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This is an old revision of this page, as edited by JG66 (talk | contribs) at 03:18, 25 January 2017 (→Philippines: might be best to separate the various interpretations from the actual events (although, given the many different reports of events in Manila, it's hard to determine what occurred and when …)). The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.

The Beatles' 1966 tour of Germany, Japan and the Philippines
Tour by the Beatles
Start date24 June 1966
End date4 July 1966
Legs1
No. of shows13
the Beatles concert chronology

The English rock group the Beatles toured Germany, Japan and the Philippines between 24 June and 4 July 1966. The thirteen concerts comprised the first stage of a world tour that ended with the band's final tour of the United States, in August 1966. The shows in what was then West Germany represented a return to the country where the Beatles had developed as a group before achieving fame in 1963; those in Japan and the Philippines marked the band's only live performances in Asia. The long return flight to England included a stopover in India, where the Beatles indulged in a day of sightseeing and shopping for musical instruments.

The concerts were well attended yet, typical of the band's increasing disinterest in the Beatlemania phenomenon, provided the Beatles with little in the way of artistic fulfilment. No songs from their recently completed album, Revolver, were attempted in concert, such was the division between what the group could achieve when performing as a four-piece in venues filled with screaming fans, and the more complex music they were able to create in a studio environment. Concerts at the Circus-Krone-Bau in Munich and the Nippon Budokan hall in Tokyo were filmed and broadcast on local television networks.

The Asian concerts proved controversial. The bookings at the Nippon Budokan offended many traditionalists in Japan, resulting in death threats to the Beatles and a heightened police presence throughout their stay. In Manila, their declining to attend a social engagement hosted by the Marcos regime led to a hostile reaction from the Philippino people and army personnel. The Beatles and their entourage were manhandled while attempting to leave the country, and forced to surrender much of the earnings from the group's two shows at the Rizal Memorial Stadium. On their return to London, the Beatles were outspoken in their condemnation of the Philippino authorities.

Background and repertoire

Brian Epstein, the Beatles' manager, had intended that 1966 would follow the format of the previous two years,[1] in which the Beatles had made a feature film with an accompanying soundtrack album, toured in North America and select countries during the summer months, and then recorded a second album for a pre-Christmas release. Following the group's UK tour in December 1965, however, the band members decided to reject the planned film project, an adaptation of Richard Condon's novel A Talent for Loving, for which Epstein had purchased the film rights.[2] With three months free of engagements,[3] the extended layoff gave the Beatles an unprecedented amount of time to prepare for a new album.[2] The period of inactivity also allowed the four band members to experience life outside the group collective for the first time since 1962.[4] In January 1966, John Lennon and Ringo Starr, together with their wives, holidayed on the Caribbean island of Tobago,[5] while George Harrison married Pattie Boyd before honeymooning in Barbados.[6] Paul McCartney remained in England, overseeing renovations to a house he had recently purchased in London's St John's Wood. The four Beatles resumed work in early April, when they began recording Revolver, an album that reflected a more experimental approach as well as the increasing division between the music they made as live performers.[7] The band briefly interrupted the sessions to perform at the NME Poll-Winners Concert on 1 May.

During the early months of 1966, Epstein arranged bookings for the Beatles to play a series of concerts beginning in late June, in West Germany, Japan and the Philippines. These locations comprised the first leg of a world tour[8] that would resume on 11 August, when the Beatles embarked on their third US tour. The band completed work on Revolver on 22 June and flew to Munich the following day to begin the tour.[9] According to author Jonathan Gould, the Beatles would gladly have stayed in Britain rather than continue to perform to halls filled with screaming fans.[1] The band's dedication to completing Revolver, together with their lack of touring experience since December 1965, ensured that they were under-rehearsed for the concerts.[10][11]

Given the complexity of their new recordings, the band did not include any of the songs from Revolver in their 1966 set list. Their recently released single, "Paperback Writer", was included, but as with the few selections from Rubber Soul they attempted to perform live, "Nowhere Man" and "If I Needed Someone", the Beatles were unable to capture the intricacies of the multi-track recording in concert.[12] The set comprised eleven songs and lasted just over 30 minutes. Aside from the introduction of "Paperback Writer" (in place of "We Can Work It Out"), it was relatively unchanged from the 1965 UK tour. "Rock and Roll Music" now became the opening song, while Starr's moment as the featured singer, "Act Naturally", was replaced by "I Wanna Be Your Man".[13]

The Beatles' entourage consisted of Epstein, press officer Tony Barrow, road managers Neil Aspinall and Mal Evans, and Peter Brown, Epstein's assistant.[14] Robert Whitaker, a photographer who regularly worked with the Beatles during this period,[15] documented their time in Germany and Japan.[16] In addition, Vic Lewis, Epstein and Brown's colleague at the management company NEMS, joined the tour party in Japan,[17] having helped arrange the Far East concerts.[18] The Beatles' main instruments were Epiphone Casino guitars for Harrison and Lennon, McCartney's signature Höfner "violin" bass, and Starr's Ludwig drum kit.[19] Harrison played a Rickenbacker 360/12 guitar on "If I Needed Someone",[20] while a photo taken by Whitaker shows that Harrison's Gibson SG and McCartney's Rickenbacker 4001 were also among the guitars they took to Japan.[21]

West Germany

The concerts in Germany were the Beatles' first in that country since December 1962, when they played a New Year's Eve show as their final engagement at the Star-Club in Hamburg.[22][23] The 1966 visit was presented by Karl Buchmann Productions and sponsored by Bravo magazine. At the Beatles' insistence, the venues were restricted to a maximum capacity of 8000 seats, which meant that Bravo was making a loss on the outlay for the tour.[24] The band arrived in Munich on 23 June, exhausted from their recent work in the studio,[25] and booked into the Hotel Bayerischer Hof, where they gave a short press conference.[9][26] The support acts for the German concerts were Peter and Gordon and Cliff Bennett and the Rebel Rousers.[20] The Rattles, a German group who had performed on the same circuit in Hamburg as the Beatles in 1962,[27] were the local support act for this part of the tour.[13]

The first shows were held at Munich's 3500-seat Circus-Krone-Bau at 5.15 and 9 pm on 24 June.[13] The Beatles wore matching dark green suits with silk lapels, designed by the new Chelsea boutique Hung On You.[28] The 9 pm show was filmed by the West German ZDF network[26] and first broadcast locally, in edited form,[29] on 5 July.[11] The Beatles held a rare backstage rehearsal in advance of the concert.[26] According to musicologist Walter Everett, the film shows the Beatles generally playing poorly amid the noise created by their fans, and humorously attempting to remember the lyrics to the final song, "I'm Down".[30] Author Steve Turner writes that the tour was marked by average-quality performances masked by riotous screaming, and that for the first time, the hysterical crowds were subjected to violent treatment and beatings by the host nation's police force.[31]

Their arrival in Hamburg was highly anticipated. It was the German audiences in Hamburg who'd spotted the group's potential and had nurtured their development from callow adolescent hobbyists to battle-hardened professionals.[32]

– Author Steve Turner, 2016

The Beatles travelled between destinations by train, accommodated in luxury coaches that had been customised for Queen Elizabeth II's royal visit the previous year. After arriving in Essen on 25 June, they played two shows at the city's Grugahalle.[26][33] A correspondent from Beatles Monthly magazine described the concerts as "frightening" due to the police's brutal methods of subjugating the group's fans using tear gas and guard dogs.[34] The band then travelled overnight to Hamburg, where they stayed at the Hotel Schloss, a former palace located well north of the city centre.[35]

The return to Hamburg was viewed as a homecoming due to the Beatles' past connections with the city.[36] On 26 June, the band played two shows at the 5600-seat Ernst-Merck-Halle and reunited with old friends such as Astrid Kirchherr and with Bert Kaempfert, a German arranger and composer who had briefly worked as the Beatles' producer.[35][37] Lennon was heard to say during one of the Ernst-Merck-Halle concerts: "Don't listen to our music. We're terrible these days."[26]

The band members had a mixed experience in Hamburg. Harrison later recalled that the downside was "a lot of ghosts materialised out of the woodwork – people you didn't necessarily want to see again, who had been your best friend one drunken Preludin night back in 1960." McCartney commented: "It was as if we'd mutated into something different and yet we were still just the boys. But we knew and they knew that we'd got famous in the meantime …"[38] A scheduled group outing to St Pauli, an area the Beatles had frequented in the early 1960s, was cancelled due to the potential security risk.[39][nb 1] The band had also tired of the generally inane questions put to them at press conferences throughout the German tour,[40] with only McCartney attempting to humour the local reporters.[41] At the between-shows press conference in Hamburg, Lennon's impatience with the trivial line of questioning was palpable,[42] leading a female reporter to ask why the band had become "so horrid and snobby".[43] On 27 June, the Beatles and their entourage flew from Hamburg to London's Heathrow Airport, where they boarded a Japan Airlines (JAL) flight over the North Pole to Tokyo.[44]

Japan

The Beatles' flight to Tokyo stopped in Anchorage, Alaska for its scheduled refuelling stop late on 27 June, local time, but was then delayed due to warnings of a typhoon over Japan.[44][nb 2] Epstein arranged for the Beatles to wait out the delay at Anchorage's Westward Hotel, where the band's presence instantly attracted a crowd of local fans, who serenaded them from the street below.[45] The flight finally arrived at Haneda Airport in Tokyo in the early hours of 30 June (allowing for a day lost by crossing the International Date Line).[44][46]

The National Kendo Championship, Nippon Budokan, November 2009. The Beatles were the target of death threats from Japanese nationalists when they played the first-ever rock concerts held at the Budokan.

The Beatles served as cultural ambassadors in Japan, where the authorities had viewed the band in an unfavourable light until their appointment as MBEs in 1965.[47] The visit had been the subject of national debate and coincided with an era in which Japan sought to re-establish its cultural identity, following the country's defeat in World War Two.[48][49] While the more progressive-minded elements of the population welcomed the spirit of change and youthful optimism that the Beatles represented, traditionalists were opposed to the band's influence.[48] To meet Epstein's requirement of $100,000 (around $750,000 in 2016) for each performance, the 10,000-seat Nippon Budokan hall was chosen; tickets were priced at twice the rate of any previous visiting pop act.[50] The announcement that the concerts were to take place at the Budokan – a venue reserved for martial arts, as well as a shrine to Japan's war dead – outraged the country's hardline nationalists, who vowed to intercede and stop the proceedings.[44] This issue, combined with a written death threat that the Beatles had received while in Hamburg, ensured that security around the group was extreme throughout their stay.[51][nb 3] In an operation that compared with Japan's measures when hosting the 1964 Olympic Games,[51] around 35,000[50] police and fire brigade personnel were mobilised to protect the Beatles.[53]

The four band members descended from the aircraft dressed in happi coats bearing the JAL logo. Their attire was a publicity coup for the airline,[54] who recognised the value of being associated with the Beatles' financial success.[55] Faced with a wall of glaring lights, the four musicians believed they were waving to a throng of fans, as was usual when they arrived in a new country.[46] In fact, they were surrounded by security personnel, and only twenty members of the public were present to witness their arrival.[56] Supervised by a large police presence, the band's fans were instead organised in groups along the road into the city.[46] In a 2016 feature article on the Beatles' Tokyo concerts, The Japan Times said that the photograph of the group dressed in their JAL happi coats and descending from the plane had become "an iconic image of the Beatles' visit".[50]

The Beatles were accommodated in the Presidential Suite of the Tokyo Hilton, while Epstein and Peter Brown occupied the Imperial Suite.[57] For the duration of their stay in Japan, the Beatles were confined to their suite,[51][58] aside from a single press conference and the concert performances.[44][57] Lennon and Aspinall managed to sneak out at one point, only to be discovered by a group of policeman and returned to the hotel. Starr recalls that every time they had to leave for an engagement, the process was handled with military-style precision by their Japanese hosts. The band took to delaying their exit from the hotel suite, thereby causing consternation for the time-conscious security staff.[38]

In sober truth, no recent event connected with the UK – apart from the sole exception of the British Exhibition of 1965 – has made a comparable impact on Tokyo … Most commentators accepted them for what indeed they are – agreeable, talented and quick-witted young musicians.[59]

– Michael Stewart, Britain's ambassador to Tokyo, reporting on the Beatles' visit

The band played the first of their five concerts[37] at the Budokan on 30 June.[60][nb 4] The support acts were all local artists: the Drifters,[60] Yuya Uchida, Isao Bitoh, the Blue Comets,[44] Hiroshi Mochizuki, and the Blue Jeans.[50] The shows were sponsored by the Japanese newspaper Yomiuri Shimbun[62] and promoted by the Kyodo Agency.[50] Both the 30 June performance, when the Beatles were dressed in dark green suits with red shirts, and the first show on 1 July, when they wore Hung On You-designed grey suits with thin orange stripes,[63] were filmed in colour by Nippon TV.[64] The footage was swiftly edited by the television company and combined with brief segments of documentary footage for broadcast, as The Beatles Recital: From Nippon Budokan, Tokyo, at 9pm on 1 July.[65] As ultranationalist students demonstrated in the city and outside the venue, the police presence was especially heavy inside and around the stage.[49][56] According to Tony Barrow, the police feared that the TV company might have placed snipers in the crowd.[66] The stage itself was set on an 8-foot-high podium;[56] all ground-floor seating had been cleared, meaning the audience was restricted to the hall's first and second tiers.[49][58] The Beatles felt that the uniformed officers subdued the crowd.[67] The band gave an especially poor performance on 30 June.[64]

During their extended periods in the hotel suite, the Beatles collaborated on a psychedelic-themed painting, using brushes and paints supplied by one of the visiting tradesmen, and listened to a tape of their new album.[68] Whitaker photographed them at work and later commented: "I never saw them calmer, more contented than at this time. They were working on something that let their personalities come out … They'd stop, go and do a concert and then it was, 'Let's go back to the picture!'"[51][nb 5] Having struggled to find a title for the new album since their arrival in Munich, the Beatles finally settled on Revolver[69] and informed EMI of their decision by telegram on 2 July.[70] Whitaker recalled that, despite the hours of confinement in the Hilton, the atmosphere within the band while in Tokyo was "a crescendo of happiness".[51]

The Beatles and their entourage departed for Manila in the Philippines, via Hong Kong, mid-morning on 3 July.[71] The Japanese press were highly favourable in their assessments of the Beatles' visit, with the extreme security measures and the brevity of the band's performances being the only areas of disappointment. Reporting to the Foreign Office in London, Dudley Cheke, a chargé d'affaires at the British Embassy, wrote that the cyclone over Japan had been replaced by a "Beatles typhoon", which "swept the youth of Japan off their feet".[51] The Beatles embodied a new identity for the country's youth. In the description of Japanese academic Toshinobu Fukuya, their presence had signalled that "one did not always have to obediently follow arrangements prescribed by adults; it was possible to follow one's own path and still be socially and financially successful in life."[72]

Philippines

Arrival

The Beatles' concerts in Manila had been anticipated by the local population on a level that Gould likens to the band's 1964 tour of Australia, when the whole nation appeared to view the visit as a national event.[73] For the Philippines, the group's commitment to perform there reinforced the country's pro-Western image[74] and was especially welcomed by the recently elected president, Ferdinand Marcos, and his wife Imelda.[73] Although the Beatles' tour itinerary originally listed the venue as the Araneta Coliseum,[75] the concerts took place at the Rizal Memorial Stadium.[76][77] The shows were promoted by Ramon Ramos and his company Cavalcade International Productions.[78][79]

The Cathay Pacific flight carrying the Beatles landed at Manila Airport at 4.30 pm on 3 July.[74] In their recollections of the Philippines visit in the Beatles Anthology book, Harrison said that it was "bad news" from the start, while Starr described the atmosphere as "that hot/Catholic/gun/Spanish Inquisition attitude".[80] Whereas the band and their entourage were usually given the privileges afforded visiting diplomats, on this occasion, the four Beatles were hustled into a vehicle by armed men wearing civilian clothes.[80][81] Harrison later recalled their alarm at being separated from Epstein, Aspinall and Mal Evans for the first time on a tour;[82] his immediate concern was that, with their hand luggage left behind on the runway, the band were going to be arrested once their supplies of marijuana were discovered by the authorities.[80][81] The Beatles were driven to the headquarters of the Philippines Navy on Manila Harbour and led to a press conference attended by 40 journalists.[83] They were then escorted by military personnel to a luxury yacht owned by Don Manolo Elizalde, a wealthy Filipino industrialist,[84] whose 24-year-old son[85] wanted to host a party to show off the Beatles to his friends.[44] Epstein finally caught up with the band before the yacht sailed out into Manila Bay.[86] After spending several hours on board, he and the Beatles returned to the marina[18] and, at 4 am, arrived at the Manila Hotel, where Epstein had booked accommodation.[44]

Music journalists Jim Irvin and Chris Ingham have referred to the Beatles' abduction at the airport and detainment on the yacht as a kidnapping.[81][87] Alternatively, Turner writes that, unknown to Epstein, arrangements had been made between Ramon Ramos and Vic Lewis for the Beatles to spend the night on the yacht, since that presented a better security option than a city hotel.[18][nb 6] Aspinall, who had arrived at the marina with the Beatles' hand luggage while they were out on the bay, said that their abduction was carried out by a militia gang who were rivals with the individuals presenting the upcoming concerts.[88]

Invitation to Malacañang Palace and concerts

File:Malacañang Palace (Cropped).jpg
The Beatles' failure to attend a social gathering organised without their knowledge by Imelda Marcos at Malacañang Palace led to violent repercussions.

Apart from McCartney, who went sightseeing with Aspinall,[89] the Beatles slept in late on 4 July until woken by security staff intent on taking them to a party hosted by Imelda Marcos in their honour at Malacañang Palace.[76] The event was scheduled for 11 am and had been announced in the previous day's edition of The Manila Times.[90] While the Beatles were unaware of this announcement,[84][90] Epstein had already declined the invitation when they were in Tokyo,[91] in keeping with his policy since 1964 regarding all embassy or other official functions to which the group were often invited while on tour.[92][93] The 1966 itinerary mentioned only that the Beatles might "call in" at the palace at 3 pm en route to their first concert.[94] Turner interprets the casual wording of this item as Ramos, faced with delivering on Imelda Marcos's wishes, "burying the invitation in the small print, hoping for a compromise on the day".[93] When confronted by Lewis, who was also woken by the presidential guards that morning,[95] Epstein dismissed his suggestion and that of Leslie Minford, a chargé d'affaires at the British Embassy, that the Beatles should make an exception for the First Lady of the Philippines.[96] The Beatles were equally adamant;[97] when told by the guards that President Marcos was among the dignitaries awaiting their arrival, Lennon retorted: "Who's he?"[98] The band learned of the offence that Imelda Marcos had taken at their nonappearance while watching television at the hotel before leaving for the first concert.[88] Footage from the palace was broadcast of the empty seats reserved for the four Beatles,[99] children crying in disappointment, and the First Lady saying that the visiting musicians had let her down.[88][97]

The Beatles played the first of their two concerts at the Rizal football stadium at 4 pm[100] before a crowd of 30,000.[101] The band performed on a small stage behind a wire fence.[100] Pilita Corrales,[102] the Reycards and the Downbeats[103] were among the six local support acts.[100] The second show took place at 8.30[100] and was attended by 50,000 fans.[101] The combined total of 80,000 was the largest audience to see the Beatles in concert on a single day.[104][105] The band were well received by their fans,[81][88] although the poor sound and the distance from the stage was a problem for many.[106][nb 7] In his review of the concerts, Filipino writer Nick Joaquin detected a halfheartedness in the Beatles' performance and said that even the fans' screams "seemed mechanical, not rapture but exhibitionism".[106] Another reviewer concluded: "The sound was terrible, The Beatles were terrific."[108]

After watching the continual news broadcasts at the hotel, between the two shows, Epstein resolved to record a message to explain the Beatles' nonappearance at Malacañang Palace.[99][109] The message was filmed by the government-owned Channel 5, at the Manila Hotel.[108][99] When the segment was broadcast later that evening, however, the sound was distorted, rendering his explanation inaudible.[109] Barrow recalls that a backlash against the Beatles was evident straight after the evening show at Rizal,[104] when their convoy of cars was briefly trapped behind a closed gate and surrounded by a large crowd of "organised troublemakers".[110][nb 8] As the NEMS representative who had dealt directly with the Filipino promoter, Lewis was taken away by police officers during the night and subjected to a three-hour interrogation for his role in "snubbing" the Philippines.[112] Lewis contacted the British Embassy, where Minford, in a telegram to the Foreign Office, reported that "a technical hitch over payment of Philippine income tax" was likely to delay the Beatles' departure.[113] Death threats against the Beatles were reported at the embassy[108] and at their hotel.[84]

Departure

The Beatles woke up early on 5 July in readiness for their flight to Delhi in India.[109][114] After their requests for room service had gone unanswered, Evans went down to reception and found that all security protection inside the hotel had disappeared.[115] The morning newspapers carried front-page stories condemning the Beatles for their failure to attend the engagement at Malacañang Palace.[114][116] The tour party faced further intimidation initiated by Marcos loyalists. The Inland Revenue presented Lewis with an unexpected tax bill for the band's concert earnings,[117] which were still held by Ramos.[81] All assistance from the hotel staff was withdrawn, as was any police escort through the city traffic, leaving Epstein to call ahead and plead with the pilot of their KLM flight to delay his takeoff.[118] On the way to the airport, their Filipino drivers appeared to forget the route;[118] in another example of what Aspinall termed "obstacles [put] in our way", a soldier sent their cars repeatedly around the same traffic roundabout.[116]

"You treat like ordinary passenger! Ordinary passenger!" they were saying. We were saying: "Ordinary passenger? He doesn't get kicked, does he?"[116]

– John Lennon, recalling the treatment the Beatles received at Manila Airport after inadvertently snubbing the Marcos regime

In Brown's description, when they arrived at the airport, it resembled an "armed military camp". Aside from a heavy army presence, hundreds of irate citizens lined the path into the terminal building, where they harassed and jostled the tour party as each member walked by.[118] Inside the terminal, on the instructions of Willy Jurado, the airport manager,[119] the escalators had been turned off, and the band and their entourage were denied any assistance with musical instruments and luggage.[116] The crowd from outside the building were then permitted into a glass-walled observation area, from which they continued their haranguing of the Beatles.[120] The tour party moved into a large departure lounge, where uniformed men and others that Harrison recognised as the "thugs" from their arrival in Manila,[116][121] began beating and kicking them, moving them from one corner of the room into another.[122] Jurado later bragged about knocking Epstein to the ground and punching Lennon and Starr in the face, adding: "That's what happens when you insult the First Lady."[123] Evans received the worst treatment[124] after he intervened to shield the four band members from their attackers.[122]

The tour party were finally allowed to board the aircraft.[122] According to Barrow, the harassment continued as they crossed the tarmac leading to the steps up to the plane.[124] Some of the band's fans were also present; when they expressed sympathy for the Beatles, they too attracted scorn from the mob.[125] McCartney recalled that, such was their relief once inside the cabin, "We were all kissing the seats."[116] An announcement then called Epstein off the plane[116] to finalise the unpaid tax demand.[126] Barrow and Evans were also told to disembark;[126] fearing that he was going to be detained in Manila,[125] Evans asked Harrison to remember him to his wife, saying, "Tell Lil I love her."[116] After their passport irregularities had been sorted out,[124] Barrow and Evans re-boarded and the plane was able to take off.[127]

Return to England and aftermath

The problems they encountered on the two-week tour of Germany, Japan, and the Philippines reaffirmed the Beatles' desire to stop touring. The second part of the 1966 world tour resumed on 12 August in the United States, where the band were the subject of radio bans in some southern states and further death threats in response to the publication of Lennon's comment that the Beatles had become more popular than Christ. The last to tire of touring,[84] McCartney said that he was finally persuaded to join the others' way of thinking following the group's concert at St Louis.[128][129]

Set list

According to Walter Everett (lead singers appear in parenthesis):[20]

  1. "Rock and Roll Music" (John Lennon)
  2. "She's a Woman" (Paul McCartney)
  3. "If I Needed Someone" (George Harrison)
  4. "Day Tripper" (Lennon and McCartney)
  5. "Baby's in Black" (Lennon and McCartney)
  6. "I Feel Fine" (Lennon)
  7. "Yesterday" (McCartney)
  8. "I Wanna Be Your Man" (Ringo Starr)
  9. "Nowhere Man" (Lennon, with McCartney and Harrison)
  10. "Paperback Writer" (McCartney)
  11. "I'm Down" (McCartney)

Tour dates

According to Barry Miles[130] and Walter Everett:[20]

Date City Country Venue
24 June 1966
(two shows)		 Munich West Germany Circus-Krone-Bau
25 June 1966
(two shows)		 Essen Grugahalle
26 June 1966
(two shows)		 Hamburg Ernst-Merck-Halle
30 June 1966 Tokyo Japan Nippon Budokan
1 July 1966
(two shows)
2 July 1966
(two shows)
4 July 1966
(two shows)		 Manila Philippines Rizal Memorial Stadium

Notes

  1. ^ According to author Barry Miles, however, Lennon and McCartney did make a late-night visit to "their old haunts" along the Reeperbahn in St Pauli.[26]
  2. ^ Known as Typhoon Kit, it was among the most intense cyclones yet recorded.[45]
  3. ^ In Brown's recollection, on arrival at Haneda they were advised by a police commissioner that "a kamikaze squad of right-wing militant students, who objected to the Western 'perversion' of Japanese culture, had vowed that the Beatles would never leave Japan alive."[52]
  4. ^ Originally, the Beatles were booked to play three shows in as many days.[20] Due to popular demand,[51] two further shows were added in May 1966:[20] matinee performances on 1 and 2 July.[61]
  5. ^ Titled Images of a Woman,[58] the painting was signed by all four Beatles and donated to the head of the band's Japanese fan club when he visited them at the Hilton.[50]
  6. ^ Turner cites this mix-up as an example of Epstein appearing to lose his grasp on the Beatles' tour arrangements.[18]
  7. ^ As a further inconvenience to fans hanging on to the wire fencing in front of them, according to Barrow, uniformed guards took to "beating the kids' knuckles at random" with wooden sticks, even though "these youngsters presented absolutely no safety threat to The Beatles."[107]
  8. ^ Once back at the hotel, the tour party also found that food sent up to their rooms was foul and inedible.[111]

References

  1. ^ a b Gould 2007, p. 336.
  2. ^ a b Rodriguez 2012, pp. 7–8.
  3. ^ MacDonald 1998, p. 164.
  4. ^ Plagenhoef, Scott (9 September 2009). "The Beatles – Revolver". Pitchfork.com. Retrieved 3 January 2017.
  5. ^ Turner 2016, pp. 91–92.
  6. ^ Miles 2001, pp. 225–26.
  7. ^ MacDonald 1998, p. 188.
  8. ^ Schaffner 1978, p. 55.
  9. ^ a b Winn 2009, p. 28.
  10. ^ Unterberger 2006, p. 145.
  11. ^ a b Winn 2009, p. 29.
  12. ^ Clayson 2003, pp. 190, 197.
  13. ^ a b c Turner 2016, p. 332.
  14. ^ Brown & Gaines 2002, p. 184.
  15. ^ Barrow 2005, pp. 168–69.
  16. ^ Hunt, Chris. "Here, There & Everywhere". In: Mojo Special Limited Edition 2002, pp. 64, 66, 70.
  17. ^ Brown & Gaines 2002, pp. 162, 187–88.
  18. ^ a b c d Turner 2016, pp. 369–70.
  19. ^ Everett 1999, pp. 68–69.
  20. ^ a b c d e f Everett 1999, p. 68.
  21. ^ Hunt, Chris. "Here, There & Everywhere". In: Mojo Special Limited Edition 2002, p. 64.
  22. ^ Miles 2001, p. 77.
  23. ^ Lewisohn 2013, pp. 839–40.
  24. ^ Turner 2016, p. 331.
  25. ^ Rodriguez 2012, pp. 27, 247.
  26. ^ a b c d e f Miles 2001, p. 234.
  27. ^ Lewisohn 2013, p. 653.
  28. ^ Turner 2016, pp. 281, 332.
  29. ^ Unterberger 2006, p. 146.
  30. ^ Everett 1999, p. 69.
  31. ^ Turner 2016, pp. 332–33.
  32. ^ Turner 2016, p. 336.
  33. ^ Winn 2009, p. 30.
  34. ^ Turner 2016, pp. 335–36.
  35. ^ a b Turner 2016, p. 337.
  36. ^ Barrow 2005, pp. 171–72.
  37. ^ a b Gould 2007, p. 338.
  38. ^ a b The Beatles 2000, p. 215.
  39. ^ Turner 2016, p. 340.
  40. ^ Turner 2016, pp. 334–35, 338.
  41. ^ Winn 2009, pp. 30, 32.
  42. ^ Winn 2009, p. 32.
  43. ^ Rodriguez 2012, pp. 27–28.
  44. ^ a b c d e f g h Miles 2001, p. 235.
  45. ^ a b Turner 2016, pp. 340–41.
  46. ^ a b c Winn 2009, p. 33.
  47. ^ MacDonald 1998, p. 188fn.
  48. ^ a b Turner 2016, pp. 344–46.
  49. ^ a b c Nabhan, Shibly (2 July 2006). "Showdown at Budokan". The Japan Times. Retrieved 21 January 2017.
  50. ^ a b c d e f McClure, Steve (June 2016). "Yesterday: When the 'Beatles typhoon' hit Japan". The Japan Times. Retrieved 13 January 2017.
  51. ^ a b c d e f g Irvin, Jim. "Different Strokes". In: Mojo Special Limited Edition 2002, p. 53.
  52. ^ Brown & Gaines 2002, p. 185.
  53. ^ Turner 2016, p. 354.
  54. ^ McNeill, David (26 March 2013). "'The day my mum looked after the Beatles'". The Japan Times. Retrieved 7 January 2017.
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Sources

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  • The Beatles (2000). The Beatles Anthology. San Francisco, CA: Chronicle Books. ISBN 0-8118-2684-8. {{cite book}}: Invalid |ref=harv (help)
  • Brown, Peter; Gaines, Steven (2002) [1983]. The Love You Make: An Insider's Story of the Beatles. New York, NY: New American Library. ISBN 978-0-4512-0735-7. {{cite book}}: Invalid |ref=harv (help)
  • Castleman, Harry; Podrazik, Walter J. (1976). All Together Now: The First Complete Beatles Discography 1961–1975. New York, NY: Ballantine Books. ISBN 0-345-25680-8. {{cite book}}: Invalid |ref=harv (help)
  • Everett, Walter (1999). The Beatles as Musicians: Revolver Through the Anthology. New York, NY: Oxford University Press. ISBN 0-19-512941-5. {{cite book}}: Invalid |ref=harv (help)
  • Gould, Jonathan (2007). Can't Buy Me Love: The Beatles, Britain and America. London: Piatkus. ISBN 978-0-7499-2988-6. {{cite book}}: Invalid |ref=harv (help)
  • Harrison, George (2002) [1980]. I, Me, Mine. San Francisco, CA: Chronicle Books. ISBN 978-0-8118-5900-4. {{cite book}}: Invalid |ref=harv (help)
  • Ingham, Chris (2006). The Rough Guide to the Beatles (2nd edn). London: Rough Guides/Penguin. ISBN 978-1-84836-525-4. {{cite book}}: Invalid |ref=harv (help)
  • Lavezzoli, Peter (2006). The Dawn of Indian Music in the West. New York, NY: Continuum. ISBN 0-8264-2819-3. {{cite book}}: Invalid |ref=harv (help)
  • Lewisohn, Mark (2005) [1988]. The Complete Beatles Recording Sessions: The Official Story of the Abbey Road Years 1962–1970. London: Bounty Books. ISBN 978-0-7537-2545-0. {{cite book}}: Invalid |ref=harv (help)
  • Lewisohn, Mark (2013). All These Years: Tune In. London: Little, Brown. ISBN 978-0-316-72960-4. {{cite book}}: Invalid |ref=harv (help)
  • MacDonald, Ian (1998). Revolution in the Head: The Beatles' Records and the Sixties. London: Pimlico. ISBN 978-0-7126-6697-8. {{cite book}}: Invalid |ref=harv (help)
  • Miles, Barry (2001). The Beatles Diary Volume 1: The Beatles Years. London: Omnibus Press. ISBN 0-7119-8308-9. {{cite book}}: Invalid |ref=harv (help)
  • Mojo Special Limited Edition: 1000 Days That Shook the World (The Psychedelic Beatles – April 1, 1965 to December 26, 1967). London: Emap. 2002.
  • Rodriguez, Robert (2012). Revolver: How the Beatles Reimagined Rock 'n' Roll. Milwaukee, WI: Backbeat Books. ISBN 978-1-61713-009-0. {{cite book}}: Invalid |ref=harv (help)
  • Schaffner, Nicholas (1978). The Beatles Forever. New York, NY: McGraw-Hill. ISBN 0-07-055087-5. {{cite book}}: Invalid |ref=harv (help)
  • Sounes, Howard (2010). Fab: An Intimate Life of Paul McCartney. London: HarperCollins. ISBN 978-0-00-723705-0.
  • Turner, Steve (2016). Beatles '66: The Revolutionary Year. New York, NY: HarperLuxe. ISBN 978-0-06-249713-0. {{cite book}}: Invalid |ref=harv (help)
  • Unterberger, Richie (2006). The Unreleased Beatles: Music & Film. San Francisco, CA: Backbeat Books. ISBN 978-0-87930-892-6. {{cite book}}: Invalid |ref=harv (help)
  • Winn, John C. (2009). That Magic Feeling: The Beatles' Recorded Legacy, Volume Two, 1966–1970. New York, NY: Three Rivers Press. ISBN 978-0-307-45239-9. {{cite book}}: Invalid |ref=harv (help)
  • Womack, Kenneth (2014). The Beatles Encyclopedia: Everything Fab Four. Santa Barbara, CA: ABC-CLIO. ISBN 978-0-313-39171-2. {{cite book}}: Invalid |ref=harv (help)
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