Paul McCartney, John Lennon and Mal Evans leaving Shea Stadium after The Beatles concert. 15th August 1965
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I totally understand these girls! If I had been at The Beatles' concert at Shea Stadium (1965) I would be screaming and crying just as excited as them. By the way, who is your favorite Beatle? 🪲❤️
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Today, 57 years ago, The Beatles’s played Shea Stadium
It’s like this: you make a noise and they make a noise. And it’s the noise together that counts. It’s the Bible, really, with Cecil B. DeMille and 60,000 extras. -Paul McCartney
"It was marvellous. It was the biggest crowd we ever played to, anywhere in the world. It was the biggest live show anybody's ever done, they told us. And it was fantastic, the most exciting we've done. They could almost hear us as well, even though they were making a lot of noise, because the amplification was tremendous. -John Lennon
Shea Stadium was an enormous place. In those days, people were still playing the Astoria Cinema at Finsbury Park. This was the first time that one of those stadiums was used for a rock concert. Vox made special big 100-watt amplifiers for that tour. We went up from the 30-watt amp to the 100-watt amp and it obviously wasn't enough; we just had the house PA. -George Harrison
I never felt people came to hear our show - I felt they came to see us. From the count-in on the first number, the volume of screams drowned everything else out. -Ringo Starr
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HAPPY BIRTHDAY TO SHEA!!!!
My favorite photo:
George being that happy to be performing, by that point, was so rare.
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Beatle Brunch, Joe Johnson, August 13, 2023. Download
Shea Stadium
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“So [at Shea Stadium in 1965] we put on the gear and suddenly we were in the tunnel and ready to go out – into we didn’t know what – and then as we emerged it was a long way to the stage. Normally we just came from the wings, and you were on, or even from behind a curtain. But with this we had to make an entrance across the pitch, and there was all these New York cops, and so you see this long leggy stride we’re all doing, occasionally running, in an effort to get across the pitch.
“And then, of course, the deafening din of the flock of seagulls, like a million seagulls, the American audience screaming. We got on and the legendary PA was the baseball system, so it was worse than anything we’d ever played through. We were on this little stage, it was a bit windy, and all these people were screaming. We couldn’t hear what we were doing, so it was very difficult to pitch. You couldn’t hear if your guitar was still in tune after that long walk. Normally you’d have a little chance behind the curtain to go dum-dum dum-dum, OK, yeah. But this was … even if you put it right up to your ear you couldn’t hear anything. So we just launched into it.
“And John doing the keyboard in ‘I’m Down’ with his elbow. I think we went a bit hysterical that night. We couldn’t believe where we were and what was going on. We couldn’t hear a bloody thing and we thought, this isn’t very good, but it’s going down great. The hysteria started to kick in. If you watch the film, he’s just doing this [running elbow along], as a solo! There’s tears streaming down his face, just hysterical laughter. And the audience just screaming and trying to get on the pitch and fighting with the police. It was like a scene out of some film. But we were in it.
“So there it was and suddenly it was over. They collected us in a van and we were driven out. It was a very bizarre happening. And later back in England, we actually re-voiced the whole thing because the microphones couldn’t hear anything, and what you could hear was terrible. I must say to our credit, looking at it now, I think we did a good job cos it kind of looks live. We were in a studio in Wembley for at least two days redoing the vocals and guitars, everything that had to be redone.
“It was such a fantastic memory, very exciting to do, but also complete madness. It was like being in a washing machine. Ha! You couldn’t hear anything and you didn’t know what was going on but you knew you had to get through it.”
[—Paul McCartney interviewed by Paul Du Noyer, from Conversations With McCartney]
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