Beatles Monthly 1965: The Fab Four's OUTRAGEOUS Plans Revealed - You Won't BELIEVE What They Were Up To!

Sixty years ago, the Beatles were planning their second film, squeezing into a giant jumper, and debating the quality of hot dogs on tour

What's inside:

• THE SHOCKING TRUTH behind the Beatles' four-man jumper stunt that had fans gasping

• REVEALED: Why John and George thought American teen magazines were "RUBBISH"

• EXCLUSIVE: The bizarre Christmas gift John Lennon received - and why it needed its own transportation

---

BEATLEMANIA BEHIND THE SCENES: JANUARY 1965

January 1965 was no ordinary month for the Fab Four. As Britain shivered through winter, John, Paul, George and Ringo found themselves huddled around a table with Brian Epstein, planning out their increasingly manic schedule for the year ahead. The fab quartet were faced with a monumental task - deciding how to divide their precious 24 hours between tours, TV, radio, recording sessions, and writing new material. Even Beatles, it seemed, couldn't bend time.

"There are only twenty-four hours even in a Beatle day," lamented Beatles Monthly Editor Johnny Dean, perfectly capturing the scheduling nightmare facing the band. The boys were genuinely torn - they wanted to do it all, but reality had other ideas. The solution? A careful prioritisation that would shape the cultural landscape of 1965.

Films came top of the agenda. Having stumbled through "A Hard Day's Night" with what they themselves admitted was virtually no filmmaking knowledge, the band was already eyeing their sophomore cinematic effort with considerably more ambition. By February 1965, they had already penned six fresh songs for their upcoming movie, which they hoped would eclipse their debut film.

The band's refreshing candour about their early cinematic ineptitude reminds us why fans connected so deeply with the four lads. "They'd be the first to admit that they didn't know one end of a film camera from another when they started 'A Hard Day's Night'," reported Beatles Monthly, capturing the group's disarming humility at the height of their fame.

While television and radio appearances were being slotted into their diary, the Beatles expressed a fascinating, almost forward-thinking understanding of media impact. They recognised that films and records could reach millions simultaneously, whereas personal appearances limited them to thousands at best. In an era decades before livestreaming and social media, the Beatles were essentially acknowledging the scalability of different media formats - remarkably prescient for young men in their early twenties.

THE LEGENDARY CHRISTMAS SHOW: MADNESS AT THE HAMMERSMITH ODEON

The Beatles' 1964 Christmas Show at the Hammersmith Odeon emerged as a key highlight in the February 1965 issue of Beatles Monthly. For three frantic weeks (December 24, 1964, to January 16, 1965), the Fab Four commanded the stage twice nightly alongside a roster of supporting artists. Police were working overtime to manage the hysteria, as devoted fans threatened to storm the stage during each performance.

The spectacular opened with an utterly bonkers scene that perfectly encapsulated the surreal humour that would later define projects like "Magical Mystery Tour" and "Yellow Submarine." John, Paul, George and Ringo somehow crammed themselves into a comically enormous stretchy sweater, each one poking out of a different arm or neck hole. This oversized knitwear masterpiece had actually been specially commissioned from Sweden, where ingenious fan club members had created this unique "four-seater sweater" complete with the boys' initials knitted into the design.

"Great idea which the boys really appreciated—and, certainly, their most unusual and useful Christmas gift of the season!" enthused the Monthly's writer, giving us a glimpse of the genuine delight the band took in such fan creations.

Behind the scenes, chaos reigned supreme. The Beatles' dressing room became the epicentre of activity throughout the show's three-week run. DJ Jimmy Saville regularly appeared with fans desperately hoping to meet their idols, while the stage door manager struggled to maintain order as journalists and photographers clamoured for access.

The Monthly's account of the Beatles' surprisingly humble catering arrangements feels shockingly at odds with today's elaborate backstage riders. After performances, the world's biggest band didn't feast on champagne and caviar – they tucked into egg, sausages, chips and peas! John Lennon even cracked a joke about how they used to survive on "eggs and sausages" during their early days, and now, despite their monumental success, they were eating... exactly the same meals.

"SHE'S A WOMAN" MEETS THE ABOMINABLE SNOWMAN: THE SHOW ITSELF

The Christmas Show performances were a glorious mishmash of music, comedy and pure mayhem. Jimmy Saville and Ray Fell shared compère duties, introducing acts including Michael Haslam, The Yardbirds, Freddie and the Dreamers, Sounds Incorporated, and Elkie Brooks.

In a particularly bizarre segment, the Beatles appeared in Arctic explorer costumes, trudging across an icy stage in search of the Abominable Snowman – a role filled by none other than Ringo in a furry white costume. The juxtaposition of serious musical performances with such surreal sketches became a Beatles trademark that would later influence everything from Monty Python to modern music videos.

The musical segments were electric, with the band leaping into "She's a Woman" as Paul took the lead vocal to an explosion of screams. Other highlights included George alternating between deep concentration on his guitar work and playful grins to the front row, John's solo turn on "Hard Day's Night," and Ringo's crowd-pleasing drumming on "Honey Don't."

A theatrical version of "Long Tall Sally" closed the show despite audience cries of "Don't Go!" – proving that even after three weeks of twice-nightly performances, Beatlemania showed no signs of abating.

THE FAB FOUR UNFILTERED: JOHN AND GEORGE TALK AMERICAN MAGAZINES

One of the most fascinating segments in February's Beatles Monthly was a candid conversation between John Lennon and George Harrison, captured by journalist Frederick James. Their off-the-cuff remarks provide a priceless window into their unguarded thoughts about fame, fandom, and the emerging differences between British and American pop culture.

As Lennon and Harrison riffed on topics from face cream ("Foot, the new face cream that comes in five exciting flavours including purple, raspberry and onion") to their bafflement about the so-called "Liverpool Sound" ("All we know is that we've been doing it for a long time now—it's a sort of rhythm 'n' blues, but with something extra added"), their conversation revealed the natural wit that made them such compelling personalities.

Their assessment of American teen magazines was particularly cutting. John complained that American fans received mostly "sensational muck—more and more rumours which just confuse them," while George lamented the lack of an American equivalent to Britain's music papers. The geographical challenge of distributing magazines across America's vast territory meant issues took around a month to reach all readers – an eternity in the fast-moving world of 1965 pop culture.

This cultural disconnect clearly frustrated the band. When American fans met them during tours, the girls bombarded them with questions about guitars, songwriting and other details they couldn't find in their own publications. While trade papers like Cashbox, Billboard and Variety existed, these weren't targeted at teenage fans. "The expert team of Lennon and Harrison has now agreed unanimously that American fans deserve better pop magazines to read," the Monthly reported with characteristic charm.

THE MANY FACES OF JOHN LENNON: A SPECIAL FEATURE

The February 1965 issue devoted an entire feature to analysing John Lennon's various facial expressions, titled "The Faces of John." This oddly intimate examination detailed everything from his "TOUGHEST singing face of 'em all" to his "clown's face" (reportedly developed over years and deployed whenever John spotted a situation he could parody).

Other catalogued expressions included his "Face of Interest" (described as a legitimate indicator of his engagement, as "John Lennon, contrary to some theories, is a very good listener"), his photographer-ready pose, his aggression face (saved for moments when Continental police manhandled Beatles fans), and his deadpan expression.

Most touchingly, the article noted that "John saves one particular expression for his 'In-Beatle' moments," referring to a special look reserved only for interactions with his bandmates – "an expression an outsider can't hope to understand."

The feature concluded with a mention of Lennon's "softer moments," especially "when he is with Cynthia." This bittersweet observation reminds modern readers of Lennon's first marriage, which would eventually dissolve under the pressures of fame and his relationship with Yoko Ono.

"BEATLES TALK": BACKSTAGE BANTER AND CULTURAL OBSERVATIONS

The unprecedented level of documentation surrounding the Beatles extended to recording their casual conversations. In the "Beatles Talk" section, readers were treated to a surprisingly insightful discussion between John and George about everything from the quality of meals on tour to their observations about pop music's evolving landscape.

The food situation while touring emerged as a genuine grievance, with John noting that "Getting decent meals is still the most difficult thing about touring." The logistics of delivering hot food to dressing rooms meant meals often arrived lukewarm at best, leading to some creative solutions. "For ages we just got Neil or Mal to buy hot dogs from the front of the cinema we were playing," John recalled, before explaining they eventually "got around to sending out to caffs for proper hot meals."

Beyond these pragmatic concerns, the conversation veered into astute cultural commentary. George and John discussed how music listeners were becoming more sophisticated, with George observing that "many people are looking further than the end of their noses and listening to a wider selection of pop music than they used to."

The pair also reflected on Bob Dylan's rising influence and the expanding British music scene, with John expressing delight that "there's a lot more good stuff to choose from than there was a year ago."

FAN CLUB FRENZY: INSIDE THE BEATLES' GLOBAL FOLLOWING

The sheer scale of Beatlemania was perhaps best illustrated by the fan club statistics revealed in the February 1965 issue. Membership had surpassed an astounding 6,500 – made even more impressive when compared to The Shadows, whose well-established club had only reached around 5,000 members.

This global network of Beatle devotees operated under strict protocols. The Monthly explicitly reminded international fans that they couldn't accept membership subscriptions from applicants outside the United Kingdom – overseas fans needed to join through their country's official branch secretary. A full list of international branch addresses was promised for a future issue, highlighting the increasingly sophisticated organisation behind Beatlemania.

The fan club's personal touch was exemplified by the story of a kitten given to John by George. When John couldn't keep the pet, Anne (presumably Anne Collingham, one of the fan club's joint national secretaries) adopted it. The kitten's name? What else but "Beatle"!

BEATLES PEN PALS: THE GLOBAL COMMUNITY

An entire page of the Monthly was dedicated to connecting Beatles fans worldwide through a pen pal section. These brief listings – "Elizabeth Crisp (15) 53 Marldon Road, Kings Heath, Birmingham 14, wants p.p. America" – offer a fascinating glimpse into the pre-internet world of fan communities.

The geographical diversity was remarkable. Fans from Birmingham to Sydney, Toronto to Los Angeles, all sought connections with fellow Beatlemaniacs. Age details were dutifully included (most correspondents were teenagers), and specific country requests showed certain preferences – American and Canadian fans often sought British pen pals, while UK fans frequently requested American connections.

The pen pal section stands as a poignant reminder of how fandom operated in the pre-digital age – painstakingly slow, reliant on postal services, yet deeply personal and committed.

THE FUTURE BECKONS: FILM PLANS AND PERSONAL NEWS

As The Beatles entered February 1965, their calendar was already filling with ambitious plans. The Monthly announced they would begin recording new songs for their forthcoming film on February 15th, with filming commencing a week later.

Intriguingly, the issue revealed the band's third movie would be "a cowboy film" with "all the location shots to take place in Mexico" – plans that ultimately morphed into the very different "Help!" which would take them to the Bahamas, Austria and other locations.

Personal news rounded out the issue. Paul McCartney's father had remarried, giving Paul a new four-year-old stepsister named Ruth. John Lennon's son Julian received an enormous rocking horse for Christmas – reportedly so large that Mal Evans, the Beatles' equipment manager, was the only person strong enough to carry it! George Martin and Cynthia Lennon had enjoyed a skiing holiday in the Alps, while George had organised a table tennis tournament at his Surrey home.

As the February 1965 issue of Beatles Monthly goes back into its archival sleeve, we're left with a vivid snapshot of four young men at the absolute pinnacle of fame, somehow maintaining their humour, creativity and camaraderie despite the maelstrom surrounding them. The magazine's intimate access to the band provided fans then – and historians now – with priceless documentation of a cultural phenomenon that continues to resonate sixty years later.

Their story was only beginning. The songwriting partnership of Lennon and McCartney was reaching new heights of sophistication, their second film was about to commence production, and musical innovations that would change popular culture forever were just around the corner. February 1965 found the Beatles at a pivotal moment – still riding the first wave of Beatlemania but already setting their sights on artistic horizons that would eventually take them far beyond the screaming crowds and matching suits.

Viewed from 2025, this glimpse into the Beatles' daily lives reminds us why their legacy endures. Behind the carefully managed public image were four extraordinarily talented, witty, and thoughtful young men navigating unprecedented fame with remarkable grace. As they planned their cinematic adventures and debated the merits of American teen magazines, they were simultaneously laying the groundwork for a musical revolution that continues to influence artists more than half a century later.