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WD_375/ 2007
(  Satoshi Kinoshita )
| Series: | Works on paper: Drawings 4 | | Medium: | oilstick on paper | | Size (inches): | 31.1 x 21.4 | | Size (mm): | 790 x 544 | | Catalog #: | WD_0375 | | Description: | Signed, date and copyright in pencil on the reverse.
The Beatles' 1965 USA Tour - (August 15 ~ August 31)
The Beatles staged their second concert tour of the United States (with one date in Canada) in the late summer of 1965. At the peak of American Beatlemania, they played a mixture of outdoor stadiums and indoor arenas, with two historic stops on this venture.
The Shea Stadium show:
The Shea Stadium concert on August 15 was record breaking and one of the most famous concert events of its era. It was the first concert to be held at a major outdoor stadium and set records for attendance and revenue generation — promotor Sid Bernstein said "Over 55,000 people saw the Beatles at Shea Stadium. We took $304,000, the greatest gross ever in the history of show business"[1] — demonstrating that outdoor concerts on a large scale could be successful and profitable.
The Beatles were transported to the roof of the World's Fair by a New York Airways Boeing Vertol 107-II helicopter, then taking a Wells Fargo armoured truck to the stadium. At the stadium itself were 2,000 security personnel to handle crowd control.[1]
"Beatlemania" was at one of its highest marks at the Shea Concert. Many teenagers and women were seen crying, screaming, and even fainting. The sound was so deafening that none of The Beatles (or anyone else) could hear anything. Vox had specially designed 100-watt amplifiers for this tour and it was still not anywhere near loud enough, and so the Beatles used the house amplification system. John Lennon described the noise as "wild" and also twice as deafening when the Beatles performed. The Beatles were overwhelmed by the experience. Not being able to hear each other or even themselves, they just played through a list of songs nervously, not knowing what kind of sound was being produced. At one point, John Lennon saw the whole show as being so ridiculous that he just began playing the keyboard with his elbows while the whole group laughed hysterically. The show itself was extremely short. The crowd's behavior would scare The Beatles later on in other concerts, because the people were unpredictable.
A documentary using twelve separate camera crews was created by Brian Epstein and Ed Sullivan, named The Beatles at Shea Stadium.[1] This helped depict the great height of Beatlemania in America in 1965.
In May 2007, a downloadable bootleg of the show was released without the screams of the audience. [2] The source of this download was a recording from the original internal line feed from Shea's public address system, offering a fascinating minute-by- minute document of the complete concert, including opening sets from King Curtis, Cannibal and the Headhunters, Brenda Holloway and Sounds Incorporated. A 2-CD bootleg version accompanied by a hard-bound twenty-page booklet, "Sid Bernstein Presents The Beatles and the Great Concert at Shea!" was also released by a label identified as His Master's Choice.
The Hollywood Bowl shows:
Two shows were played at Los Angeles' high-profile Hollywood Bowl; the second, on August 30, featured one of the group's better performances and provided much of the material for the officially-released 1977 live album The Beatles at the Hollywood Bowl.
Set list:
The typical set list for the shows was as follows (with lead singers noted):[3]
1. "Twist and Shout" (John)
2. "She's a Woman" (Paul)
3. "I Feel Fine" (John)
4. "Dizzy Miss Lizzy" (John)
5. "Ticket to Ride" (John and Paul)
6. "Everybody's Trying to Be My Baby" (George)
7. "Can't Buy Me Love" (Paul)
8. "Baby's in Black" (John and Paul)
9. "Act Naturally" or "I Wanna Be Your Man" (the Ringo slot)
10. "A Hard Day's Night" (John and Paul)
11. "Help!" (John)
12. "I'm Down" (Paul)
Tour dates:
* August 15 - Shea Stadium, New York
* August 17 - Maple Leaf Gardens, Toronto
* August 18 - Atlanta Stadium, Atlanta
* August 19 - Sam Houston Coliseum, Houston
* August 20 - Comiskey Park, Chicago
* August 21 - Metropolitan Stadium, Minneapolis
* August 22 - Memorial Coliseum, Portland
* August 28 - Balboa Stadium, San Diego
* August 29 - Hollywood Bowl, Los Angeles
* August 30 - Hollywood Bowl, Los Angeles
* August 31 - Cow Palace, San Francisco
Instruments & Equipment:
The Beatles had plenty of instruments on the tour, shown here for each member of the group.
John
* 1964 Rickenbacker 325 Guitar
* 1964 Gibson J-160 E (spare)
* Vox organ
Paul
* 1963 Hofner violin bass
* 1961 Hofner (backup)
George
* Gretsch Tennessean Guitar
* Rickenbacker 12-string
* Gretsch Country Gentleman
Ringo
* Ludwig 22-inch-bass kit (drum)
* Number 5 drop-T logo drum logo (drum head)
Amps:
* Vox AC-100 (guitar)
* Vox AC-100 (bass)
References:
1. ^ a b c Roy Carr & Tony Tyler, The Beatles: An Illustrated Record, 1976, p. 46
2. ^ Rolling Stone Magazine May 31, 2007 (page 90).
3. ^ Nicholas Schaffner, The Beatles Forever, 1977, p. 45
-en.wikipedia.org/wiki/The_Beatles'_1965_USA_Tour
Collecting U.S. Beatles concert tickets -
This fascinating area of collecting was surprisingly ignored by all but a handful of collectors from the 1960s to the mid 1990s. But during the past few years ticket collecting has taken off and is now getting more popular. Tickets are continuing their climb based on scarcity and high demand, especially true for near-mint condition unused examples of certain shows.
It is typically more difficult to find full tickets from any of their 1964 or 1965 shows as most of those concerts were completely sold out. In 1966, amid controversy, they played huge sports arenas for the most part and although most were successful, not all sold out, leaving full tickets for Beatle collectors to enjoy decades later in their unused glory. The Beatles sold more than one million tickets for their live North American appearances.
Most tickets are priced and evaluated separately, and as with all collectibles, condition is very important in this regard. Folds, stains, tears and any writing reduces the value and usually lowers the desirability of any ticket. Stubs are worth a fraction of the value of the same full ticket, but even that varies depending on the remaining portion and what information or pictures can be seen. In some cases where very few known examples exist, condition of course becomes much less important.
Tickets, unlike massed produced commercial products, were only available regionally and in most cases are somewhat difficult to find. The printing of the tickets themselves was a fairly complex process that sometimes required many passes through various printing presses. Ticket manufacturers like Globe used to require at least 2 weeks to complete a print job. Tickets were usually printed in sheets of twelve, with the perforations already in place for each ticket. Usually the text information on the ticket would be printed first (i.e. performer name, venue, price, etc.) If the text contained more than one color, the tickets would be run through a separate time for each color. Often, the tickets would again be run separately through a "Hiedelburg"-type press for the seat numbers, row numbers and section numbers to be printed. These types of tickets can be noted for the imprint that the seat numbers leave in the ticket. If the promoter were presenting more than one show by the Beatles, another batch of tickets would be printed in the same way but with a different date and/or time, and some form of distinct marking to assist in recognizing it as a ticket for the other performance.
There are no known complete sets in collectors' hands, even if you count stubs! With over 500 different ticket variations issued in North America, even the most advanced collectors have barely put a dent into having them all. Some have focused on collecting just one ticket or stub per show, cutting the required variations to 73. Others concentrate on certain years or venues.
Ticket collecting and demand will no doubt continue to grow, especially while it is still possible to find some nice mint unused tickets at reasonable prices. There are still several cities in which no known full unused tickets have turned up, although the list is shrinking as several previously undiscovered tickets turned up in the late 1990s. Some recent finds of rare unused tickets include an afternoon Detroit '64, a Montreal evening show, the 1965 Ed Sullivan show, 1964 Pittsburgh, a perfect Cow Palace 1965 evening, Atlanta 1965 and both 1965 Hollywood Bowl shows.
Some of the most common full tickets are all from 1966 and include Suffolk Downs, Shea Stadium and Candlestick Park. Promoters of these events had held onto unsold tickets and in the 1990s offered them for sale. The approximate quantitys, consisting of many different seating sections, were 6,000 for Suffolk Downs, 2,000+ for Shea Stadium and several hundred for Candlestick Park.
Overseas tickets are starting to be in demand as well, but so far only a few stand out in desirability and rarity. Examples are the 1966 Phillipines concert (so far only one full ticket and one full stub have surfaced), and any of the 1966 Japan shows.
-www.rarebeatles.com/photopg7/photopg7.htm
#COLLECTING
Brian Epstein's 1966 tour pass - The rarest Beatles tour pass
Considered the king of all Beatles tour passes, this is the highest ranking pass in Beatles collectibles existence, as the Beatles themselves did not carry any. Apparently found in a desk that was sold from Epstein's estate, the pass is contained in a hard plastic holder that exactly fits the dimensions of the pass itself.
Tour passes were issued in different colors for different levels of security. A red pass denoted someone who was in the Beatles' inner circle (i.e. Brian Epstein, Tony Barrow, Mal Evans, Neil Aspinal, etc.). These red passes were issued and controlled by Brian and Tony. Tony's signature appears on the red passes, as shown above. The passes were intended to be carried for the duration of the tour. White passes were issued by GAC (General Artists Corp.) under the auspices of Nat Weiss, and were given to other tour members (artists like the Remains), roadies, concert promoters, and invited guests of promoters.
The Beatles were the pioneers of this practice of using passes. They were a necessity because of the mania, the lack of control, and the fact that even people like Brian Epstein were given a hard time getting close to the Beatles. Each pass was sequentially numbered for control purposes, and the text on the back of the red pass is different than on the white.
-www.rarebeatles.com/photopg7/epspass.htm
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