwork Description: Color photograph of a young light-skinned Mal Evans playing basketball on the patio. He is shirtless and wears tan shorts. He has thick black framed glasses. He looks upward with his left arm outstretched above his head and his right arm bent at the elbow. The ball is floating a couple feet above his hands, just above the roofline of the house. Another light-skinned male stands to the right, mostly out of frame, just his arms, part of his hands, and a small sliver of his left torso visible. The white trim and window panes are visible in the background. Green shrubs line the path in front of the windows and dark reflections obscure the view into the window.]

Miami

“The color pictures start when we get to Miami… it’s like we were living in a black and white world on the rest of the tour and suddenly we’re in wonderland, Florida, the sun, the swimming pools.”
—Paul McCartney

When The Beatles arrived in Miami, Florida, McCartney mainly photographed with color film; better suited to the blue skies, palm trees and golden sands. These were in contrast to the blizzards experienced in Washington, D.C. just a few days before. The purpose of The Beatles’ visit was a second appearance on The Ed Sullivan Show, this time to be broadcast live from the glamorous Deauville Hotel, where the band was also staying.

Following that performance on February 16, The Beatles were finally allowed a few days off, and McCartney revelled in the opportunity to photograph his friends relaxing by the pool, taking a boat trip, swimming and even attempting to water ski. Inspired by these photographs, Paul McCartney has produced, directed and scored a film especially for this exhibition.

The Beatles driving out of Miami Airport
[Artwork Description: Color photo taken from The Beatles’ car as they leave Miami Airport. Fans crowd around waving at the band and screaming. Six young boys, five light-skinned and one dark-skinned, sit on top of the brick wall that holds a large white sign. Most of the words are obscured but Portrait is visible. They lean over peering down at the car. The second boy waves his right hand. They wear dark pants, black shoes, and dark collared shirts, except for the third boy who wears a bright yellow shirt. An older light-skinned man wearing black pants and a white sweater stands behind them facing in the opposite direction taking photos. Below them fans crowd the edge of the road. Policemen wearing light colored uniforms and black hats form a physical barrier between the cars and fans. The light skinned middle-aged officer with dark hair faces away from the camera and reaches out to grab the arm of a young light-skinned man who is trying to squeeze onto the road. In front of him a young woman with long dark wavy hair looks on and grabs the policeman’s forearm. Two photographers stand in the road taking photos, partially obscured by the convertible in front of the band. The blue convertible has four light-skinned male passengers. Only their heads are visible. At the front left of the car a policeman with a white motorcycle helmet stands facing the crowd. A large white wall in front of them has a variety of signs. The first one on the left only has a blue Y visible. Next is a yellow rectangle with black letters reading Hertz. On the right is a teal rectangle with teal words reading Chebi with a star on top of the i. Red letters below read Beauty Salon.]

The Beatles driving out of Miami Airport
[Artwork Description: Color photo of fans surrounding The Beatles’ car as they leave Miami Airport. This scene shows the left side of the scene that was described in the last photo. The top of the dashboard and rear view mirror frame the photo. A group of fans rushes the car, slipping past a policeman. In the far left corner a light-skinned woman is partially visible wearing a pink sleeveless dress. Behind her a young light-skinned girl with long wavy brown hair wearing a blue shirt leans forward screaming. Behind her another light-skinned girl with long black hair screams with a smile. Behind her a dark-skinned young boy looks on with a smile. Next to them a slightly older light-skinned woman with short curly dark hair wearing a white collared shirt with dark pants. She smiles and walks forward with a confident look. Three women are barely visible behind her right shoulder. Next to them is a young woman with wavy black hair and a white headband wearing a blue button up shirt. Behind her a young light-skinned woman with straight shoulder length black hair wears sunglasses and a white button up shirt. She waves with her right hand. In front of her a young man with short brown hair wearing a brown button up shirt waving with his right hand. Behind him is a much shorter older light-skinned woman with shoulder length black hair, a headband, and orange sweater. She holds a camera with a large flash bulb in her hands. Behind her a brown-skinned person with short black hair smiles and waves. Next to him is an older light-skinned woman with brown hair blowing in the wind. She looks towards the car. An older light-skinned man wearing a brown suit with short brown hair. He faces the right side of the frame and reaches out toward the convertible in front of The Beatles’ car. A younger light-skinned person with messy brown hair stands next to him. Everyone beyond is too blurry to see clearly. A policeman wearing a light shirt, dark pants, and a white motorcycle helmet and a dark strap across his back. The blue convertible is partially visible with a driver and a passenger in the back. The white wall behind the fans has a series of signs. The first has large blue letters reading Souvenir City. Red letters below read Gifts. Smaller black words appear on the left reading Bags and right reading Jewelry. To the right is a yellow rectangular sign with black letters reading Hertz.]

Rehearsing for The Ed Sullivan Show at the Deauville Hotel

Ringo Starr and Mal Evans, The Beatles’ roadie
[Artwork Description: Color photo of a young light-skinned Ringo Starr practicing drums backstage. He has thick dark hair combed forward. He is wearing a loose white button shirt with the top buttons open and short blue and white striped shorts. He holds wooden drum sticks and the cymbal is visible in front of him. A young light-skinned Mal Evans sits to Starr’s left. He has thick dark hair, black glasses, and is wearing a yellow button up shirt. He leans forward resting his forearms on his legs. A light colored brick wall extends behind them and a table with a white tablecloth sits in the corner with a variety of small objects too blurry to make out sitting on top. In the front right corner is a blurry black object.]

John Lennon and George Harrison
[Artwork Description: Black and white photo of a young light-skinned John Lennon with thick dark hair wearing sunglasses and a black sweater holding his guitar facing a young light-skinned George Harrison. He also has thick black hair that is combed forward. He is wearing a white t-shirt with black letters under a white button up shirt. His brown guitar hangs from a strap around his neck and he holds the middle of the neck with his left fingers. His mouth is open and he looks intently at Lennon. A blurred brown wall appears in the background.]

Rehearsing for The Ed Sullivan Show at the Deauville Hotel
[Artwork Description: Color photograph of a young light-skinned John Lennon wearing a black sweater, black pants, and sunglasses. He has long dark hair combed forward and thick sideburns. He faces the camera, but his head is turned toward the left of the frame. He is playing his guitar and appears to be speaking or singing as his mouth is open. George Harrison stands facing Lennon on the right side of the photo. Just his back, hair, and his left hand are visible. He is playing his guitar, making chords with his left hand. A light colored stone wall with an electrical panel door that is open sits behind Lennon. A cymbal on Starr’s drum set is visible in the bottom left corner.]

Views from and outside the Deauville Hotel, Miami Beach
[Artwork Description: Color photograph of a Miami Beach which borders the Deauville Hotel. The tan hotel facade is visible on the left of the frame. People line the patio below and play in the surf. Five sea fences line the beach creating pools. The teal ocean waves break against the fences and the shore creating white caps. The sky is blue with a few light clouds.]

Views from and outside the Deauville Hotel, Miami Beach
[Artwork Description: Color photo of a large sky banner stretching across a light blue sky with a few white clouds. Capital letters read There is only one Mister Pants. The first four words are red and Mister Pants is a mixture of black, silver, and red letters.]

On the beach
[Artwork Description: Color photo of fans on beach coming to meet The Beatles. The deep teal ocean is mostly calm with just one small wave breaking. Bright blue sky is visible on the horizon. In the center, a dark-skinned individual walks towards the camera holding something up to their ear. The figure wears shiny light blue pants. Further back and to the left a young light-skinned policeman wearing a light uniform shirt, dark pants, and white helmet with sunglasses stands facing the right side of the frame and twisted to look behind. He has his thumbs tucked into his belt. He wears a black strap across his chest. He stands just in front of a long rope that separates the fans from the band. To the left a light-skinned woman with brown hair wears a blue button up shirt and blue capris. She has thin sunglasses on and has her arms crossed holding something to her chest. Next to her is a light-skinned man with short dark hair wearing sunglasses and a black shirt and pants. He looks to the left of the frame. Behind him a young light-skinned boy plays in the water walking behind a light-skinned woman with short dark hair wearing a light colored swimsuit. Closer to the rope a light-skinned man with short dark hair wearing a white t-shirt and dark shorts looks on, holding something in his right hand against his leg. Next to him a light-skinned man wearing a black t-shirt with a white logo leans back looking to the left of the frame, covering his eyes with his hands, fingers interlocked. Behind the policeman two older light-skinned men and one woman look on. The first man is wearing only dark swimming trunks. The woman is wearing a sleeveless white and black striped sundress. The man behind her wears a light colored collared shirt. To the right a group of five young light-skinned women with dark hair look towards the camera. The first has short dark hair blowing in the wind and wears a multicolored earth tone swimsuit with horizontal stripes. Behind her a woman with chin length dark hair with blonde highlights wears a black t-shirt with a white logo and dark sunglasses. The next person is barely visible behind the dark-skinned individual. She has curly dark hair and is wearing a white headband. Next to her is an older light-skinned woman with short black hair and sunglasses wearing a white shirt. Next to her is a young light-skinned woman with dark hair pulled into a ponytail wearing a white and black striped bikini. Behind her an older light-skinned woman wears a tiny white bikini with black polka dots and a white and red swimming cap. Next a light-skinned shirtless young man with dark hair and white shorts looks off to the right of the frame. In front of him a young light-skinned woman with dark hair with the ends curled out wears a red swimsuit with a deep neckline and leans against the rope separating the fans from the band. Next to her a young light-skinned woman with chin length black hair wears a black swimsuit with a high neckline. Next to her another light-skinned woman wears a layered white sundress with a white and black sun bonnet. Behind them two middle-aged light-skinned men with dark hair stand shirtless looking on. The first has a tan shirt tied around his neck and is wearing sunglasses. A woman in a light colored bikini and a towel around her head looks to the left of the frame standing very close to the man in the back. Another woman with a white swimsuit and towel on her head stands a few feet behind with her left hand on her hip. Along the right side of the frame a light-skinned man wearing a white towel over his shoulders smiles at the camera. In front of him a slightly older light-skinned woman wearing a black swimsuit and blue headscarf and sunglasses stands with her hands on her hips looking straight ahead. In front of her a light-skinned woman with a red bikini tank top and black bikini bottom wears sunglasses and a red headband looking towards the camera.]

On the beach
[Artwork Description: Color photograph of a group of fans wading in the ocean on a Miami beach. On the left of the frame a light-skinned blonde woman is wearing a red and white swimsuit. Just her ear and left arm are showing. A light-skinned man with dark hair wearing a white button up shirt that is mostly unbuttoned and black swim trunks looks down into the water. He has a necklace, bracelet, watch, and multiple rings. Behind him two light-skinned young women talk and laugh in the surf. The one on the left wears a red bikini with a matching headband and holds sunglasses in her hands. The other woman has dark shoulder length hair pulled back by sunglasses on her head. She wears a dark swimsuit and leans forward smiling. In the foreground at the center a young light-skinned woman with long dark hair pulled into a bun holds something small and black against her chest in her left hand. She wears a white button up shirt that is unbuttoned and tied in a knot at her waist and black bikini bottoms with a white stripe down the hip. Next to her a young light-skinned woman with frizzy wavy dark hair wearing a white and black striped bikini reaches out and touches the other woman’s hand. Next to her at the right side of the frame a young light-skinned man with short dark hair wearing a white collared button up shirt faces the right of the frame, only his right shoulder and chest showing in the frame. Behind them gentle teal ocean water sprawls until the horizon where it meets a blue sky. Two white capped waves break in the distance at the right of the frame.]

On the beach
[Artwork Description: Color photo of fans on a Miami beach. Two light-skinned policemen wearing black pants, light uniform shirts, and white helmets. They have a black leather strap around their chests connected to their guns that are on side holsters. They look to the right of the frame, the one on the right pointing and giving directions to fans on the other side of the rope. On the left side of the frame a young light-skinned woman with short black hair wearing a white swimsuit stands facing the left frame and looking back over her shoulder towards the camera. Closer to the rope a young dark-skinned man wearing black shorts and sweatshirt with a white logo stands looking towards the crowd. Behind him an older light-skinned man stands shirtless wearing blue swim trunks. His right fist rests on his hip and he scratches his head with his left hand. Behind him another older light-skinned man stands shirtless with his white shirt around his neck wearing tan shorts. He has sunglasses and stands with his hands on his hips. Next to him a person with a white swim bonnet looks back towards the ocean. To the right a young, muscular light-skinned man with short dark hair stands looking to the right of the frame with crossed arms. A taller man wearing a white sweatshirt and sunglasses stands behind him. To their right a short young light-skinned woman with a red swimsuit and shoulder length dark hair stands gazing at the muscular young man. Next to her an older light-skinned woman with chin-length dark hair wears a black long sleeve bathing suit. In front of her on the other side of the rope is a middle-aged light-skinned photographer with short black hair. He is wearing black pants and a long sleeve pink shirt. He holds multiple cameras on straps over his shoulders and looks behind him toward the right side of the frame. Two men stand behind him closer to the ocean, just part of their heads visible behind the policeman’s helmet. A young light-skinned woman wearing black bikini bottoms and a red tank top with a matching headband and sunglasses stands resting her right arm on the fence post holding the rope. A much older light-skinned man with silver hair stands looking on, shirtless wearing baggy swim trunks. A woman stands next to him obscured by a woman closer to the rope. She has short blonde hair and is wearing a red and cream bikini. Another young light-skinned woman with curly brown hair wearing a white layered sundress. She turns looking over her left shoulder toward the edge of the frame. Behind her at the left edge of the frame is a shirtless young light-skinned man. He talks to a figure off the frame and bites his nails on his right hand. A dark shadowy figure is blurred in the bottom right corner. The teal ocean behind them has gently rippling waves with white caps.]

Views from and outside the Deauville Hotel, Miami Beach
[Artwork Description: Color photo of four seagulls flying in a bright blue sky with light white clouds. One flies into the frame in the bottom left corner, just its wings and the top of its head visible. The other three form a triangle pointing to the 1 o’clock position. They are white with black wing tips and tail feathers. They have small black eyes and flat white and black beaks.]

‘Fans left messages to us in unmissably big letters in the sand that could be read from our hotel bedrooms’
[Artwork Description: Color photo of fans on Miami beach writing messages in the sand to the band. Large letters in the sand read Bring Ringo + Paul. A bit further down letters read I love Paul. The fans look up and scream with glee. The first on the left is a light-skinned shirtless man with dark hair. He looks down at the sand. Next to him are two young light-skinned boys with dark hair. The first wears all black and the second wears black pants and a white shirt. Behind them closer to the water are two light-skinned people with dark hair. The first wears white pants and a blue long sleeve shirt. The one on the right wears baggy blue shorts and a white t-shirt. Behind them two young light-skinned women with dark hair wearing yellow pants and light shirts dance in the sand. Behind them two slightly older light-skinned women with black hair wearing light colored sleeveless shirts and matching pants. The one in back wears sunglasses and screams looking up with her left hand in the air. She holds a pink sweater and black bag in her left hand. The woman in front looks downward and holds a white sweater over her bent right arm. In front of them are three light-skin women with dark hair. They are all wearing black shorts. The first on the left has dark hair and wears a white tank top. She turns her head to the right and looks to the sand. To her right the woman has long black hair and is wearing a white long sleeve shirt. To her right the woman has long wavy black hair and is wearing black shorts and a blue plaid shirt. The upper left corner shows clear water rippling up on the beach.]

Views from and outside the Deauville Hotel, Miami Beach
[Artwork Description: Color photo of six seagulls flying over ocean waters. On the left corner is a triangle of gently crashing white waves. A small patch of white waves stretches out from the left frame just below the left top corner. Four seagulls form a V starting near the top left corner. A fifth bird flies just below the top right bird. A large rectangle patch of crashing white waves fills the right side of the frame. A lone seagull dives into the sea just to the left. They are white with black wing tips and tail feathers. They have small black eyes and flat white and black beaks.]

Views from and outside the Deauville Hotel, Miami Beach
[Artwork Description: Color photography of seagulls flying over a Miami beach and landing on the sand. Taken from a high level hotel window, the view is above the birds. Near the top of the frame where the waves roll in are six birds gliding over the water. Another one flies over the dry sand near the center of the bottom of the frame. Along the dry sand below it eighteen seagulls walk along the shore. The bright sunlight casts large shadows to the left.]

Fishing trip
Fishing didn’t suit me, so I put this one straight back!
—Paul McCartney

Diane Levine, Paul McCartney’s Miami date
I called for Ms. Levine at her father’s office and then we went to a drive-in movie together. -Paul McCartney

[Artwork Description: Color photography of a young, light-skinned Diane Levine. She has shoulder length brown hair pulled back by a light blue headband. Her hair flips out at the ends. She is wearing a light blue turtleneck and a gray sleeveless vest with four white buttons forming a square just above her waist. She faces the right side of the frame and turns her head right to look at the camera. She has a soft expression and her arms hang at her sides, just out of frame. To the right a group of women stand on the dock looking out over the water. The first is an older woman with light skin and frizzy gray hair. She is wearing a white button up shirt and hot salmon pants. Behind her a younger woman is only visible by the top of her head and her left arm, elbow protruding toward the water with her hand on her hip. Next to her a light-skinned woman with brown hair and a yellow shirt with a matching scarf over her head and a white skirt looks towards the water. In the bottom corner of the frame a fourth woman stands, left hand on her hip. She has shoulder length dark hair and is wearing pink pants and a lavender jacket with the sleeves rolled up. Across the water is a long dock and buildings and cars are blurred along the shoreline. Power poles extend into the hazy sky.]

Fishing trip
[Artwork Description: Color photograph of Paul McCartney with a fish on his line. His hands and neck are cropped out of the photo. The muscles in his arm tense as he pulls the fish up. The fish is shaped like a tadpole and has little fins near its head. It flails in the air on the line. McCartney is wearing a white t-shirt and black vest with black jeans. On the right side of the frame is a white wooden fence with diagonal cross beams. There is a large metal pipe with ends capped and a black conduit cord that runs to a power box with a round dial and outlet with two plugs. The water behind is light blue and fairly calm.]

Fishing trip
[Artwork Description: Color photo of a young light-skinned Paul McCartney standing on a boat. He is wearing a white t-shirt, black vest, and black jeans. He has a bracelet on his left wrist and a watch on his right. His thick dark hair is combed forward and blowing slightly in the wind. He faces the camera, but looks over his right shoulder. His right arm holding his fishing line near his hip and his left hanging at his side. The boat is white with wooden storage compartments and a dark wood top on the safety rail. There is a white chair and awning. Part of the boat is painted a teal color. The gray calm water extends to the top of the top third of the frame. In the distance, the dock and cars are blurred. Power poles are barely visible through the hazy sky with a row of green trees blurred beyond them.]

‘Fishing didn’t suit me, so I put this one straight back!’
[Artwork Description: Color photograph of a young light-skinned Paul McCartney fishing. He holds his fishing rod upright in his right hand and reaches toward the fish on the line with his left hand, fingers bent. His nose is scrunched up and his teeth are showing as if he is grossed out at the idea of touching the fish. His thick dark hair blows in the wind. He is wearing a white t-shirt, black vest, and black jeans. He has a gold bracelet on his left forearm and a dark watch on his right wrist. Behind him large palm tree branches hang over his head, their long thin green leaves blowing in the wind. At the right of the frame is a large round metal object on a stand. Possibly a viewfinder or a fan. It sits on top of a metal pipe with black conduit that runs to a power box with a dial and an outlet with two plugs. Behind him a bridge or jetty extends into the water.]

​Diane Levine, Paul McCartney’s Miami date
[Artwork Description: Color photograph of a young light-skinned Diane Levine with shoulder-length straight brown hair blowing in the wind, held down by a baby blue fabric headband. She is wearing a baby blue turtleneck with a light gray vest and a necklace with a blue pearl pendant. She sits on a dock with a dark-haired woman wearing a light colored shirt sitting on the other side of the dock in front of a white and brown boat.]

Cynthia Lennon
[Artwork Description: Color photograph of a young light-skinned Cynthia Lennon. She sits on a boat wearing a spring green shirt under a white sweater. She wears black sunglasses. Her blonde hair is pulled back and blowing in the wind. She faces the left of the frame, but turns over her left shoulder smiling. Near the bottom of the frame her white shirt blows out in the wind over the edge of the boat. A thick red stripe is painted in the middle of the back of the boat. The spray from the boat fans out over the frame with darker waters blurred in the top left and bottom right corners.]

George Harrison
[Artwork Description: Color photograph of a young light-skinned George Harrison riding on a boat. His chest and head fill the right side of the frame. He is wearing a white collared shirt and black sunglasses. His thick brown hair blows back in the wind. He has a wide, mouth open grin. The water and distant shore are blurred behind him with white trails from the boat extending to the distant shoreline.]

Ringo Starr
[Artwork Description: Color photograph of a young light-skinned Ringo Starr standing on a boat. He is wearing short bright blue shorts with white stripes on the side and around the bottom edges. His white sweater is unbuttoned at the top with the collar spiked up revealing his bare chest and a metal medallion necklace. He is wearing dark sunglasses and holding a black camera in his right hand. He has a gold chain bracelet on his right wrist. He is holding a red cushion in his left hand and looks up at the camera, mouth partially open. On the right of the frame another light-skinned slightly older man with dark black hair wearing black sunglasses is partially visible. He looks downward and the rest of his body is off frame. The water behind the boat is calm and has a green tint. A white pole with vertical stripes rises up out of the water behind Starr and a white rope runs from the top center of the frame down to the right. The boat is a dark gray on the outside with a cream colored top and inside. Wooden molding extends around the inside of the boat.]

John Lennon
[Artwork Description: Color photograph of young light-skinned John and Cynthia Lennon on a boat. Cynthia appears in the bottom left corner facing away from the camera looking at Lennon’s torso through her dark sunglasses. Her blonde hair blows in the wind. Lennon stands close, wiping himself dry with a white towel. His dark hair is wet and messy. Just the top band of his swim trunks are visible. It is white with a pattern of horizontal diamonds with every other one being outlined in a blue rectangular frame. Water rolls down his chest and arms. He looks towards Cynthia, eyes mostly closed, and mouth slightly open. Glassy water ripples around them.]

Photographing in black and white, on board the Southern Trail
Hand-made bromide prints

Cynthia Lennon
Cynthia Lennon (1939-2015) met John Lennon when they were both students at Liverpool College of Art. They married in August 1962 and their son Julian was born in April 1963. Brian Epstein initially encouraged the Lennons to keep their marriage a secret so as not to alienate the fans. Cynthia joined The Beatles on their first visit to America.

[Artwork Description: Black and white photo of a young light-skinned Cynthia Lennon. She is wearing a black one piece swimsuit with a black long sleeve button up shirt over it, unbuttoned and blowing in the wind. She sits, knees bent and feet under her. Her body faces the right of the frame and her head is turned slightly left looking over her shoulder out into the water. Her long blonde hair is gently blowing in the wind. Her left hand is resting daintily on a metal rail, fingers relaxed showing her wedding ring. Black sunglasses lay on the seat in front of her knees and she holds a partially filled glass with her right hand sitting against her right leg. In the distance a large white two story mission style house stands among a grove of large palm trees and smaller bushes. The dock and possibly patio furniture are blurred toward the center of the frame.]

Cynthia and John Lennon

[Artwork Description: Black and white photo of a young Cynthia and John Lennon on a boat. John sits left knee bent with foot on the boat seat. He is holding a black camera to his face and wearing a white t-shirt and a black captain’s hat. He leans back into Cynthia who sits facing the right of the frame also wearing a loose black button up shirt and dark sunglasses. Her blonde hair wispy from the breeze. She has a gentle smile. Behind her a metal pole rises upward and a horizontal rail extends behind her back and across in front of John. In the background is a large white building with small windows. Trees are blurred on the left side behind Cynthia. At the top right corner two palm trees extend up from a group of bushes. A white metal fence with two rails lines the dock.]

Cynthia and John Lennon
[Artwork Description: Black and white photo of a young Cynthia and John Lennon on a boat. John sits left knee bent with foot on the boat seat. He is holding a black camera about six inches from his face and looks to the right of the frame smiling with his mouth open. He is wearing a white t-shirt and a black captain’s hat. He leans back into Cynthia who sits facing the camera. She is wearing a loose black button up shirt and dark sunglasses. Her blonde hair wispy from the breeze. She has a gentle smile. Behind her a metal pole rises upward and a horizontal rail extends behind her back and across in front of John. In the background is a large white building with small windows. Trees are blurred on the left side behind Cynthia. At the top right corner two palm trees extend up from a group of bushes. A white metal fence with two rails lines the dock.]

Ringo Starr and George Harrison
[Artwork Description: Black and white photo of young light-skinned Ringo Starr and George Harrison sitting shirtless on a boat. Starr sits slightly elevated on the left side of the frame just behind a shiny metal pole. He has striped shorts on and wears dark sunglasses, a chain necklace, and a gold chain bracelet. He has a cigarette hanging out of the left side of his mouth and is turned to the right looking at the camera. Harrison sits in front of him at a lower level. He wears sunglasses and looks directly at the camera with a serious expression. His thick dark hair seems untouched by the wind while Harrison’s blows in the breeze. A large dark pole rises up behind Harrison with a hook holding white cord wrapped tightly. A white pole extends next to it with a joint on the top and a cover over the arm. In the distance a large multi-story hotel extends from the center to nearly the right of the frame. A dock with white boats lines the right of the frame. On the left side another closer white building is nestled between large palm trees.]

The four of us spent so much time working together that it’s good to see us just relaxing and enjoying ourselves
— Paul McCartney

John Lennon
[Artwork Description: Color photograph of a young light-skinned John Lennon swimming in the ocean in Florida. His arms are outstretched, left above his head. His dark brown hair is wet and he is flashing a large toothy grin. Water splashes up around him and is calm beyond.]

John Lennon
[Artwork Description: Color photo of a young light-skinned John Lennon swimming in the ocean off the coat of Miami. Only his feet and calves are visible as he dives into the water with a big splash. The mildly choppy green waves swell around him.]

Boat trip on the Southern Trail

George Harrison
[Artwork Description: Color photo of a shirtless light-skinned young George Harrison with thick brown hair with heavy layering. He gazes intently in front of him with his right shoulder slightly forward. Water and shoreline with buildings and trees under a blue sky with white clouds is blurred behind him.]

Ringo Starr
[Artwork Description: Color photo of a young, light-skinned Ringo Starr standing shirtless on a boat in Florida. He holds to the top of the awning with both hands. He looks over his left shoulder wearing rectangular dark sunglasses. His thick brown hair blows in the wind and he has a five o’clock shadow. He wears a gold chain necklace and a matching bracelet on his right wrist. He wears two large rings with black gems on his left hand. His mouth is agape with an indifferent expression. Across the calm turquoise water is a large building with a white roof surrounded by tall lush palm trees with a blue sky behind.]

John Lennon photographs his wife Cynthia
[Artwork Description: Color photograph of a young light-skinned John Lennon photographing his wife Cynthia. She stands in the right corner of the frame facing left. Her face is slightly blurred and her blonde hair is wispy from the breeze. She wears a maroon jacket. Lennon is wedged between two vertical metal poles. He wears a white t-shirt and has a dark watch on his left wrist. He holds a black camera to his face and his mouth is slightly open revealing his teeth. His dark brown hair is messy from the ocean breeze. Gently rippling ocean waters surround them and in the far distance the tree lined shoreline is blurred between the water and the hazy sky with two tiny white clouds.]

Sergeant Buddy Dresner, relaxing
[Artwork Description: Color photograph of a light-skinned Sergeant Buddy Dresner relaxing on a boat. He is wearing black pants and a tan long-sleeved police uniform shirt with patches on the side and a badge on the right breast. He wears black shoes and props his feet up on a small red stool. He leans back on a padded couch with throw pillows behind him. His hands lay gently in his lap. To the right of the frame is a white end table with a bouquet of lilies on it, some pink and some white with green leaves between. Behind that a bronze oil lamp sits against the white canvas that is stretched across the boat railing. In front of him is a large glass table with a cream edge. It holds about 24 upside down glasses arranged in neat rows. A marble oblong bowl holds an unidentifiable brown object and bottles of sparkling water are opened behind it. Next to one bottle is a rectangular block that is green on the bottom and pink on the top with a white wavy line on the sides. Gently rippling ocean waves fill the rest of the frame.]

Beatles Touring. A Photofilm
The process of curating this exhibition inspired Paul McCartney to create a unique photofilm that showcases The Beatles first trip to Miami. While the latest technology and techniques have been used to bring the photographs to life, the photofilm represents McCartney’s personal response to this extraordinary archive of images.

McCartney also revisited his 2007 song “222” extending it to create a new, bespoke piece of music for this film.

Film
Written and composed by Paul McCartney All instruments by Paul McCartney Recorded by David Kahne, Adam Noble and Steve Orchard assisted by Keith Smith,

Jamie Kirkham and Eddie Klein at Hog Hill Mill

Additional recording by Steve Orchard Mixed by Steve Orchard

Published by MPL Communications Ltd, administered by MPL Communications Inc

© 2023 MPL Communications Ltd

Bloomberg Connects Audio Guide 117

Brian Epstein and Ringo Starr
[Artwork Description: Color photograph of young light-skinned Brian Epstein and Ringo Starr standing with an unknown person between them in Miami. Epstein appears at the bottom right corner. He looks towards the left of the frame. He is wearing a white collared shirt and dark sunglasses. He rests his chin on his left fist revealing a metal watch on his left wrist. The man next to him is light-skinned and has dark wavy hair. Just the top of his head, nose, and left arm with a watch are visible. Starr stands at the end of the white fence looking down at his feet, hands in his pockets. He is wearing a white button up shirt, most of the buttons unbuttoned and the collar flipped up. His dark brown hair is messy from the breeze. Another unidentified person wearing a blue sweater stands next to him. A white bulb light appears just above his head in front of a dark tree canopy.]

John Lennon, Brian Epstein, George Harrison and Ringo Starr
[Artwork Description: Color photograph of the band standing on a Miami dock. In the left corner a young light-skinned John Lennon leans on the white dock fence. It is wooden with elaborate shapes on the fence posts and a diamond design made by the cross beams. He is wearing a loose white short sleeved shirt, unbuttoned on top with the collar spiked up. His thick black hair is blowing in the wind. He has a black camera strap around his neck. He looks to his left towards a light-skinned Brian Epstein who is sitting on the fence. Epstein has shorter dark hair, gelled in place. He is wearing thick black glasses and turns to look over his right shoulder toward Lennon. He is wearing a loose tan t-shirt under his matching loose white shirt. He holds a glass bottle with his right hand between his thighs. A few feet beyond a young light-skinned George Harrison stands wearing tiny tan shorts and a matching white button up shirt, only the bottom button is buttoned, revealing his bare chest. His thick dark hair blows in the wind and he is wearing sunglasses. He smiles while looking towards Lennon and holds a cigarette up to his mouth with his right hand. Two older light-skinned men stand behind him looking out at the water, just their heads are visible. At the right of the frame a young light-skinned Ringo Starr stands looking toward the camera holding a black camera to his chin with his right hand. His left hand just behind it in a fist showing his large pinky and fourth finger rings. He wears dark sunglasses and his dark hair is combed down over his eyes. He wears a matching white short sleeved shirt and has the top buttons open. He wears tiny bright blue shorts with a white stripe down the side of the hips and along the bottom of the shorts. Large dark trees fill the background with part of the white hotel facade and a large palm tree visible on the left side of the frame.]

Discovered by fans
[Artwork Description: A policeman wearing a motorcycle helmet stands at the gate of the dock blocking fans from getting to the band on the doc. He wears long black pants and a dark uniform shirt with patches and a badge. A black leather strap goes over his left shoulder and connects to his gun holster on his right hip. His arms hang to his sides and he looks out onto the dock. Behind him an elaborate white wood fence borders the dock. Large thick pillars with ornamental tops are connected with thinner cross beams and a top rung that dips in the middle. Behind the fence is a crowd of fans. They are too blurry to distinguish their features clearly. Most have dark hair and several have their hands raised waving at the band. To the left are young men wearing dark clothes. To the right young women wearing skirts. Thick green tree canopies fill the space above with a large palm tree near the right corner. Next to it a white flat bridge extends over the calm water. Blue hazy sky is visible above.]

Ringo Starr
[Artwork Description: Color photograph of a young light-skinned Ringo Starr on a boat with choppy white water filling the frame behind him. He faces the camera wearing a white short sleeve button up shirt. The collar is loose revealing a gold medallion necklace. He is wearing dark sunglasses and his dark thick hair is blowing in the wind. He wears a black camera around his neck. His elbows are bent slightly and there is a dark strip on the pocket on his left. He looks to the left of the frame, lips slightly parted.]

John Lennon
[Artwork Description: Color photograph of a young light-skinned John Lennon. He has thick dark hair combed forward and to his right blowing in the wind. He is wearing a white collared button up shirt and is looking straight at the camera with a gentle gaze. His mouth is partially open. The white dock fence and large trees are blurred in the background.]

Ringo Starr
[Artwork Description: Color photograph of a young light-skinned Ringo Starr. He sits at a table wearing a long sleeved white shirt and a black captain’s hat with a round patch on the front. His long messy dark hair sprawls out from underneath the hat. His head is angled slightly and he looks to the right side of the frame with glassy blue eyes. He rests his chin on his open left hand, pulling his cheek down gently. His plump pink lips in a gentle pout. He has a large gold and green ring on his pinky and a rectangular gold and black ring on his fourth finger. He holds a lit cigarette between his fingers. The top of a glass container peeks out just above the bottom of the frame and a fence, trees, and building are blurred in the background.]

John Lennon
[Artwork Description: Color photograph of a young light-skinned John Lennon sitting wearing a black captain’s hat and a white shirt smoking. He holds the cigarette between his second and third fingers on his right hand. His left hand resting with fingers relaxed below. His lips are slightly open and he has a relaxed, but curious expression. The shoulder of a person wearing a pink shirt is blurred to his right.]

Brian Epstein
[Artwork Description: Color photograph of a young light-skinned Brian Epstein. He has thick short dark hair parted on the left side of his head with short sideburns. He is wearing thick black glasses. He sits on the dock, leaning forward, and looking down toward the left corner of the frame. He is wearing a white collared shirt buttoned all the way to the top and a loose short sleeve white shirt over it, unbuttoned and rippling in the breeze. The corner post of the dock with an ornate white topper sits between him and the left of the frame. The light blue sky with a layer of wispy clouds is blurred behind him.]

Ringo Starr
[Artwork Description: Color photograph of a young light-skinned Ringo Starr. He stands in the middle of the frame looking down at the camera. Just the white collar of his shirt is visible. He wears a black captain’s hat with a round patch on the front. His messy dark hair shoots out from under the hat. A blurred tall tree rises above him by the left side of the frame. The sky is washed out in the background.]

Murray the K, radio DJ and George Harrison
[Artwork Description: A young light-skinned George Harrison stands in the middle of the frame applying sunscreen. He is tall and slender, only wearing tight short tan shorts and dark sunglasses. He looks down at his right shoulder, left hand applying sunscreen across it. He has thick dark hair combed forward. To the left, a light-skinned Brian Epstein sits on a patio chair, shirtless, wearing blue shorts and with a white towel draped across his abdomen. He is wearing a large round pendant necklace. They both wear white canvas shoes. Epstein’s black hair is wet and messy. He rests his elbows, arms crossed, on his knees. He looks to the right of the frame. On the padded lounge behind Harrison is a black square bag with a long thin strap and a shoulder bag with a red logo with unreadable white letters on the side. Behind them is a dark wooden fence with a scalloped top. Palm tree branches hang over it and other bushes are visible behind.]

John and Cynthia Lennon, Ringo Starr, George Harrison and Murray the K
[Artwork Description: Black and white photo of the band relaxing by the pool. In the foreground young light-skinned Cynthia Lennon wears a spring green sleeveless dress and lays on her right side on the lounge facing away from the camera. She has long wavy blonde hair and is wearing sunglasses. John Lennon sits at the foot of the lounge. He is wearing a loose white short sleeved shirt. His dark hair is combed forward and he is wearing dark sunglasses. A small white wooden cart holding a square black bag and a blue bag with a white border and a white round logo. A young light-skinned Ringo Starr sits on the lounge behind the cart. He is shirtless and is wearing a gold metal necklace. He looks down at his lap. He has thick dark messy hair. Beyond him on the next lounge chair a young light-skinned George Harrison sits on a white towel applying sunscreen to his left shoulder with his right hand. He is shirtless and wears tiny tan shorts and big black sunglasses. His thick dark hair is blowing in the breeze. Behind him a light-skinned Brian Epstein sits on a lounge chair, shirtless, resting his elbows on his knees and clutching a white towel over his stomach. A large gold pendant hangs from a gold chain around his neck. His dark hair is wet and messy. There’s a tan wall behind him with a tree with multiple trunks rising up behind him with small green leaves against the pyramid shaped cream roof. A hazy sky is blurred behind. An open wooden gate at the top right corner reveals a large tree with green leaves and stacked gray rocks.]

John Lennon
[Artwork Description: Color photograph of a very wet John Lennon climbing out of the pool on the steps. He holds the black rails with his hands and smiles while shaking his wet hair. He is shirtless and his waist isn’t visible under the water. The green pool water ripples with motion.]

Cynthia Lennon
[Artwork Description: Color photo of a young light-skinned Cynthia Lennon sitting on a white lounge chair beside the pool. The photo is taken through the black rails of the pool stairs. She is wearing a spring green sleeveless dress and a black sun hat with a white ribbon around the brim. Her lips are partially open and her blonde wavy hair peeks out from under the hat. Her knees face the left of the frame and she turns looking over her left shoulder while wearing dark sunglasses. A white shirt or towel lays on the seat in front of her. A black camera lays face down on the lounge next to her. On the left side of the frame is a small light colored wood cart with a black and teal bag laying on top. A wooden fence is blurred in the background with dark leaves above.]

John Lennon
[Artwork Description: Color photograph of a young light-skinned John Lennon surfing in the rippling green pool on a boogie board that floats under the surface. He is wearing short red swim trunks with a thin white stripe down the side of the hips. His knees are bent and he leans to his left. His hair is wet and his mouth is wide open. He holds his arms and hands out to his left side to balance. The side of the pool is made of cream tiles. Water spills over the side onto the deck. A large round wooden table with a black top with ornate wooden legs sits on the deck near the edge of the pool. Behind the table is a white brick wall with dark green bushes on top. Two dark trees are planted in circles cut out of the pool deck on the left side of the frame.]

Relaxing by the pool

George Harrison and photographer Robert Freeman
[Artwork Description: Color photo of a young light-skinned George Harrison and Robert Freeman sitting on the edges of cream lounge chairs by the pool. The photo is taken through the black curved rails that border the pool steps. Harrison is wearing a loose white short sleeve shirt with buttons and short black shorts with a small white stripe down the hip. He wears black socks and white canvas slip on shoes, his left leg bent and tucked behind his right ankle. He is holding a black camera in his right hand with his left fingers outstretched underneath it. He has thick dark hair and a gold watch on his left wrist. He looks towards Freeman with his mouth partially open. A black messenger bag with white edging sits on the ground between the lounge chairs. It has white letters reading The Beatles with a red rectangle behind the letters B E A. It is unzipped with clothes sticking out the top. Freeman sits on the edge of the lounge wearing a long sleeve blue shirt with white buttons. The top buttons are unbuttoned. His shorts are not visible. He sits leaning forward, resting his elbows on his knees, hands in front of him, palms together, fingers outstretched. He looks toward the right of the frame with a frown on his face. He has messy brown hair. A dark wooden fence extends behind them with palm trees and other leafy branches sprawling out above it. A black captain’s hat and a black bag lay on the lounge chair behind Harrison.]

George Martin, Judy Lockhart-Smith. They married in 1966
[Artwork Description: Color photograph of young light-skinned George Martin and Judy Lockhart-Smith. The photo is taken behind the pool ladder rails. In the distance at the middle of the frame Martin picks up Lockhart-Smith as if he plans to throw her in the pool. He is wearing black shorts and an unbuttoned white short sleeve shirt with a collar. He is wearing small sunglasses and has brown hair that is brushed back. He looks down at her with a big grin. Lockhart-Smith flashes a toothy smile. She is wearing dark sunglasses and her long dark hair is blowing in the breeze. She wears a blue swimsuit with a white collared shirt over it, unbuttoned. She wears white sandals that have straps that cross over her toes. A line of cream colored lounge chairs with assorted clothing laying on them line the background in front of a dark wooden fence with a scalloped top and leaf filled branches above. At the right of the frame a young light-skinned Cynthia Lennon stands facing away from the camera with her long blonde hair blowing in the wind. She wears a spring green dress with a loose white short sleeve shirt over it. Another person stands to her right, just an elbow and white shirt visible. At the far left the dark metal rails of the pool steps reach out of the water. To the right an older light-skinned man with short dark hair wearing a white short sleeve button up shirt and black pants stands at the cabana window talking on a white telephone. He leans on his left elbow and holds the phone with his left hand. His right hand is in his pocket, elbow bent. A tree with three trunks rises up next to the cabana with lush green leaves. A short white brick wall stands between the pool and the next building. It has brown walls, a white roof, and a blue window.]

George Martin, Judy Lockhart-Smith. They married in 1966
[Artwork Description: Color photograph of a young light-skinned George Martin and Judy Lockhart-Smith by the pool. Martin stands facing the left of the frame, laughing with a big grin. His sunglasses are pulled up onto his forehead. He holds a small black object in his hands at his waist and has a black bracelet or watch on his left wrist. He wears a light colored button up shirt with a white paper in the left pocket and short black shorts with white stripes. Lockhart-Smith sits cross legged on a lounge just behind him. She wears an oversized white button up shirt with the sleeves pushed up. She looks up towards the pool with a big smile. She wears dark sunglasses and has wind wiped shoulder length wavy black hair. She wears white sandals with two white strips crossed over the top. Her left arm with a gold bracelet is slid between her legs. Cynthia Lennon lays on the lounge next to her wearing a spring green dress with a yellow tie and thin sandals with a single thin leather strip reaching up from her toes and connecting to a thin strip around her ankle. The edge of the pool with a dark metal ladder is visible on the bottom left of the frame. Behind it a short white brick wall stands between the deck and a line of dark leafed bushes. Grass stretches out beyond the bushes. A white canopy covers the back patio. A cream colored tarp drapes over the side, pulled together and folded over a vertical support pole. A few potted shrubs line the patio wall. Double glass doors with elaborate molding. The awning runs the length of the roof with a scalloped design. A hazy sky and blurred green treetops are visible at the top of the frame.]

George Harrison, photographer Dezo Hoffman, and Cynthia Lennon in the foreground.
[Artwork Description: Color photograph of a young light-skinned George Harrison posing on the dock leaning against the white fence while being photographed by Dezo Hoffman. Harrison is wearing small tight black shorts with a thin white stripe down the hip and a white logo in front of it. He is wearing a white long-sleeved t-shirt with a red circle in the middle and a cartoon face with a plane under it. Blue letters appear above and below the circle, but are not readable. He wears a loose short sleeve white shirt over it, unbuttoned. He rests his right arm on the fence and leans to the right with his right foot crossed over his left leg. He looks straight at the camera with an intense gaze. His thick dark hair is combed forward and to the right, blowing in the wind. Hoffman is an older light-skinned man with dark hair and a bald spot on the top of his head. He wears thick black glasses. He is shirtless and wears black pants. He faces Harrison, holding a camera out of view in front of his chest. A young light-skinned Cynthia Lennon is blurred in the foreground at the bottom left corner. She is wearing a spring green dress with a white shirt over it and a black sun hat with a white ribbon and dark sunglasses. Large palm trees fill the top right of the frame.]

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George Harrison
He is shown with Linda Pollak, whose parents Jerri and Pual owned the house where The Beatles spent a day by the pool.

George looking young, handsome, and relaxed. Living the life.
– Paul McCartney

[Artwork Description: Color photo of a young light-skinned George Harrison being served a drink poolside by a young light-skinned Linda Pollak. Harrison sits on the lounge chair shirtless wearing dark sunglasses. His dark thick hair is brushed forward. He faces the right of the frame and turns his head to look at the camera. The sun reflects off his moist face. He raises his right hand to take the drink with a lit cigarette between his fingers. Pollak stands next to him, head out of frame. She is wearing a yellow bikini. The top has four brass buttons – two on the top and two on the bottom. Two matching buttons are on the top strip of the bikini bottoms. She has silky light colored skin. Two palm tree trunks rise up behind Harrison’s head. Shorter bushes with bright red flowers fill the background. At the right side of the frame a yellow jacket with white edging hangs in front of Pollak.]

Relaxing in Miami

During their time in Miami, The Beatles famously posed for press photographers as if receiving a knock-out blow from heavyweight boxer Cassius Clay—soon to become Mohammed Ali—at his gym. They were also photographed, heads bobbing in a swimming pool, in a now iconic image for Life magazine.  In contrast, McCartney’s own Miami photographs are essentially holiday snaps, which capture all the fun and novelty of their time there.

Their assigned security guard, Sergeant Buddy Dresner, found various ways for the band to avoid their fans. He arranged for them to go fishing and to spend the day at the home of the Pollacks, a local family who had a swimming pool. The band and entourage relaxed their usual sartorial standards, swapping suits for Beatles-branded caps and toweling shirts, provided by the Deauville Hotel.

Behind the Camera
“It was after the war, so things were brightening up and I was being exposed to good art and good photography.”
—Paul McCartney

Paul McCartney’s interest in photography extends back to his childhood and his family’s first camera, a Kodak Brownie. As a teenager in post-war Britain, he was aware of transformations in popular culture and imagery, including the work of pioneering photojournalists. McCartney’s interest in photography and music was shared with his brother Mike, who made some of the earliest portraits of McCartney and The Beatles, including two works on display in this room.

This legacy of photography in McCartney’s family was further strengthened when he married professional photographer Linda Eastman in 1969, and continues through the work of their daughter, photographer Mary McCartney.

Self-portrait with Paul and Mary. London, 1969
By Linda McCartney
© Courtesy of Paul McCartney under exclusive license to Linda Enterprises Ltd
[Artwork Description: Color photograph of light-skinned Paul and Linda McCartney with their daughter Mary as an infant. The portrait taken by Linda through the mirror has the family posing in a line in front of the toilet in their bathroom surrounded by colorful floor tiles and rugs. Linda stands in the back wearing a white button up shirt and black pants. She has shoulder length straight brown hair and holds a camera to her face with both hands. Paul kneels in front of her. He is wearing a brown and white striped t-shirt with brown edges and has a thick black beard, dark black wavy hair. He looks at the mirror and holds baby Mary. Mary has dark hair, parted in the middle. She wears a white jacket and her arms are outstretched to her sides. She leans on Paul’s crossed wrists. He sits on a tiled surface with white and brown tiles. A red matt reaches out behind it. A white door is visible at the top right and a toilet and shelf with various items blurred on the left of the frame.]

Mary McCartney, self-portrait, 2003

National Portrait Gallery,
© Mary McCartney

[Artwork Description: Black and white self-portrait of a young light-skinned Mary McCartney. She has straight shoulder-length dark hair with a single strand of hair across her forehead. She holds a camera in front of her chin. She wears a fitted button up short sleeve shirt and a black knee length skirt. She wears a thin black lanyard with a white badge.]

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Mike McCartney (b. 1944)
This portrait represents McCartney’s brother Mike. The brothers share a passion for photography and music. Between 1966 and 1974 Mike performed as Mike McGear (“Gear” being the Scouse (Liverpool slang) word for “fab”) with the music-poetry group The Scaffold, achieving a number of hits including UK Christmas no. 1 “Lily the Pink” (1968). As a photographer, McCartney is widely published and exhibited.

[Artwork Description: Black and white photo of a young light-skinned Mike McCartney. He sits in a padded chair with a dark cover wearing a white collared long sleeve shirt. His wispy brown hair is parted on the left and combed to the right. His dark brown eyes look directly at the camera and his lips are parted slightly. He folds his arms across his chest. Silver round objects are blurred on the table behind him and black material with stitching reading Ford lays on the chair behind his left arm.]

Jim McCartney (1902–1976)
This portrait of McCartney’s father Jim was taken shortly after The Beatles returned from their first visit to America. He is pictured in the garden of the house in Heswall, near Liverpool, that his son Paul had recently bought for him. Jim had worked as a cotton merchant and salesman. He was also an amateur musician, founding Jim Mac’s Jazz Band in the 1920s. McCartney’s mother Mary was a nurse and midwife. She had died of breast cancer in 1956.

[Artwork Description: Black and white photo of an older light-skinned Jim McCartney. He stands in front of a two story house in a dark suit. He smokes a pipe, holding it in his left hand and stands with his right hand in his pocket. He is wearing a white collared shirt and a thin black tie. He is mostly bald with a bit of white hair visible at the back of his head. Spiny mostly leafless shrubs line the foreground on either side. The house is light colored with dark black trim. It has several large windows of various styles. The expansive roof is dark with two light colored stone chimneys. The sky is hazy and blurred at the top of the frame.]

Paul McCartney reading the paper
[Artwork Description: Black and white photo of a young light-skinned Paul McCartney sitting in an overstuffed chair, feet hanging over the armrest with a newspaper in his lap. He is wearing a dark long sleeve shirt with the sleeves unbuttoned and pushed up. His thick wavy dark hair is combed forward. He looks up to his left with a solemn expression. He rests his left hand on the armrest and his right hand on his right knee. A light colored wall is visible behind him.]

Paul McCartney and John Lennon
By Mike McCartney, early 1960s Bromide prints

These photographs, taken by McCartney’s brother Mike, are drawn from the National Portrait Gallery’s collection. Before The Beatles were widely known, the McCartney brothers collaborated on a series of striking portraits in which they experimented with light, poses and settings. Mike used a Rollei Magic camera that his brother Paul had bought him as a gift from Hamburg.

I would get Paul to sit for hours while I experimented with techniques
—Mike McCartney

Lent by the National Portrait Gallery, London

[Artwork Description: A very blurry black and white photo of Paul McCartney and John Lennon playing guitars while in a small room. McCartney is on the left, he bends over his guitar, playing chords with his right hand and strumming with his left. Lennon sits to the right playing chords with his left hand and strumming with his right. Both are wearing dark pants and shirts. They both have dark hair combed forward. The guitars are so blurry they are barely visible.]

With The Beatles
During the early years of The Beatles, several photographers worked closely with the band, and McCartney was able to observe their practices and techniques. Robert Freeman, Harry Benson and Dezo Hoffmann traveled with them during the period represented in this exhibition, and McCartney captures the photographers in his own pictures.

The German photographer Astrid Kirchherr had met The Beatles in Hamburg in 1960. She was an important early influence on their personal style— encouraging them to adopt their famous “mop-top” hairstyles — and supported McCartney’s interest in photography. Although she did not travel with the band during this period, her work appeared as a poster for The Beatles’ show in Paris, based on the original photograph shown here.

Astrid Kirchherr at work on the set of A Hard Day’s Night, 1964

Photo: Max Scheler/K & K/Redferns via Getty Images.

[Artwork Description: Black and white photo of a young light-skinned Astrid Kirchherr. She is wearing black leather pants, a black coat, and a black hat. Her long blonde hair cascades from under the hat. She holds a black and silver camera to her face. She is kneeling on her left knee and leaning against the wall. There is a window behind her left shoulder. She shoots towards an open door with a piece of striped furniture barely visible. Behind her is a long hall filled with doors to the left and windows to the right. It appears she is on a passenger train.]

The Beatles

By Astrid Kirchherr, Bromide fiber print, November 1962

This portrait was commissioned by The Beatles’ manager Brian Epstein. Ringo Starr had recently replaced Pete Best as drummer. This photograph was used for a poster advertising The Beatles’ residency at the Olympia Theatre in Paris. Multiples were pasted onto an advertising hoarding, and they feature McCartney’s own photographs of the city.

Lent by the National Portrait Gallery, London

George Harrison; John Lennon; Paul McCartney; Ringo Starr
[Artwork Description: Black and white photo of The Beatles posing for a photoshoot. They all have light skin, dark hair that is combed forward, and are wearing black suits with white collared shirts and thin black ties. John Lennon sits on a wooden throne in the middle of the frame. He crosses his left leg over his right knee. He looks straight ahead, arms resting on the wooden armrests of the throne. On the left, George Harrison stands with his back to the throne facing the left of the frame. He looks over his left shoulder at the camera. Ringo Starr stands to the right a bit behind the throne. He has a wide stance and his arms hang at his sides. Paul McCartney sits on the floor, back against the throne, left leg outstretched on the ground, right knee bent with his right hand resting on his knee. He looks toward the bottom right corner of the frame. They pose on a photography backdrop that is a light brown color. A dark floor and metal chair leg are visible on the right side of the frame.]

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Robert Freeman (1936-2019)
By Paul McCartney
[Artwork Description: Black and white photo of a young light-skinned Robert Freeman sitting in front of a light colored blank wall smoking a cigarette with his right hand. He has dark hair, parted on the left, combed to the right. He is wearing a white collared shirt and a black jacket with a rectangle logo on the left breast.]

Meet The Beatles! Album cover 1964 (released as With The Beatles in the UK)
By Robert Freeman
When Bob Freeman first took photographs of The Beatles, we treated him like any other photographer. It was when he returned with the results that we began to look at him in a different light. – Paul McCartney

Impressed by Robert Freeman’s photographs of jazz musicians, The Beatles’ manager Brian Epstein invited Freeman to photograph the band at the Palace Hotel in Bournemouth, where they were staying as part of a tour. It was here that Freeman took the iconic photo for the front cover of With The Beatles (used for Meet The Beatles! In the US), posed in the hotel dining room, with Ringo Starr kneeling on a stool: “The large windows let in a bright side light and the dark maroon velvet curtains were pulled round as a backdrop.” Freeman traveled with The Beatles to the US and features frequently in McCartney’s photographs.

He became a regular collaborator with The Beatles.

[Artwork Description: A black and white photo of The Beatles. Just their heads are visible. Their black turtlenecks fade into the black background. The young light-skinned men are all looking at the camera with solemn expressions. They all have dark hair, combed forward and thick long sideburns. John Lennon is on the left, then George Harrison, then Paul McCartney, with Ringo Starr slightly lower in front of McCartney. A white border across the top has a black rectangle with a small white circle and a cursive L with the bottom forming an infinity symbol. Gray capital letters below read Parlophone. Black letters to the right read with The Beatles. The word mono appears in black text at the top right corner.]

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Harry Benson in Paris
[Artwork Description: Black and white photo of a middle-aged light-skinned Harry Benson standing in front of a car on the street. He has thick wavy black hair combed to the back and thick black eyebrows. He wears a white collared shirt, thin black tie, checkered coat and holds a camera with both hands in front of his chest. The building behind him has floor to ceiling windows and a large white sign with cursive letters reading Romeo. The light shiny car sits between Benson and two other light-skinned men standing on the sidewalk. The one on the left has black hair slicked back wearing a white coat and holding a cigarette in his lips. Next to him is a man with brown hair, parted on the left and arched over his forehead. Other words are blurred in the windows.]

The Beatles Pillow Fight
By Harry Benson, silver gelatin print

We were aware that Harry Benson had to deliver a photo a day, so we would try and help him, so if he wanted a pillow fight, he got a pillow fight.
– Paul McCartney

Harry Benson captured The Beatles’ famous encounter with boxer Cassius Clay at a training session for his World Heavyweight Championship fight. Benson traveled with The Beatles on their first trip to America, and featured in several of McCartney’s photographs.

He continued to photograph the band throughout their career.

Lent by the National Portrait Gallery, London

[Artwork Description: Black and white photo of the young light-skinned Beatles having a pillow fight. George Harrison lays on the bed on his back, knees bent and bare feet sticking up. He holds a white pillow on his chest and has his mouth open in a wide smile. Ringo Starr stands over him wearing a suit jacket with very wide arms, his arms outstretched in front of him as if to scare Harrison. He wears large rings on his pinky and fourth finger on his right hand. He looks down at Harrison, mouth open wide. Harrison pushes a white pillow against Starr’s stomach with his feet. John Lennon stands behind them. Facing the camera and bent over slightly. He is wearing a dark suit jacket and looks downward with a small smirk. He holds a white pillow in his left hand and grabs for the one in front of Starr with his right hand. To the left Paul McCartney jumps onto the bed with his right knee bent, his right bare foot extending behind him. He wears baggy dark pants, a dark collared shirt, and a large dark coat. He holds a pillow above his right shoulder and looks down screaming. His left hand is caught mid motion in front of his chest. There is a rounded dark headboard at the head of the bed and a black framed painting that appears to depict a person wrapped in a blanket. A window or doorway is partially visible behind McCartney and a dark case with clothing on top sits in the corner.]

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Paul McCartney Facsimile contact sheet of portraits
By Dezo Hoffman

Slovakian-born British photographer Dezo Hoffmann (1912-86) had worked with The Beatles from their formative days. His first assignment was at Abbey Road Studios in 1962, shortly after Ringo Starr joined the band. Hoffman took numerous studio portraits of the band, many of which featured on their records and in their music press, but also documentary-style images for magazine features. He traveled with the band to Paris and America and regularly features in McCartney’s photographs.

[Artwork Description: Contact sheet of twelve black and white photos of a young light-skinned Paul McCartney with thick dark hair in various poses on a roof photoshoot. He is wearing dark pants, a white collared shirt, a thin black tie, and a black suit jacket with black shoes. In the top left frame he stands near the edge of the roof facing the right corner of the frame and looking outward. He holds his left hand to his ear as if trying to hear something in the distance. Light colored buildings are blurred behind him. In the second he is in mid-jump, legs apart, hands raised out past his waist, tie flying in the wind, with his mouth open as if screaming. In the third he stands with his legs crossed, thumbs in his pockets and the rest of his fingers resting on his hips. His shoulders are slightly raised and he smiles looking at the camera. In the next frame he stands straight with both hands in his pockets smiling at the camera. The first frame of the second row shows him standing with arms stretched out and back over his head. He appears to yell. Next, he squats down, left leg in front, left arm gently hanging over his knee. His right hand rests on his right thigh and he looks at the camera smiling with his mouth open. In the third frame he stands, shrugging his shoulders with his hands in the air and his head tilted slightly to his left. In the final pose he stands looking up to his right with his hands on his hips. In the bottom row he stands straight up, holding fists by both ears screaming. In the second he squats with his left knee forward. He waves with his left hand and rests his right palm on his right thigh. His mouth is open and he is looking upward to the right. Next he stands, hands on his waist, with a relaxed expression. In the last frame he stands with his left thumb in his pocket, other fingers gently laying on his pants. He raises his right arm behind his head and looks into the distance with a solemn expression.]

Dezo Hoffman (left) looking at a contact sheet with fellow photographer Harry Benson and George Harrison
[Artwork Description: Black and white photo of three light-skinned men. On the left an older Dezo Hoffman has short black hair, thick black framed glasses, and wears a white collared shirt, thin black tie, and black suit jacket. He faces the right of the frame and looks on while George Harrison holds a contact sheet. Harrison has thick dark hair combed forward and messy sideburns. He is wearing a white collared shirt that is unbuttoned at the top and a loose black tie. Behind him Harry Benson, a tall man with short dark hair wearing a white collared shirt, thin black tie, and black suit jacket looks at the contact sheet over Harrison’s shoulder. White walls with shadows and sun rays are blurred in the background.]

Ringo Starr in London during The Beatles’ Christmas Show, December 1963
The x on this photo shows it’s been taken from a contact sheet, and the mark – made by me – indicates it was a favorite. – Paul McCartney

[Artwork Description: Black and white photo of a young light-skinned Ringo Starr. His face fills the frame and he stands slightly in profile facing the right of the frame. His eyes are turned, looking to his left. His mouth is gently closed and his thick brown hair cascades down his forehead partially covering his bushy eyebrows. He is wearing a black turtleneck and a gray suit jacket. There is a chalky white x over his head, possibly a mark made on the contact sheet. The background is blurred behind him.]

John Lennon in Paris, January 1964
This shot of John with his guitar: that’s how we worked and that’s how I knew him. Looking back at it, they’re so special to me because they’re like family snapshots. – Paul McCartney

[Artwork Description: Black and white photograph that is quite blurry of a young light-skinned John Lennon playing a black guitar. He strums and leans forward, looking over his left shoulder to the right of the frame wearing thick black sunglasses. His thick dark hair is combed forward and slightly right covering his forehead and he has large sideburns. He is wearing a white collared shirt that is unbuttoned at the top. The black guitar has a light colored border on both sides. The rest of the image is blurred.]

George Harrison at the Liverpool Empire, December 1963.

[Artwork Description: Two nearly identical photos of a young light-skinned George Harrison. He is wearing a white collared shirt with a thin black tie and a dark suit jacket. His thick dark hair is combed forward. He faces the camera, but leans slightly towards the left of the frame. His eyes are focused and he has a solemn expression. A painting or photograph is blurred on the wall behind him. On the right photo a red x appears in the top left corner. Next to it a thin black hand drawn arrow starts on the right frame and carries over onto the right side of the left frame.]

Paul McCartney with his Pentax camera pictured in The Beatles Book monthly magazine, number 8, published March 1964
[Artwork Description: Black and white photo of a young light-skinned Paul McCartney holding his black Pentax camera with his long thin fingers. He looks out with a serious expression. His thick dark hair is combed forward, partially covering his eyebrows. He has a five o’clock shadow and is wearing a white collared shirt, thin black tie, and a back suit jacket with the white sleeves of his shirt peeking out from under the suit jacket. The camera strap hangs in front of the lens and there is some kind of sign or artwork blurred behind him.]

Contact Sheets
Contact sheets enable a photographer to see all the shots on a roll of film on a single sheet, and to select which images would be developed. McCartney’s contact sheets were developed at a photographic laboratory shortly after The Beatles returned from America. In emulation of the professional photographers he observed, McCartney used a grease pencil to mark up the images he hoped to have made into prints. However, due to the band’s busy schedule, only a handful of prints were ever produced.

Due to the light-sensitivity of the original objects, the contact sheets shown here are exact facsimiles.

Influence and process
We [The Beatles] were fascinated with photography. And I think each one of us would have a pretty good eye. The knowledge would come from professional photographers.
—Paul McCartney

When developing his own photographic practice, McCartney observed and learnt from the professional photographers who took pictures for the many popular music magazines of the period. These included Dezo Hoffmann who was introduced to the band through his work for Record Mirror and went on to collaborate with them closely in the early years. In composition and style, McCartney’s spontaneous images also show the influence of emerging photojournalism, which he had seen in British newspapers including the Observer.

Due to the light-sensitivity of the original objects, the contact sheets shown here are exact facsimiles.

McCartney’s self-portrait sequence, and other images taken at the Pathé Marconi Studios, Paris January 1964
[Artwork Description: Contact sheet of 35 black and white photos. Most of them are too small to fully decipher. The first row shows men getting dressed into dark suit jackets and talking in a circle. The second row is of men sitting backstage. The third row shows musicians in a bright room with large windows. The fourth row shows three men sitting leaning towards each other in discussion and a short dark haired woman wearing a white shirt and black sweater standing in different poses. The fifth row shows a series of self portraits McCartney took in a mirror. In the first he is blurred and partially obscured by a wall. The second is more clear, but his head is off frame. The third and fourth are focused on his face, his black camera under his chin. The last one is a man in a white shirt sitting between two men in dark suits talking. The sixth row has portraits of a young light-skinned man with light brown hair gelled back. He is wearing a white collared shirt, thin black tie, and black coat. In the first frame he looks straight ahead with his mouth open. In the second he smiles and looks to the right of the frame. In the third he looks to the right of the frame and has a worried expression. Next he looks to the left of the frame with his mouth closed and head turned slightly. In the last frame he is turned to the left of the frame, but looks back at the camera with his mouth closed. Another frame of him looking to the right of the frame is the last frame on the next row. The first two frames show a street scene with people walking around cars parked on the side of the road. Then two portraits of a young woman with shoulder length dark hair parted in the middle and curled outward at the bottom. In the first one she flashes a toothy grin and in the second she has a broad smile, lips closed, with deep dimples.]

Backstage at the Liverpool Empire, December 1963
[Artwork Description: Contact sheet of 32 black and white photographs of various peoples and scenes. The first row only has three photos. Lennon reading a newspaper. A light haired man in a suit smoking, and one of The Beatles sitting in a chair, but it shows sideways on the sheet. The second row has three photos of Lennon sitting in a chair wearing a black suit. The last frame shows a young woman with dark hair standing in a group of men. She is featured in the first two frames of the third row also. Another woman with blonde hair stands behind her. In the next two frames Lennon, wearing a suit, talks to other men in a group. In the last frame a slightly older man with curly hair and sunglasses looks down towards the left corner of the frame smiling. The next row is shots of various men wearing suits. The same men appear in the first three frames on the next row. The last two depict a woman with short blonde hair. The second frame has a red x in the top left corner. The sixth row has two additional photos of the blonde then a close up of a man in a suit positioned sideways, and two frames of bands on stage. The seventh row also shows various groups performing on stage.]

Portraits of Jane Asher and Peter Asher taken at home at Wimpole Street, London, 1963
[Artwork Description: Contact sheet of 35 black and white photos. The first frame of the first row is not distinguishable. The next two show McCartney playing guitar at home. The last two show a light-skinned young woman with dark hair. The second row is portraits of a young woman with blonde shoulder length hair. In the last one she looks up to the left corner of the frame with pouty lips. She fills the next three rows with different poses. In the sixth row there are three more poses of the young woman. The fourth frame is a self-portrait of McCartney taken in a mirror. The final frame is a young man with dark hair and glasses looking down. The last row shows a young man with curly hair and glasses in a variety of poses.]

Backstage during The Beatles’ UK autumn tour, 1963
[Artwork Description: Contact sheet of 35 black and white photos. The first two frames are too dark to make out. The third shows one of The Beatles sitting at a table. The fourth a light-skinned man wearing a white shirt and black tie looking down. The last shows men walking towards the right of the frame. The first frame in the second row shows a man with dark hair looking down at his plate. Then two frames of older women with short curly hair. The last two frames show a band member getting makeup done. The third row has a third frame of makeup being applied. Then two frames of a close up shot of an older man with dark hair. The last two shots are of an older man with glasses. The fourth row shows shots of the band with another man in a light-filled room. The fifth has a close up of Lennon, Starr standing between two older men, and three frames of a light-skinned man with dark wavy hair with his eyes closed in all three frames. He fills the first three frames of the last row and then two frames of Lennon getting ready in front of a mirror.]

“A London Day in the Life of The Beatles” in magazine Meet The Beatles, including a photo shoot with the band’s official photographer at the time, Dezo Hoffmann: ‘An hour in front of the camera and spotlights provide another valuable selection of studio poses for Dezo Hoffmann’.

[Artwork Description: Black and white copy of a magazine spread depicting five scenes with The Beatles. In the top left, a photo of the band standing in an open air market sharing fruit with two female friends. The band members wear black suits and ties with white collared shirts. The women have blonde hair and wear tan pants and white shoes. The one on the left wears a shirt with thick black and white vertical stripes and sunglasses. The second wears a dark shirt with sunglasses. A clock in the top left corner reads 1:08. The caption below reads 1:08 p.m. Female fans materialize out of thin air wherever the boys go. These two blondes were only too happy to share Ringo’s bag of fruit.

The second photo on the top shows the band, young light-skinned men in a line on the sidewalk. Ringo Starr stands on the end with John Lennon to the right. They both wear black suits with white collared shirts and black ties and hold ice cream cones. George Harrison stands next to Lennon pretending to hold a fake ice cream cone. He wears black pants and a light coat. Paul McCartney stands at the end of the line with his arms crossed. He wears black pants and a light colored sweater. They all have thick dark hair combed forward. Black framed shop windows are visible behind them. A hand drawn clock at the bottom right corner reads 1:35. Below the caption reads 1:35 p.m. Bananas, strawberries . . . and what will you have for dessert, sir? Two Beatles settle for cones of soft ice cream and George likes to pretend he’s got one too. Paul’s either (a) not keen on soft ice cream or (b) keen on preserving his slim figure!

Below is a large photo of the band standing between shops in a narrow street. George Harrison is on the left wearing black pants, a white collared shirt, black tie, and gray suit jacket. His right hand hangs at his side and his left hand is in his pocket. John Lennon stands next to him wearing a black suit with a white collared shirt and thin black tie. He has a cigarette in his right hand. Ringo Starr stands next to him wearing the same suit with his left hand in his pocket. Paul McCartney stands at the end of the line wearing black pants and a light colored sweater. A large clock above him sticking out from the wall reads 2:00. Above the caption reads 2:00 p.m. This silent Soho alley will be throbbing with activity after dark. Right now it provides the boys with a short-cut route to the photographic studios of Dezo Hoffmann.

At the top of the right side of the spread is a photo of the band sitting for a photoshoot. They are bordered by large set lights and cameras in front of a white wall. John Lennon stands on the left side, leaning against the pole to the camera. He wears a dark suit and looks downward. Next to him Paul McCartney sits with his right knee bent, hands folded over his knee. He wears all black and looks up with his mouth slightly open. George Harrison sits next to him wearing a dark jacket, white collared shirt, and thin black tie. He looks up to the right with a smile on his face. Ringo Starr stands behind him wearing a dark suit, white collared shirt, and thin black tie. He leans on a spotlight, hands laying across the top of it. An arm in a white long-sleeved shirt stretches out from the right side of the frame with fingers up in the air. A clock is drawn on the wall that reads 2:15. The caption below reads 2:15 p.m. Photographers who feed out new show-biz pictures to the press have to take every opportunity of replenishing their quickly consumed stockpile of Beatle shots. An hour in front of the cameras and spotlights provide another valuable selection of studio poses for Dezo Hoffman.

Below is a photo of the band getting dressed in a small dressing room with shelves of boxes and clothes behind them. The wall is covered in flowered wallpaper. George Harrison stands on the left wearing a gray shirt and black tie. He holds a piece of clothing in his hands and gazes down at it. A messy pile of objects lay on the table in front of him. Next John Lennon wears a gray long sleeve shirt and thin black tie. He looks on as a man with thick dark hair and a white short sleeved shirt fixes Paul McCartney’s tie. McCartney faces the man, looking to the left of the frame. He stands tall, chin forward, hands out to his sides. Ringo Starr sits behind him looking on, head turned away from the camera. A desk filled with items sits behind him and there is a hand drawn clock at the top right that reads 3:45. The caption above reads 3:45 p.m. More measuring – with the boys surrounded by sewing machines and shirt-fronts. Shirts take a severe punishment during energetic stage shows – The Beatles change into fresh ones after every performance.]

In the George V Hotel, Paris January 1964

Sitters include John Lennon, Ringo Starr, driver Bill Corbett, roadie Neil Aspinall, manager Brian Epstein and photographer Dezo Hoffmann.
[Artwork Description: Black and white contact sheet of 35 photos. The first row has three photos of men sitting in a white room. The second frame shows a group of men looking at a paper and sitting in a white room. The third and fourth rows show the band warming up playing guitars. The fifth row shows Starr reclining on a couch and Lennon seated playing guitar. The next row has a shot of Brian Epstein sitting wearing a dark suit with a white collared shirt and thin black tie. Next to him are four frames of Bill Corbett also wearing a dark suit in various poses. Two additional shots begin the next row. Followed by two photos of Neil Aspinall who is wearing a dark long sleeve shirt and one of Brian Epstein. The last row has three photos of Dezo Hoffman wearing a black suit and glasses and the last frame is too blurry to distinguish.]

Facsimile showing reverse of original contact sheet of photographs made during The Beatles’ UK autumn tour, 1963, with notes and identifications added by McCartney at the time Backstage during The Beatles’ UK autumn tour, 1963

[Artwork Description: Handwritten notes in red ink by McCartney naming the people on the contact sheet. Ron (coach driver), Jean (Vernon Girl), Tony (Kestrels), Brook Brother, an undistinguishable word starting with Jag, Freda Kelly, and another name that is not readable that starts with a B. On tour 1963. A list of names is on the bottom right corner that are too light to read.]

Original contact sheet fragment of photographs taken during The Beatles’ UK autumn tour, 1963

[Artwork Description: Black and white contact sheet with three frames stacked vertically. They are too small and blurry to see clearly, but seem to show the band on stage.]

Pentax camera, 1963
By the second half of 1963, each of The Beatles had acquired a Pentax camera. New point-and-shoot cameras such as the 35 mm Pentax SLR (single-lens reflex)—which was first introduced in the late 1950s— led to the development of the “snapshot” aesthetic. The camera on display in this case is the same model that McCartney would have used to take the photographs in this exhibition.

[Artwork Description: Shiny black camera with two triangular metal hooks on each side to hold a lanyard. A single lens sits in the middle of the camera with small white letters around it that are not readable. Just above the lens capital letters spell Pentax. A flattened pyramid sits at the top of the camera with three round knobs on the top left and one on the right.]

Facsimile of original photographic negative, showing a portrait of Cynthia Lennon
For this exhibition a small number of prints were developed directly from the original negatives in the darkroom, as they would have been made in the 1960s. The process is documented in the film that accompanies this display.

[Artwork Description: Black and white strip of negatives showing five frames of photos. They are too small and blurry to depict.]

George Harrison and John Lennon

[Artwork Description: Black and white photo of a young light-skinned George Harrison smoking a cigarette. He is shown in profile, cigarette at his lips. His long dark hair is combed downward toward his thick sideburn. He is blurred slightly. At the other end of the frame a young light-skinned John Lennon looks on. He looks down to his right. His thick dark brown hair is combed forward, obscuring his eyebrows. He is wearing a white collared shirt, thin black tie, and black suit jacket. The background is blurred behind them.]

A sequence of images taken from the contact sheet displayed in the case

[Artwork Description: Series of three black and white images taken from a contact sheet showing a young light-skinned John Lennon backstage wearing a black suit, white collared shirt, and thin black tie. In the first one someone’s right hand stretches across the frame under his chin. In the second the arm of someone wearing a white shirt appears on the right side of the frame. In the last one he leans forward looking to the left side of the frame.]

John Lennon Backstage on tour, November 1963
[Artwork Description: Black and white photo of a young light-skinned John Lennon backstage. The photo is only partially exposed, white on the left. Lennon faces the middle of the photo with a downward gaze. His thick brown hair is combed forward over his forehead and he has long sideburns. He is wearing a white collared shirt, thin black tie, and black suit jacket. He holds a newspaper up open by the left side of his face. The background is black and blurred.]

Photography: Influences and Technique

“Everywhere I went I just took pictures…I was definitely looking for interesting shots, angles, lighting, compositions.”
—Paul McCartney

The photographs in this exhibition were taken with a Pentax 35mm single-lens reflex camera. This type of advanced lightweight camera, made in Japan, was quick and easy to use. In the early 1960s, young British photojournalists and fashion photographers, such as David Bailey and Don McCullin, were attracted by the potential it offered for working spontaneously. The camera enabled McCartney to capture the fast pace of his new life in the spotlight.