Werewolves in Folklore and on Screen: Full Moons, Supernatural Curses, Wolf Belts and Silver Bullets

Posted on by Sloane Snodgrasse
Cinema, Popular Culture, Social History, Society & Culture

When it comes to Hollywood horror cinema, zombies, vampires and Frankensteinish monsters seem to take pride of place in the Pantheon of celluloid supernatural “baddies”. The werewolf𝟙 on the other hand has tended to be find himself assigned to a backseat in the screen horror caper, often consigned to a secondary role, “second banana” to some other omnipotent monstrous brute, eg, as in Frankenstein Meets the Wolf Man (1943)𝟚.

Wolfmania ⌖ ⌖ ⌖ Cinema-goers got their first glimpse of werewolf horror in 1935 in a Universal film called Werewolf of London…storyline: an English botanist contracts lycanthropy after being bitten by a Tibetan werewolf, result, werewolf terror in London. But it was another Universal movie six years later, The Wolf Man𝟛, written by Curt Siodmak, that elevated the werewolf character to horror flick star status, making its star Lon Chaney Jr into an icon of the genre. The Wolf Man is a sympathetic “portrayal of a man who has no power over the raging beast within “ (Jim Vorel, ‘The 100 Best Horror Movies of All Time’, Paste, 5-Oct-2022, www.pastemagazine.com.

Chaney & Evelyn Akers in ‘The Wolf Man’

The premise in The Wolf Man and its various spin-offs is that the main character (Larry Talbot) is transformed into a therianthropic (hybrid) wolf-like creature, the result of either a curse or a bite or scratch. The film popularised many of the planks of werewolf mythology. The lycanthrope’s metamorphosis is triggered by a full moon; the werewolf is killed only by a silver bullet; the protagonist’s silver-headed walking cane, etc. Although there has been werewolves depicted on the silver screen before The Wolf Man, Chaney’s portrayal was “the incarnation that solidified much of the (werewolf) lore as we know it today” (‘The Werewolf Classic That Defined A Genre’, Stephanie Cole, Nightmare on Film Street, 28-Jan-2019, www.nofspodcast.com).

The Wolf Man formula was eminently copyable…Chaney reprised his Wolf man role in a sequel Frankenstein Meets the Wolf Man, described as Universal’s first “Monster Mash”𝟜 (‘Frankenstein Meets the Wolf Man’, TV Tropes, www.tvtropes.org), and then in 2010 there was a remake of Wolf Man with Benicio Del Toro in the title role. All three movies are serious flicks, straight-up pure horror movies. Many other Hollywood versions of the werewolf legend however have been out and out comedies or horror/comedies. Box office-topping comedy duo of the Forties and Fifties Abbott and Costello were unenthusiastic about a Monster Mash movie, however the producers wanted to exploit the emerging screen popularity of “Franky” and “Wolfie” – the result: Abbott and Costello Meet Frankenstein (1948) (with the Wolf Man thrown into the mix). The movie didn’t radiate much joy with the critics but proved a massive hit with fans, spawning a series of Abbott and Costello horror-themed comedies.

One werewolf comedy-horror flick emanating out of Hollywood that has scored some critical kudos is John Landis’ 1981 An American Werewolf in London 𝟝. The film’s successful blending of comedy and humour and its innovative if grisly makeup made it a cult classic and a box office triumph, returning over ten times its original outlay. More blandly prosaic is Teen Wolf (1985) with Michael J Fox as an average high school kid who shape-shifts into a werewolf. Described as a romantic, coming-of-age fantasy movie, it got mixed reviews but struck gold at the box office, taking in over $US80 million on a budget of just $US1.2 million.

Folklore: Werewolves in the popular psyche⌖ ⌖ ⌖ The werewolf may have been a subject for fun and even derision in the world of cinema, but in past times it has been viewed with total seriousness, especially in Europe. The genesis of the werewolf legend is nebulous, but the notion of a human taking a (malevolent) animal form is millennias old. Depictions of and references to men taking on a lupine appearance goes back to antiquity. From Medieval times folklore-driven fear of the werewolf was common in Europe and led to werewolf panics, especially in areas such as France and Germany which contained large populations of wild wolves (“A German Werewolf’s ‘Confessions’ horrified 1500s Europe”, Isabel Hernández, National Geographic, 13-Oct-2022, www.nationalgeographic.co.uk).

While Hollywood favoured the view that potent curses, wolf bites and full moons were the transformative agents for human to werewolf form, German folk tales from centuries ago reveal that all a man needs to do to turn into a ravaging lupine monster doing the Devil’s work is to don a belt or strap made from wolf’s fur (‘Werewolf Legends from Germany’, edited & translated by D.L. Asliman, www.sites.pitt.edu).

Lycanthropy/witchcraft nexus ⌖ ⌖ ⌖ In the Late Middle Ages and Early Modern era the hunting down and persecution of alleged werewolves and alleged witches to some extent went hand-in-hand. It was not uncommon for people accused of being witches by the church to be vilified for supposedly also being werewolves. The supposed ability of both to “shapeshift” seems to be at the nub of this guilt by association (‘Werewolves and Witchcraft’, Danny Sargent, Llewellyn, 13-Oct-2021, www.llewellyn.com).

London pamphlet (1590), primary source for Stumpf trial

Werewolf of Bedburg ⌖ ⌖ ⌖ If you were outed as a putative werewolf in this age of werewolf hysteria you could expect swift and savage, even barbaric, retribution from inquisitors, witchfinder-generals and other coercive control mechanisms of the state. One of the worst instances came from the Nordrhein-Westfalen region of Germany in the late 16th century. Peter Stumpf (or Peeter Stubbe), an alleged serial killer was accused and tried for werewolvery, witchcraft and cannibalism in 1589. Stumpf’s execution was one of the most brutal recorded – torn apart limb by limb on a wheel, beheaded and his body burned𝟞. Stumpf may or may not have been a serial killer𝟟, what he wasn’t is a werewolf. The wealthy farmer’s “confession” was extracted under torture and there is a suggestion that he might have the victim of political sectarianism. At a time of heightened Catholic/Protestant antagonisms, Stumpf is believed to have been a convert to Protestantism, so it may have been payback (‘Peter Stumpp: The Werewolf of Bedburg’, Darcie Nadel, Exemplore, 17-Aug-2022, www.exemplore.com; ‘Zum Fall Peter Stump’, www.elmar-lorry.de).

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𝟙 Old English: “wer” + “wulf”, literally man/wolf

𝟚 not to neglect a raft of others, minor supernatural fiends on the big screen, such as The Invisible Man, The Mummy and Gillman

𝟛 highly commended for its special effects by makeup artist maestro Jack Pierce who had provided FX for earlier classics of the horror genre, Frankenstein and The Mummy

𝟜 a coming together of monsters

𝟝 influential critic Roger Ebert was a dissenting voice on the movie’s merits

𝟞 it was believed that burning was another of the very few ways a werewolf could be killed

𝟟 some suspected werewolves were serial killers

The Chautauqua Movement, a Pioneer American Institution in Life-Long Learning

Posted on by E Curb Nottus
Adult education, Social History, Society & Culture

Chautauqua Lake (Image: cullencartography.com)

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On August 12 this year Booker Prize-winning novelist Salman Rushdie was stabbed multiple times while giving a lecture in the lake resort community of Chautauqua in western New York State. It remains unclear to what extent Rushdie’s assailant was motivated by the Iranian fatwa against the Anglo-Indian author who suffered serious if not life-threatening injuries in the attack. The attempt on Rushdie’s life for engaging in free speech occurring at the Chautauqua Institution is ironic, given that organisation’s long tradition of the free exchange of ideas. [‘Chautauqua, where Salman Rushdie was attacked, has a long history of promoting free speech and learning for the public good’, Charlotte M. Canning, The Conversation, 25-Aug-2022, www.theconversation.com].

Source: the guardian.com

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For all the wrong reasons the crime has shone a light on the Chautauqua Institution with its nearly 150-year-old history. The organisation was the brainchild of a Methodist minister and a Midwest businessman, initially established in the 1870s to provide training to Sunday school teachers and church workers. The first Chautauqua ”event” organised was at Lakeside, Ohio (1873), quickly followed the next year by Chautauqua, New York. Although founded by Methodists the Chautauqua concept was from the start non-denominational in spirit [‘Chautauqua‘, Wikipedia, http://en.m.wikipedia.org]. In the tranquil lakeside outdoor setting of Chautauquaⓐ, the roots what would grow into an institution of seasonal (summer) education and culture programs for adults took shape.

Source: the attic.space

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Non-sectarian Chautauqua
From its parent base in western New York a movement soon spread across the US with “Daughter Chautauquasas” springing up everywhere…at the movement’s peak, around 1915, there were about 12,000 such rural-based communities, all independent of the parent institution. While some Chautauquas remained religious-oriented, the movement as a whole became more secular and wider in its scope, coinciding with the Progressive Era (circa 1890–1920), a time in which political and social reforms were flourishing in America (Canning). A factor in this was that Chautauquas tended to foster free thinking which was incompatible with the strain of evangelical Christianity permeating the organisation. Chautauqua philosophical emphasis was on life skills, self-improvement and transformation of lives, ‘What is Chautauqua, the site of the Rushdie attack has a long history’, Kelsey Ables, Washington Post, 13–Aug–2022, www.washingtonpost.com).

Redpath Chautauqua, “circus like promo” (Source: Culture Under Canvas, Harry P Harrison)

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Chautauquas under ”the Big Top”
By the early 1900s Chautauquas were evolving away from permanent independent assemblies to a new variant (aided by the expansion of railways), the spawning of itinerant Chautauquas, where promoters took the Chautauqua idea on the road, travelling to different country regions and setting up temporary “circuit” or “tent” Chautauquas with an itinerary of week-long programs packaged as “culture” experiences. A host of “performers” would be engaged to appear on the circuit at these events—lecturers and speakersⓑ, showmen, singers, musicians and dancers, politicians, opera stars, magicians, preachers—comprising a series of “travelling talent circuits”ⓒ. These Chautauquas added entertainments to the traditional serving of education and religious instruction intended to be “morally uplifting” and culturally enhancingⓓ [‘“The Fourth American Instiution” Understanding Circuit Chautauquas‘, Brittany Hayes, U.S. History Scene, www.ushistoryscene.com]. The tent Chautauquas, the most prominent of which were the Redpath Chautauquas, were in competition with the popular entertainment of the day, vaudeville. The Chautauqua circuit sought to elevate itself above vaudeville which it viewed as a baser and more vulgar form of entertainment (Wikipedia). The tent Chautauqua circuit catered for a wide variety of entertainment, resulting in a wide gulf in quality…at the lower end its engagement in animal acts and slapstick comedy blurred the line with the vaudevillian world [The Chautauqua Movement’, The Colorado Chautauqua, (2020), www.chautauqua.com. Some observers in fact characterise the tent circuits as “Chautauqua” in name only, having appropriated it to add cachet to their business enterprise [‘The Lingering Magic of Chautauqua’, Paul Hendrickson, Washington Post, 01-Jul-1978, www.washingtonpost.com.

Kansas Tent Chautauqua, 1906

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Chautauquas made a contribution at the local level to the enrichment of rural Americans‘ social lives and fostered individual self-improvement. Some observers also saw the movement as a buffer against the effects of rapid urbanisation in that period by giving support to local communities and their traditional values…a counterweight to the centripetal forces luring especially the young to the cities, emphasising the virtues of small town “good life” in rural America (Canning).

Source: joplinglobe.com
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Decline of the Chautauqua
The 1920s was the last great decade of Chautauquas. By the Thirties with the devastating economic impact of the Depression taking its toll, the movement’s popularity was on the wane. Hastening its fall was a combination of factors – the rise of the car culture made extended travel more accessible for rural dwellers; other forms of entertainment were supplanting the Chautauquas’ appeal, especially the advent of sound movies and commercial radio; new educational opportunities for women were opening up; etc [‘Chautauqua in Santa Barbara’, Michael Redmon, Santa Barbara Independent, 14-Sep-2016, www.independent.com; Ables].

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Criticism of Chautauqua
Chautauqua’s cachet at its high water mark was undeniable—President Theodore Roosevelt described the movement as ”the most American thing in America”—however it was not without its detractors. Famed novelist and Noble laureate Sinclair Lewis was dismissive of the Chautauquas’ educational merit and intellectual pretensions. Lewis’ Main Street describes the movement as a “combination of vaudeville performance, Y.M.C.A. lecture, and the graduation exercise of an elocution class…” (Hayes). Chautauquas in their heyday effected positive change in the lives of people, helping working class and middle-class women in particular to acquire the educational and vocational training to allow them “to launch ‘real careers’ (‘Chautauqua Movement’). The movement nonetheless had its limitations. Chautauqua enunciated freedom of expression and thought but did not have an overt political stance. It never challenged the White Protestant hegemony in American society…(it) was “not revolutionary and never led the charge on issues like suffrage or civil rights” and racial inequality (Canning).

Still in the business of providing adult education today, the Chautauqua Institution was a pioneer of the principle of what we call life-long learning, which takes many worldwide forms such as TED Talks, University of the Third Age, and a raft of other continuing education programs.

Photo: oldsite.chq.org

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Endnote: the Chautauqua circuit movement was to some degree a throwback to the earlier Lyceum movement which flourished before the American Civil War. Public lyceums anticipated the Chautauquas by organising circuits of adult public education programs involving travelling lecturers and teachers – featuring 19th century American luminaries such as Ralph Waldo Emerson, Henry David Thoreau and even Abraham Lincoln.

Chautauqua (pronounced “Shuh-TAW-Kwa”) etymology: believed to be an Iroquois (Seneca) word, possibly meaning either or both “a bag tied in the middle” and/or ”two moccasins tied together”.

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ⓐ the idea of an outdoor setting was gleaned from camp meetings in rural South and West

ⓑ giving literary readings and drama recitals

ⓒ speakers who featured on the Chautauqua circuit included the women’s suffragette leader Susan B Anthony, inventor Thomas Alva Edison and national politician William Jennings Bryan

ⓓ “look up and lift up” was a slogan of Chautauqua

The Architectural Folly of Portmeirion: Faux Italian Riviera on the North Wales Coast

Posted on by Wolfgang Childerglas
Built Environment, Cinema, Popular Culture, Regional History, Social History

Gobeithio y gwnewch chi fwynhau eich arhosiad yma.

“We hope you have a pleasant stay in Portmeirion.”

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Image: nytimes.com

British architect Sir (Bertram) Clough Williams-Ellis spent half a century (1925 to 1976) on a pet construction and town planning project in the Snowdonia region of North Wales, handcrafting his ideal of a village from scratch. The eccentric, autodidactic architect with a penchant for wearing knickerbockers called his back country village “Portmeirion”, drawing inspiration for his Welsh labour of love from the Italian Riviera fishing village of Portofino. What Williams-Ellis created was a scaled-down village comprising a picturesque patch-quilt of individual buildings built primarily for decoration, known in the architectural business as follies.

Photo: Pinterest / M Serigrapher

Piecing together the mosaic
Architecturally, Portmeirion is “an eclectic pastiche” (Gruffudd 1965) with stylistic borrowings from Gaudi, the Mediterranean and the Italian Renaissance, from the Arts and Crafts Movement and from Nordic Classicism et al, juxtaposed and intertwined together. Trompe l’oeil windows, Baroque murals, gargoyles, inverted copper cauldron, Classical details, all contributing to a quirky, multi-coloured panorama of buildings with a Mediterranean feel – in North Wales. Williams-Ellis sourced materials from disused estates and ruined castles across the UK for the village. (“Portmeirion Village: Fifty Years Since The Welsh Resort Starred In TV’s Iconic ‘The Prisoner’”, John Oseid, Forbes, 22-Mar-2017, www.forbes.com). Williams-Ellis’s use of salvaged fragments led him to describe his creation as “a home for fallen buildings”.

Portmeirion’s creator (Source: Portmeirion Village)

Reconciling structures with landscape
Williams-Ellis was a champion of preserving rural life, inspiring a Welsh movement, CPRW, guardians of Cymru Wledig…his philosophy applied to architecture was that “the development of a naturally beautiful site need not lead to its defilement”, new buildings, done well, could enhance the landscape (‘Portmeirion: A Passion for Landscape and Buildings’, Rachel Hunt, Gwanwyn, Spring 2018, cprw.org.uk). For the site of his cherished Italianate village William-Ellis choose a “neglected wilderness” which had formerly been part of the Aber Iâ① estate. Over the years the constituent parts of the village took shape – the Citadel (an Italianate campanile (bell tower)), Battery Square, Village Green, Gothic pavilion, Bristol Colonnade, blue-domed Pantheon and statue of Hercules, Italianate landscaped gardens. The Victorian manor from the old estate was transformed into the village hotel. The plan had been to incorporate a 19th century castle, Castell Deudraeth (named after an extinct 12th century castle in the locale), but this didn’t happen in Clough’s lifetime. Since 2001 the castellated building has functioned as a hotel for Portmeirion tourists.

Source: wheretogowithkids.co.uk

Academic architecture hasn’t rated Portmeirion highly, tending to dismiss it as an “idiosyncratic playground of little interest”, a mere “hodge-podge” of differing styles (Manosalva, M.A., 2021. One-man-band: Clough Williams-Ellis’ Architectural Ensemble at Portmeirion. ARENA Journal of Architectural Research, 6(1), p.3. DOI: http://doi.org/10.5334/ajar.268). Not that this in any way deflected Williams-Ellis from single-mindedly pursuing his own peculiarly personal architectural vision of a “fantasy village”②… the architect freely admitted to taking what he described as “a light opera approach”, wanting to give people architecture that was pleasurable and fun to behold and enjoy.

‘The Prisoner’ being filmed on site (Source: radio times.com)

Sixties‘ TV spy culture augments the Village’s celebrity and tourism
While Portmeirion’s uniqueness guaranteed its fame and its standing as a niche holiday resort, its selection as the set for a cult 1960’s TV series magnified that fame exponentially. The Prisoner, a Sci-fi dystopian series, created by and starring Patrick McGoohan, was filmed in and around the village in 1966-67. The 17-episode series about a government agent who finds himself mysteriously transported to a beautiful, charming but bizarre community—where for inhabitants, imprisoned betwixt mountains and sea, there is no escape — a community impersonalised to the point where everyone is a number and no one knows who’s in charge. The Prisoner‘s enduring cult status has ensured a constant stream of loyal fans from far and near making the pilgrimage to Portmeirion each year (Covid permitting). The local tourist industry has done its bit to capitalise with a Prisoner souvenir shop, tours of the film locations, etc. The giant chessboard in the square which appeared in the TV show has been (permanently) reconstructed to further cash in on the series’ appeal.

Beatle George visits the Village – “fab!” (Source: North Wales Live)

Endnote: Enticing the rich and famous
A host of celebrities can be numbered among the endless throng of visitors to Portmeirion over the decades…GB Shaw, HG Wells, Bertram Russell, Frank Lloyd Wright③, Brian Epstein, George Harrison, to name but a few. Noel Coward wrote the first draft of his comic play Blithe Spirit during a stay at the seaside resort.

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① Welsh: “ice estuary”

② when his architectural “day job”, designing other people’s houses and buildings in various parts of the UK and Ireland allowed it

③ apparently FLW approved of the architecture of the place

A Who’s Who of the Early Beatles Ensemble

Posted on by Wolfgang Childerglas
Memorabilia, Music history, Popular Culture, Social History

There have been untold zillions of words written or spoken about the Beatles—in books, in music mags, in newsprint, on the web, in doco films and videos—over the last six decades. Anyone vaguely following the Liverpudlian Foursome’s stellar musical journey would be familiar with the major secondary personalities that feature prominently in the Beatles’ narrative (manager Epstein, producer Martin, the various wives and girlfriends, a few of the band’s musical peers like Jagger and Clapton, the so-called “Fifth Beatles” and so on), but after wading through weighty Beatles biographies by Hunter Davies and Phillip Norman and others, I’m more curious about the lesser dramatis personae who feature peripherally in the Beatles saga. As the Beatles journey on their irresistible path from provincial obscurity to global mega-celebrity, these less well-known names pop in and out of the various accounts of John, Paul, George and Ringo’s formative days on the nascent Liverpool rock scene…so let’s shift the spotlight away from the quartet of pop music icons momentarily on to some of the background players to note their particular part in the Beatles’ back story — most were fleeting and insignificant, others flitted in and out of the Beatles’ orbit without impact and a few were important participants out of the limelight.

⥉ Lennon & Shotton (Source: forums.stevehoffman.tv)

The bulk of the minor figures getting a mention in the early Beatles story tend to connect directly with John Lennon, not surprisingly as he was the band’s founder and driving force in the rise of the Beatles phenomena. John’s best friend in childhood was Pete Shotton, who attended the same schools as the future ‘First’ Beatle (Dovedale Infants School and Quarry Bank Grammar). Shotton was there at Lennon’s earliest foray into musical bands, initially in John’s mid-1950s skiffle boy band which became the “The Quarrymen”. Other friends of John joined them in the band including Nigel Whalley, Rod Davis Ivan Vaughan, Len Garry, Eric Griffiths, Ken Brown, Colin Hanton, Chas Newby, Bill Smith, John Duff Lowe…and a little later of course Paul McCartney and his baby-faced pal George Harrison and Stu Sutcliffe (Quarrymen membership history was very fluid). Vaughan’s not insignificant claim to fame resides in his being the member/friend who introduced Paul to John at that famous 1957 church fete. Shotton, Vaughan and Whalley had the further distinction of forming the nucleus of John’s “Woolton Gang”…a mischievous, juvenile ”gang of four” imitating and paying homage to Lennon’s all-time favourite hero of children’s fiction, ’William’ from Richmal Cromwell’s Just William books. Of his many childhood friends and associates, John’s connexion with Pete Shotton lasted the longest. When the Beatles achieved fame and fortune Shotton was a beneficiary, managing first a supermarket owned by the Beatles and then the Apple Boutique. Eventually Shotton severed his business nexus with the band and founded his own chain of restaurants, Fatty Arbuckle’s.

⥉ The Quarrymen performing in 1957 (pre-Paul & George)

In 1958 Lennon, having abjectly failed his ‘O’ Level exams at Quarry Bank High, shuffled off to Liverpool Art School. Lennox’s art school period was a key phase in the formation of the scruffy “Teddy boy’s” relationships, meeting his first girlfriend Thelma Pickles, his first wife Cynthia (née Powell) and close friend and early Beatle Stu Sutcliffe whose gifted artistic merit influenced him greatly. John formed other friendships at the art school including with Jeff Mohammed who took on a older brother sort of role in helping John try to cope with the trauma of his mother Julia’s sudden death; and with Bill Harry who went on to create Mersey Beat , a local music publication which helped the band gain early traction in Liverpool music circles. Harry also published Lennon’s poems and drawings in the newspaper.

⥉ Allan Williams (Source: Meet the Beatles for Real)

Before Brian Epstein stumbled upon the Beatles the lads had another manager of sorts, Allan Williams. Williams owned The Jacaranda club in Liverpool which the young John and Paul frequented. Williams‘s role as booking agent and manager for the early Beatles (known variously as “The Quarrymen”, “Johnny and the Moondogs” and “The Silver Beetles” before settling on “The Beatles”) was a somewhat informal relationship, coming to an abrupt end in 1961 over a fee dispute, leaving the way clear for Epstein to assume the grid position and steer the Beatles’s career trajectory⦑1⦒. Williams did make an important contribution to the band’s early development as a musical force, he was the one who arranged for the band to undertake the first of a series of nightclub performances in Hamburg, West Germany, where the Beatles over three visits between 1960 and 1962 really honed their musical skills.

The Cavern Club in Liverpool was synonymous with the early Beatles who debuted in its damp, dingy warehouse cellar as the Quarrymen in 1957⦑2⦒. Ringo Starr then in another skiffle band had already made his first appearance in the club a week earlier (Ringo went on to join Liverpool’s top ‘beat’ band prior to the Beatles’ ascendancy – “Rory Storm and the Hurricanes”). A key Cavern figure was its longtime emcee/DJ Bob Wooler, instrumental along with Bill Harry in helping arrange Brian Epstein‘s first visit to the Cavern to see John, Paul, George and Pete play.

⥉ Pete & Mona (Photo: John Smart/Associated Newspapers/Shutterstock)

Another regular Liverpool venue for the Beatles in their various early incarnations was the Casbah Coffee Club, owned by the mother of the band’s drummer pre-Ringo (Pete), Mona Best. Not only were the Beatles able to perform there on dozens of occasions (tallies differ as to the exact number), Mrs Best allowed the fledgling band use of the Casbah’s basement to practice in.

After Epstein and his NEMS Company⦑3⦒ took over managing the four Liverpudlian ‘Moptops’ he recruited Tony Barrow from Decca to handle publicity for the group. In the full flush of Beatlemania fame Barrow found the task easier with the press now scurrying after him, but he was still there to extinguish any Beatles crises that might occur, such as John’s incendiary “more popular than Jesus” claim. Barrow wrote liner notes for the Beatles’ EPs and albums and was also the one who came up with the “Fab Four” tag.

⥉ Neil Aspinall filling in for George in the “Fab Four” lineup (Source: independent.ie)

When the Beatles started getting bookings outside of Liverpool they got themselves a road manager, Neil Aspinall, who had gone to high school with Paul and George at the Liverpool Institute. An accountant by training, Neil’s main attribute for the ‘roadie’ job—which he scored by being ‘besties’ with Pete Best at the time—was that he owned a battered old Commer van which was used to ferry round the boys and their amps to venues, and to London for their famous Decca audition on New Year’s Day 1962. After Epstein’s death Aspinall became CEO of the flagship Apple Corps and ran the Beatles’ business empire for 40 years⦑4⦒.

Another Beatle backgrounder Epstein put on the payroll was Tony Bramwell. During their Liverpool school years Bramwell was “besties'” with George Harrison and also a friend of Paul McCartney. From roadie in the Beatlemania days Bramwell rose to become CEO of Apple Films. Today, Bramwell is one of the very few surviving Beatles’ insiders.

⥉ Paul & Bodyguard Mal return from safari in Kenya

When Aspinall got promoted to Beatles’ PA in 1963, the doorman at the Cavern, the 1.98m-tall Mal Evans got the ‘roadie’ gig. As well as being ‘roadie’ for the Beatles’ 1964 and 1965 US tours, Mal copped the brunt of the violent backlash by enraged Filipinos against the “Fab Four” during the notorious 1966 tour of that country. Evans also served as the band’s bodyguard and in-attendance ‘gofer’ for any personal items required by any of the four musicians.

⥉ Derek Taylor (Source: Pinterest.co.uk)

While Mal Evans took care of most of the Beatles’ simple day-to-day needs, NEMS employee Derek Taylor was tasked with organising holiday trips for the boys as well as taking care of more complicated matters like copyright issues and acquiring personal properties on behalf of the four members, plus acting as “spin doctor” for the Beatles, for all of which he earned the sobriquet “Mr Fixit”.

Someone else behind the scenes who did very well from his connexion with the Beatles was music publisher Dick James. Just as the Beatles’ juggernaut was starting its ascent in 1963 James brokered a deal with Lennon and McCartney through their manager Epstein which enriched the publisher and his business partner but more crucially resulted in the two principal Beatles songwriters losing control of their own songs for ever!

⥉ George Martin (Source: USA Today)

Footnote: The Fifth Beatle
Beatles watchers have long speculated on particular individuals whose contribution/ role in the band’s story warrant, justified or not, the appellation fifth Beatle…the “would-be” candidates for the title are so manifold that it invites comparison with the list of numerous contenders regularly thrown up for “eighth wonder of the world“. Those ascribed the Fifth Beatle label over the years include George Martin, Brian Epstein, Neil Aspinall, Stuart Sutcliffe, Peter Best, Chas Newby, Jimmy Nichol, Tony Sheridan and Billy Preston.

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⦑1⦒ securing for Williams the unenviable epithet, “the man who gave the Beatles away”
⦑2⦒ the band didn’t actually play the Cavern as the Beatles until February 1961, but within two-and-a-half years had racked up close to 300 appearances at the venue
⦑3⦒ North End Music Stores
⦑4⦒ after the band broke up Neil became the closest confidant of each of the ex-Beatles