A budding painter could be immersed in the artistry of The Beatles with a ‘Paint Your Own Beatle’ set. The set was available in four different paint-by-number versions, one for each Beatle. Produced in 1964, the collection came with oil-colored paints, two bristled brushes, a thinner/brush cleaner, and an 11″x14″ numbered, ready-to-paint canvas board for you to paint a life-like portrait. Artistic Creations made it, Incorporated at 12825 South Broadway in Los Angeles, California.
The box, which was14″x19″, advertised “Paint Your Own Beatle” and included a graphic depicting the finished product. “Sensational Real-Life Oil Portrait. Do it yourself by the numbers. It’s fun; it’s easy! So great… you’ll want to do all four Beatle portraits” “Everything you need to create an exciting oil painting.” “Not a print, not a picture…genuine 11″x14″ oil painting. Paint it…frame it…hang it! The Official Beatles licensed oil paint kit by Artistic Creations, Inc.”
Printed on the box exterior was a list of the contents:
–Giant 11″x14″ Paint By Number Portrait
–Genuine Pre-Mixed Oil Colors
–Two Genuine Bristle Paint Brushes
–Supply Of Special Brush Cleaner Liquid
–Print Of Finished Paint-By-Number Portrait
–Complete Easy To Follow Instructions
Congratulations
Printed detailed instructions inside the box said, “Congratulations! You have just purchased a genuine Artistic Creations Numbers Oil Painting Set…Before You Start Your Painting Read These Simple Instructions.” It then went on to list nine instruction items to follow to paint your picture correctly. The kit series listed for these were “Beatles 102-5.” Individual kit numbers were Ringo – #102, George – #103, Paul – #104, John – #105.
Columbia Record Club published a flyer for this item. The cover displayed a 6″x8″ painting of Ringo and said, “A first for club members – Paint Your Own Beatle or other famous personality…”
Create an Exciting Oil Portrait of The Beatles
A print graced the lid “window” of a paint by number kit. It showed what the completed painting would look like if you followed the directions. The print measured 11″x14″ and had a biography of the Beatle on the back.
The Painted Beatles
“The full set comes with a guide print with a bio on the back, printed on thin paper. The actual painting is on very hard cardboard.” – Ricky Glover.
Find out more about Beatles memorabilia in Terry’s great book:
NEMS and the Business of Selling Beatles Merchandise in the U.S. 1964-1966 (2ND EDITION)
The book covers the approximately 150 licensed items that dotted store shelves and helped fuel the band-crazed fan during the time right after the band landed in America and performed on The Ed Sullivan Show. Toys, games, dolls, jewelry, clothing, wigs, and more!
THE ROAD TO NASHVILLE STARTS NOW FOR THE LIVERPOOL INTERNATIONAL SONG CONTEST 2022.
TWO MUSIC CITY POWERHOUSES, LIVERPOOL AND NASHVILLE, ARE COMING TOGETHER TO RAISE AWARENESS FOR MENTAL HEALTH.
The launch of the Liverpool International song Contest 2022 is Monday, May 9th, starting with a live stream launch between Liverpool, hosted at the British Music Experience, and Nashville, anchored at the Musicians Hall of Fame & Museum. and you can tune in live on TUFFM.com
Nashville and Liverpool
This is a global, historic project, bringing Nashville & Liverpool together to support musicians & songwriters battling the stigma of mental health while promoting diversity and understanding. The mayors from both of these iconic music cities will come together to combat mental health while also championing the search for the best songwriters from around the globe.
The Road to Nashville – Liverpool International Song Contest 2022 is a seven-month project which highlights original material of global songwriters & musicians with a unique infrastructure to support them with mental health services while submitting their songs throughout the process of the song contest.
Mental Health Awareness
With May marking Mental Health Awareness Month, the timing was perfect for igniting this initiative. As a display of the unity between the cities, the Mayor of Liverpool, Joanne Anderson and Cavern director Jon Keats, will be passing to Nashville Mayor John Cooper a priceless artefact from the British Invasion era of music history to truly reveal how the cities will “Come Together.”
Last year, the project took place in The Cavern Club, acquiring over 20,000 submissions from 28 countries. The top prize for the inaugural contest went to James Holt for his song “Make My Day.” You can relive the performance here.
WHAT IS LIVERPOOL INTERNATIONAL SONG CONTEST?
Last year, Liverpool City Council played a role in supporting the International Song for Kindness created by the charity TUFF (The Unity of Faiths Foundation) to support the goals of empowering young people and promoting acceptance, equality and respect for other cultures.
The Liverpool International Song Contest is a vehicle used to tackle discrimination and mental health stigma, providing support for those most in need and developing a bespoke mental health service infrastructure specifically tailored toward those in the creative sector.
Participants in the 2020/21 Liverpool International Song Contest were invited to attend one of 23 workshops across the Liverpool City region, delivered by TUFFs Music division and led by TUFFs co-founders Anna Prior & Dr Shamender Talwar FRSA (renowned social psychologist) and Liverpool based producer Daniel Xander BSc MA (TUFFs Head of Music).
Education in Music
These engaging workshops provided education in music, production and human values. While also providing education on mental health and counselling with mental health practitioners. As well as the thousands who attended the in-person workshops, TUFF also offered an online version of the syllabus for those unable to participate. This online digital format provided people with the same opportunities and one to one counselling, delivered in a way that best suited their needs.
The connection with Liverpool came about because TUFF developed the global #KIND20 campaign as a way to demonstrate and promote social integration, which reached a staggering 6.5 million people worldwide. After conversations with The Cavern Club and other organisations in Liverpool, they came up with the idea of an International Song Contest to celebrate what would have been John Lennon’s 80th birthday.
Kevin McManus, Head of UNESCO City of Music, was involved on behalf of the city and attended the final event at The Cavern in October 2021.
FOR THE FULL STORY OF COUNTRY MUSIC IN LIVERPOOL AND THE COUNTRY ROOTS OF THE BEATLES IN DAVID BEDFORD’S BOOK: THE COUNTRY OF LIVERPOOL.
The Country of Liverpool: Nashville of The North (Limited Hardback Edition)
The Country of Liverpool: Nashville of the North by David Bedford. The Untold Story of the Country Roots of The Beatles and Liverpool, when Liverpool had the largest country and western scene in Europe!
My first Beatles Fest in Jersey City was memorable for all the right reasons. On arrival at our hotel, we were greeted by a magical view of the night skyline of Manhattan from across the Hudson River.
The Music
It was so good to finally meet all my fellow authors in person and to experience the exciting atmosphere of the Beatles Fest for the first time. There was so much happening every day. Author’s panels, celebrity talks and presentations and of course the one ingredient that brought us all together in the first place, the music.
Beatles Bookstore Authors Terry Crain with Debbie and husband Nigel
Author Bruce Spizer with Debbie
10 Years at the Cavern
I had been invited to give a presentation relating to my ten years at the Cavern; five years as a member and five years as an owner. The audience were thrilled to learn that I had attended all 292 of The Beatles appearances at the Cavern, so much so that they rose as one and gave me a standing ovation which was very gratifying.
Debbie with her Schedule
It was great to catch up with Mark Lewisohn again, who has been a good friend of ours for almost forty years.
Mark Lewisohn with Debbie and Nigel
Liverpool
There were so many fantastic bands appearing that we were spoilt for choice. The spectacular sound of the band LIVERPOOL, and the band that came the closest to transporting me back to hearing The Beatles in the Cavern in the early sixties was The Black Ties. Their sound was raw and loud, and I felt as if I had jumped aboard a time machine and had been dropped back in the Cavern listening to The Beatles when they started to play , “I Saw Her Standing There”.
Cavern Club: The Inside Story
I did well with sales of my book, CAVERN CLUB THE INSIDE STORY and received very positive feedback.
Cavern Club – The Inside Story
This first-hand account of Debbie’s teen years frequenting and eventually helping to run the original Cavern Club is the authentic inside story of the Beatles launch pad, full of triumphs and failures – and surprise celebrity encounters.
£17.25Original price was: £17.25.£13.50Current price is: £13.50.
Nigel and I met such lovely like-minded people, experts, authors, and customers. Everybody was happy and the feeling was infectious throughout the venue, there was music everywhere.
Tom Frangione and Mark Lapidos
I am already looking forward to my next Beatles Fest in Jersey City next year.
Thanks
Huge thanks go to Mark Lapidos, Susan Ratisher Ryan and all the teams of technicians and musicians and everyone that made the weekend so memorable.
Susan Ryan with Debbie
Debbie with Bob Abdou
Debbie and Nigel with Janice Mitchell
Debbie with Pat Mancuso
Kati, Andy Leigh, Me ,Nigel Greenberg, Simon Weitzman and Nancy Cohen
“Come Together” by The Beatles from Abbey Road [In Tim Hatfield’s When We Find Ourselves in Times of Trouble: The Beatles]
Timothy Leary
Some of you may have been wondering when this, a consensus Beatles Top 10 song, would turn up here. In 1969 Timothy Leary – he of “tune in, turn on, drop out” LSD fame – had decided to run for Governor of California against Ronald Reagan. After Leary and his wife attended John and Yoko’s June 1969 “Bed-in” for peace in Montreal, he asked John if he would write him a campaign song to go along with the campaign theme, Come Together.
Swampy Bass and Drums
After Lennon sent Leary a spare demo tape of some ideas, Leary’s campaign ended and Lennon then began working on what was to become the Beatles version, a funky, bluesy, rhythm-driven song that McCartney suggested be done slower, with “a swampy, bass-and-drums vibe,” than Lennon’s original idea. It worked, and especially for Lennon, for whom it was one of his favorite Beatles songs.
Elvis Parody
The lyrics were replete with a brief Elvis parody, in-jokes, puns, and what Lennon described as “gobbledygook” that he made up on the spot in the studio. I would have loved to be a fly on the wall during these sessions, because it seems like Lennon was demonstrably having fun, and it rubbed off on the other three guys. “Got to be a joker, He just do what he please……He got feet down below his knee, He holds you in his arms, yeah, you can feel his disease…!” Really?! He even began the song explicitly with a line lifted from the 1956 Chuck Berry song “You Can’t Catch Me”: “Here come old flat-top.”
Chuck Berry
Of course, Berry’s publisher sued him for infringement, but Lennon and the guy settled out of court on the condition that Lennon would record more songs owned by the publisher (he included a couple Chuck Berry songs on his Rock ‘n’ Roll album in the early 70’s and a Lee Dorsey song “Ya Ya” on his Walls and Bridges.)
Abbey Road
Producer George Martin had agreed to work with the group on Abbey Road only on the condition that they would be collaborative, as opposed to the messy, fraught sessions that eventually became the Let It Be album a year later. All four Beatles bought in, and Martin was especially pleased with the contributions that each member made for this song. Collectively, the contributions of the four “became much, much better than the individual components,” said Martin. It was a momentous collaboration in late July of 1969.
As I said above, the four Beatles certainly seemed to be having fun making this song. And sandwiched into the song there were a couple of lines that Beatles scholars could arguably say were a preview of what was to come for the group shortly thereafter and, tragically, for John Lennon a decade later: “One thing I can tell you is You got to be free,” and the repeated “Shoot me” throughout the song.
And “Come Together” was the very last song of their career that all four Beatles participated in recording together.
It’s not much of a stretch, is it, to consider the possibilities during a time of trouble if it were possible for everyone to come together?
“I’m looking through you…” Not with this item. Celebrate the moptops as you neatly tend to your style! No wonder it takes you so long time to start your day. How can you be expected to be prompt when you constantly gaze into your Beatles mirror and dream of the Fab Four?
Photos of The Beatles
Manufactured by Bassett Mirror Company, 1290 Philpott Drive, Bassett, Virginia, this rare mirror measured 15″x21″ housed in an 18″x32″ wood frame and embellished with four 3¼”x3½” color photos of the Beatles along the top. The advertisement for this artifact read:
Advert for the Beatles Mirror
Dating for a hard day’s night at Convention Hall with John, Paul, George, and Ringo? Like you’ll scream, screech, shriek over this beat teen treat in Pittsburgh Plate Glass topped with built-in picture frames and 4 full-color photos of the world’s wildest 4! Back panel opens…. change pix at any time, even replace Liverpool’s answer to the high cost of haircuts! Dig yours in white, maple, or decorator green. And you’ll want to hold Gimbels’ hand for the hip low price!”
Gimbel Brothers (Gimbels) was an American department store.
The sticker attached to the mirror read, “This is a High Fidelity Mirror of Twin-Ground Pittsburgh Plate Glass.” The shipping box read “Bassett Mirror Co. Bassett, VA. Caution-Do Not Lay Flat. Furniture, Including Mirrors or Glass, Fragile, Handle With Care.”
“Bassett has been America’s first name in home furnishings since 1902 when my great-grandfather opened his first furniture factory on the eastern slopes of the Blue Ridge Mountains of Virginia.” – www.bassettmirror.com.
Bassett Mirror Co. Inc. was named in a NEMS Enterprises, Ltd vs. Seltaeb, Incorporated lawsuit filed in the Appellate Division of the Supreme Court of the State of New York, First Judicial Department, dated: New York, New York, July 6, 1965.
Find out more incredible stories in Terry Crain’s book:
NEMS and the Business of Selling Beatles Merchandise in the U.S. 1964-1966 (2ND EDITION)
The book covers the approximately 150 licensed items that dotted store shelves and helped fuel the band-crazed fan during the time right after the band landed in America and performed on The Ed Sullivan Show. Toys, games, dolls, jewelry, clothing, wigs, and more!
March 17 – Saturday — Liverpool | Knotty Ash Village Hall | ‘St. Patrick’s Night Rock Gala’ | Sam Leach sets up a special ‘Battle of The Bands’ between The Beatles and Rory Storm and the Hurricanes | Later friends and family attend a private party to celebrate Sam’s engagement to Joan McEvoy | Brian Epstein and Bob Wooler among the guests.
RINGO STARR hit the snare with a crack. Rory Storm threw his arm out, pointed at the audience, held a finger up to heaven, and stepped into ‘Blue Suede Shoes’. He rolled his shoulders, thrust out two fingers, and Ringo cracked the snare a second time. On three, Rory shook his arm and snapped his head from side to side. On four, he swivelled his pelvis, stiffened his legs, and spun round. The cat now well and truly out of the bag, he trembled all over, slowly rolled his head, shook his curly blond locks, dipped and dropped, jumped and jived, spun round again, told everyone they could do whatever they wanted to. Then he suddenly stopped, snarled, curled his lip, looked mean, magnificent—real cool, man, cool—and growled that everyone better lay off Sam’s Hush Puppy suede shoes. He paused for the very briefest of moments—let the moment crackle in the air—then Rory Storm and The Hurricanes set about blowing the roof off.
Rory Storm and the Hurricanes
The full rocking force of Liverpool’s ‘Mr Showmanship’ swept up everything before it. This was ‘the Storm’ everyone loved—Rory leaping and writhing, his shocking canary-yellow suit a never-ending blur. The Hurricanes in matching sky-blue suits and ties, forever dipping and diving behind him. Rory whirling the microphone stand around his head. Rory trembling like he’d been electrocuted. Rory prancing. Rory dancing. Rory jumping. Rory strutting. Rory twisting. Rory twirling. Owning the stage, owning the night. Unstoppable. Unbeatable. Unsurpassable.
It was Battle of the Band – Liverpool-style
“Bloody hell, Sam, will you look at that,” shouted John Lennon. “He’s out to bloody bury us, he is.”
“Well, he always did in Hamburg…always does at ‘the Tower’,” George Harrison, piped in. “So, I can’t see as how our Rory would be any different, tonight, given even half a chance, like.”
“I bet the swine swipes all our best rock ‘n’ roll numbers, too,” moaned Paul. “We’ll just have to make up our song-list as we go. See what he leaves us. If he leaves us anything, that is.”
Sam Leach laughed. “Well, it’s a rockin’ good way to start off my engagement party, lads. Just you remember, all those punters out there are paying for all the food and booze you’ll be scoffing down, later.”
“Well, in that case, Sam,” sniffed John, narrowing his eyes. “We’ll just have to go blow all those Rory Storm clouds away, won’t we?”
Rory lit into ‘Be-Bop-A-Lula’.
“That’s my bloody song,” John exploded. “Gene Vincent’s and mine. I’ll do Rory, He knows that’s my favourite number.”
Summertime Blues
For the next hour, Rory Storm and The Hurricanes grabbed the best songs in the rock ‘n’ roll cupboard. He took Elvis’s Top Ten rockers and then stole Eddie Cochran’s very best songs, including Sam’s all-time favourite, ‘Summertime Blues’. Then he made off with Buddy Holly’s catchiest riffs, before reaching for Carl Perkins’ ‘Lend Me Your Comb’. He swiped ‘Cathy’s Clown’ and ‘Claudette’ from the Everly Brothers. Took ‘I Got A Woman’ from Ray Charles. Then turned up the gas even higher still with Jerry Lee Lewis’s ‘Great Balls of Fire’.
Everyone’s nerves and brains utterly rattled, he smiled his million-watt smile, pointed to each Hurricane, in turn, smiled at the crowd, combed his curly golden locks with his giant plastic comb for one last time. He did the splits, rebounded, stood to attention, bowed from the waist, swivelled his pelvis, spun round and around and was gone.
“Sweet Lord,” muttered George. “We have to follow that?”
“What with?” Paul sighed.
“Let’s bloody hit them with ‘Johnny B Goode’,” snarled John.
“Righto, Johnno,” shouted Paul. “I’ll blow their ear drums to smithereens with me Hofner bass.” He turned to the other Beatles. “Pete. You hit them with your ‘atomic’ beat. And George?”
“Yeah, Pauly?”
“Go ring that bloody bell, why don’t yer.”
The Beatles at the Cavern
John strode onto the stage and grabbed hold of the mike. “This is a number by Chuck Berry…a Liverpool-born school-teacher with bad teeth and no humour.” George hit straight into the opening riff and he and his fellow Beatles lit into ‘School Day’, as if possessed. And for the next hour-and-a-half The Beatles kept up a blistering pace, not letting up for an instant. They followed their opening number with even more of Chuck Berry’s best.
“Long Tall Sally”
Then ripped through Little Richard’s repertoire with Paul taking the lead on ‘Long Tall Sally’, ‘Tutti-Frutti’, and ‘Kansas City’. John kept things spinning with Larry William’s ‘Dizzy, Miss Lizzy’ and Carl Perkins’ ‘Honey Don’t’. George took a turn with Tommy Roe’s ‘Sheila’, Bobby Vee’s ‘Take Good Care of My Baby’, and The Coasters’ ‘Youngblood’.
You Really Got A Hold On Me
To give his band-mates’ voices a break, Pete opened up Carl Perkins’ ‘Matchbox’ and followed that with The Shirelles’ hit ‘Boys’. Paul went ‘Searchin’ for The Coasters again. John gave people another hit of Arthur Alexander’s ‘A Shot of Rhythm and Blues’, reintroduced them to ‘Anna’, before grabbing everyone by the throat with Smokey Robinson’s ‘You Really Got a Hold on Me’. Then he capped everything off with Barrett Strong’s ‘Money’. After which, the place exploded into one long roar of cheers, whistling, stamping, and thunderous applause.
Sam Leach
Sam Leach ran onto the stage, as wrung-out as if he’d been up there playing the music himself. He clapped, cheered, took hold of the microphone, and waved everyone to silence. “Blimey O’Riley! I’ve never seen or heard anything as spectacular as what happened here at tonight’s ‘Battle of the Bands’ and I doubt if any of us will ever see the likes of it again, however long we live.” Everyone clapped and cheered for their favourite band. Sam patted the air with his hands—waited for all the noise to die down. “So listen…what can I say? There can be no winners tonight other than all of you and me…and all of Liverpool…for being home to such fabulous entertainers as…Rory Storm and The Hurricanes! And The Beatles!”
Ray Charles
He turned, applauded both bands again, asked the audience to show their appreciation again, and then left the stage. The hall exploded into another riot of clapping, stamping, cheering, and whistling. After it showed no sign of abating, Sam ran back on, took up the microphone and held it between his hands as if in prayer. “What do you say, fellas? Ray Charles’ ‘What’d I Say?’ to bring the night to a proper close? Send everyone off home, drained but deliriously happy?”
Sam spun round and cocked his head and raised his eyebrows—in mute question—and the three hundred or so beat fans roared, cheered and stamped their feet in response. John Lennon and Rory Storm glanced at one another, nodded. The two drummers settled back behind their drum kits. Guitars got re-plugged into amplifiers. And the two bands came together as one. Then Rory and John and Paul took turns in stretching their final song’s call and response to its very limits. And for a good twenty minutes or more Knotty Ash Village Hall rocked on its very foundations and Sam Leach’s ‘St. Patrick’s Night Rock Gala’ rolled into local legend as the one night of rock ‘n’ roll no beat fan alive should ever have missed.
