I want to tell you 
about the drawing and the song


In order of date of recording/ you will find information about every drawing and the relation with the Beatlesong.
Every drawing measures 27 x 31 cm and is mostly drawn in ink

001 I saw her standing there (Lennon Mccartney, 1963)
I took the text of the song literally. All the letters from the song are drawn in lying position 
except the H, E and R which are standing. On the left and the right of HER the T and E.
This forms THERE. This is the first drawing where I Used coloured ink.
With these coloured pens I have drawn the harts which symbolise the line: “my heart went zoom”.
The movement of the hearts gives also expression to the line “we danced all night”
Coloured ink, ink, 
Please please me 


002
 
Misery
(Lennon McCartney, 1963)
One of my sons is model for this drawing. This figure with folded hands over his neck, seen on the back. 
The misery is enlarged by the dripping paint. The gold paint is for the hope.
There must always be hope, despite all the misery.
Ink, acryl, gold paint, 120331
Please please me 


003
Anna (go to him)
(Alexander, 1962)
 “give me back your ring and I will set you free” was enough to give idea to this drawing.  
Knotted rope can be detached when the ring is returned. That’s all, no background. 
Ink and aquarelle, 110304
Please please me 


004
Chains
(Goffin & King 1962)
“these chains of love got a hold on me” inspired me to make chains where the links take the form of hearts. 
It was difficult to make one continuing chain but now the viewer has to puzzle very hard to see that I succeeded.
Ink and aquarelle, 101127 
Please please me 


005
Boys
(Dixon Farrell, 1960)
It was difficult to start to start in the very busy weeks at work. In the weekends there is also to little time. 
But in the end this has become a drawing where the Beatles figures with their hairdo and their lips.
‘The trip around the world’ is symbolised by lips flying round the earth. ‘The trills’ lightens from the dark to the boys
Ink, acryl, gold and silver, 130202
Please please me 


006
Ask me why
(Lennon, 1962)
I followed the lines. I should never be blue becomes red. Red for love. 
Tears (of joy) are dripping over the dripping red paint. That’s all. It is not as simple as it looks
Acryl, ink, 130211
Please please me 


007
 
Please, please me
(Lennon McCartney, 1963)
I worked hard in the holiday on the drawings. This song has become a gift in the shape of a heart. 
The gift is not opened because in the songs there’s a complaint.
A complaint about the one who’s giving more than the other one does.
There’s rain because she doesn’t even try to please him as much as he does.
That’s why I also have chosen in a contrast between paint (color) and ink (black and white)
Acryl ink, 121231
Please please me 


008
Love me do.
(Lennon and McCartney, 1962)
A drawing with letters to the Beatles. 
The texts on the letters are from the book: Love letters to the Beatles.
Candy hearts makes the subject lighthearted. 
Ink and aquarelle, 101014
Please please me 


009
P.S. I love you
(Lennon McCartney, 1963)
This was a difficult one. It was hard to find the right inspiration. A fountain pen with pieces of paper. 
Parts of the song are written down on the paper. Simple idea for a simple song.
Acryl, ink, 130114
Please please me 


010
 
Baby, it’s you (Davis Williams Bacharach, 1963)
A pure ink drawing. In an autumn setting there is Lennon sitting behind a window. 
He is waiting and thinking for his girlfriend. The girl everybody says she’s cheating (on him?).
But he’s faithful, hopeful waiting
Ink, 130227
Please please me 


011
 
Do you want to know a secret
(Lennon & McCartney, 1963)
The Beatles used a part from the “wishing well” lyrics from the Disney animation Snowwhite. 
That’s why I draw the cards with dwarfs and snowwhite as a reference to a fairytale.
A fairytale with a secret. The secret about the “pied a terre’’ of Brian Epstein.
The pied a terre he used for his boyfriends but was also used bij John and his, then pregnant, Cynthia.
The book with pills refers to Brian Epstein. The letter is addressed to: Dear B….. Beatles or Brian?
Ink and aquarelle,101206
Please please me


012
 
A taste of honey
(Scott Marlow, 1962)
The choice for the drawing was made quick, honey of course! 
Honeycombs in the background.
Paul’s lips in front (Paul is the singer of the song).
Hony is dripping from his lips, following the form of the combs
Acryl and ink, 130303
Please please me


013
There’s a place
(Lennon McCartney, 1963)
The mind/the brains as a place to escape. 
There was a little doubt to put a parking sign too but that would be to emphatic.
The brains are drawn with red ink in an acrylic blue surrounding.
Coloured lines twirl and turn and flees in the brains
Acryl, red ink. 130316
Please please me


014
 
Twist and shout
(Medley Russel, 1963)
The twist as a dance, the twist as curls. In the curls the word ‘shout’, continuously repeating. 
Silhouettes of the fab four in their twisting pose from the Twist and shout sleeve
Acryl, aquarelle, ink 130324
Please please me


015
From me to you (Lennon McCartney, 1963)
This song is written in the car while the Beatles were on tour with Helen Shapiro. 
Traveling from one place to another and also the lines in the song about giving lips, heart and arms
made the idea of a Royal Mail van delivering packages, driving from ME to YOU.
So I bought a toy van as an example for the van in acrylpaint on a background of colors.
John and Paul, the composers, are glued behind the wheel. 
Ink, acryl, goldpaint, glitter, 150126 
Single


016
Thank you girl (Lennon McCartney, 1963)
This was a thank you to all the fans for their loyalty and love. 
So what is there to draw when you thanks your girlfriends?
I asked a few teenaged girls at my school. They didn’t hesitate a second.
“Gift boxes, colours, jewels, lingeries, bling things, surprises”.
The bra is prominent present as reference to all the girls who would love to unpack for their idols.
What to unpack first? 
Ink, aquarelle, 150216
Single


017
She loves you (Lennon McCartney, 1963)
The boy in the song must be convinced that the girl still loves him. She loves you!  
That’s why I choose for a sort of neonletters.
And there are also a lot of yeah’s and woo-o’s in the song and they give extra movement to the drawing.
Of course a dark surrounding so ‘Shelovesyou’ takes the most attention.
Ink, aquarelle, marker, acryl. 150227 
Single


018
I’ll get you (Lennon McCartney, 1963)
I’ll get you in the end, oh yeah. That sounds threatening, unavoidable. Like pigeons do. 
A lot of nervous flutter and noise makes it a wish of the male while the female seems to wish other avances first?
Maybe you don’t need to be a pigeon to have those wishes. But undoubtedly he’ll get her. :)
Ink, 121119 
Single


019
I want to hold your hand (Lennon & McCartney, 1963)
The song was the band first number-one hit on the billboard hot 100, 
starting the British invasion of the United States music charts.
Beatlemania had started. Therefore the drawing of screaming fans, stopped by U.S. policemen.
On the banner: I want to hold you (r hand). The policemen are holding hands as well.
Ink and aquarelle, 101229
Single


020
This boy (Lennon McCartney, 1963

Lennon sings and begs that the girl chooses him instead that other boy.
There was already some rivalry between John and Paul so I got the idea of a weather house.
This boy (Lennon) for the good weather, that boy (McCartney) for the bad weather.
The temperature is rising, love will win.
For the weather house I was inspired bij the facade of the Abbey Road studios.
Ink, acryl, 150322
Single


021
It won’t be long (Lennon, 1963)
The house of aunt Mimi is the house where John waited for the one he loved, his mum. 
It won’t be long, tears come from his eyes but she will come home. Tears (of joy) over the house.
Ink and aquarelle, 110620
With the Beatles


022
All I’ve got to do (Lennon McCartney, 1963)
A receiver combined with an ear. Now there’s a way to whisper the words you want to hear. 
The whispering is visualised by foam hearts with glitter. 
Ink, foam, glittersand, 130413 
With the Beatles 


023
All my loving (Lennon McCartney, 1963)
Quit a struggle. I wanted something with the opening sentences of the song. That’s is so nice. 
So I Used an old technique. First I painted the whole paper red over yellow.
With a thick gold paint I wrote the sentences: “close your eyes”; “tomorrow I’ll kiss you” and “I’ll kiss you”.
Over these sentences I wrote with glue. After that I painted the whole with water restrained black ink.
The text will come visual after washing the whole work with water.
Through the black and red you can see vaguely the words.
Ink, paper glue, acryl, 130419 
With the Beatles


024
Don’t bother me (Harrison, 1963)
This first song by George Harrison is quite interesting. Don’t bother him. He wants to be left alone. 
Please, no screaming fans! I found a picture of George sitting on a chair.
One hand on his hand, the other hanging down.
His head is hidden in a paper bag.
In the corner there is a photo of a fan who is holding George like never letting him go.
You should get mad! Please hide!
Ink, aquarelle, collage, 130429
With the Beatles


025
Little child (Lennon McCartney, 1963)
Again I took the title literally, so there is a little child dancing on the feet/shoes of her dad. 
On the ground a picture of a child playing hide and seek
Ink and aquarelle, 111030
With the Beatles


026
Till there was you (M.Wilson, 1957)
This was a small number 1 for Peggy Lee in 1961 and the Beatles took it in their repertoire in Hamburg. 
Originally the song was meant for the musical The Music man. In my drawing I followed the lines of the text.
There are ‘birds in the sky’; ‘wonderful roses’ in ‘sweet fragrant meadows’.
The poppy roses are accentuated with red aquarelle.
Ink and aquarelle, 110904
Original sold
With the Beatles


027
Please Mr Postman (Holland Bateman Garrett Dobbins Gorman, 1963) 
Originally a small hit by the Marvelettes this was also a hit for the Beatles. 
The postman is asked to hold and look again for a letter or card. Zoomed on the pile of letters, hands in gloves.
It’s a cold job inspite of the warm letters he might be carrying. That’s why it’s in black and white also.
Ink, 130508
With the Beatles


028
Roll over Beethoven (Berry, 1956)
Originally a hit for Chuck Berry in 1956, Roll Over Beethoven was sung by George Harrison 
on The Beatles' second album.
The foundation of the drawing is based by the cover of Chuck Berry’s Beethoven single.
Instead of a swinging Chuck there’s George Harrison playing guitar. But his head is exchanged for Beethoven.
The guitar ends in loose piano keys.
Ink, acryl, 130525
With the Beatles


029
Hold me tight (Lennon McCartney, 1963)
A heartfelt embrace. A bandage is applied to accentuate the tight embrace. Bandage as a bond, a tight bond.
Ink, acryl, 130610
With the Beatles


030
You’ve really got a hold on me (Robinson, 1962)
After “Hold me tight” the next song on the album is “You really got a hold on me”. 
Because of the fact that in both songs someone is holding the other
I decided to make some resembles in the drawings.
I made a reflection of the “Hold me tight” drawing and then I winded the persons in rope.
Now (s)he’s really having hold.
Never letting go!
Ink 130623
With the Beatles


031
I wanna be your man (Lennon McCartney, 1963)
That was a difficult one. What picture was there to make with this song? 
Finally I have chosen for Ringo Starr in the centre with the Rolling Stones in the background.
Ringo because he was the singer of the song;
the Rolling Stones because this Beatlessong was their first number one hit in the U.K.!
Ringo (Starr) seems the most beautiful of all these men. I gave him a sort of aureole, with stars,
as if he will be the chosen man in the end.
The drawing became a sort of persiflage on Ringo’s wanna be your man aswell on the Rolling Stones.
Ink, aquarelle, acryl 130717
With the Beatles


032
Devil in het heart (Drapkin,1963)
Sometimes I had to think hard about what drawing to make with a particular song. 
For this song I was quickly sure about the sort of drawing. It had to be a heart with something devilish.
There should also be something confusing in the drawing.
Well I succeeded in the confusing bit, but is that because I made such a good picture or because I didn’t?
Ink, aquarelle, acryl 130809
With the Beatles


033
Not a second time (Lennon McCartney, 1963)
Lennon’s refusal to try it again (not a second time) gave me the idea of a closed door. 
A broken door, because of the broken relationship. The door is closed by a used belt.
The doorhandle (a phallic form) hangs down.
A intensive drawing, made in the last days of the holiday
Ink, 130825 
With the Beatles


034
Money (that’s what I want) (Bradford, Gordy, 1959)
At first I had the intention to make a collage of real money but that would be to easy but also expensive. 
So I made a collage of drawn papermoney with silver and golden coins sprinkled all over.
It was a lot of work but I worked hard and finished the drawing in three days.
Ink, silver- and goldpaint, 130916 
With the Beatles


035
A hard day’s night (Lennon McCartney, 1964)
The first two sentences made the drawing. 
Sleeping like a dog reminded me of the sketches I once made of a sleeping dog.
So I used those sketches to make again a drawing of a sleeping dog.
In the background there is a wooden wall referring to ‘sleeping like a log’.
To make the day and night I splattered dark paint 
Ink, acryl. 130929
A hard day’s night


036
I should have known better (Lennon McCartney, 1964)
Lennon played the mouthharp in this song. Therefor there is a picture in ink of Lennon. 
I found the folded hands around the, not to be seen harmonica, characteristic. It is a bit mysterious.
You hear the instrument but you can’t see it.
In the right there are manipulated photoprints of Lennon and a small drawing of a part of a mouth harp.
Of course it’s a Hohner. The Hohner he has stolen in Arnhem? The Hohnerlogo is from a Hohnerharmonicabox.
Inkt, collage, 131013
A hard day’s night


037
If I fell (Lennon McCartney, 1964)
Lennon sings: ‘cos I’ve been in love before……If I give my heart to you, I must be sure…..”. 
That’s why I made a hand reaching/giving with a small silver chain with a heart. The background is dark.
Not only dark from the past but also that’s not yet foreseen if ‘you will love me more than her’.
Ink, silverpaint, marker. 131117
A hard day’s night


038
I’m happy just to dance with you (Lennon McCartney, 1964)
Not my favourite activity, I can’t dance at all but I can imagine the romantic feeling. 
I’ve chosen for two teeners who are slowdance dreaming while the adults now better. Reality is not romantic.
Also it is not very clear who are the the leading characters.
Just like on the dancefloor everybody is looking for the right partner
Ink, 120718
A hard day’s night


039
And I love her (Lennon McCartney, 1964)
Because it’s such a simple song, it makes it difficult. Only the dark night and the shining stars gave a hold. 
So, no ink drawing but paint. Dark paint in different layers with glitter, holes, tin-foil, more glue and glitter.
Dark night to dream away, alone together
Acryl, glitter, glue, tin-foil, 131126
A hard day’s night


040
Tell me why (Lennon McCartney, 1964)
“Tell me why you cried” and “I beg you” were the ingredients for this drawing. 
Hands folded, begging and in the background vertical lines of black and coloured ink
and plastic pearls glued on top of it.
The result gives a resemblance to the drawings of ‘Misery’ and ‘Across the universe’ 
Ink, marker, plastic. 131215 
A hard day’s night


041
Can’t buy me love (Lennon McCartney, 1964)
Paul wrote this song in Paris. At first I intended to make a drawing of well dressed Parisiennes 
from the sixties with a diamond in the middle. But later on the diamond claimed all the attention for itself.
So it became a very exhausting inkdrawing with a lot of lines in black as well as in red.
In all the geometric forms  you can see a diamond aswell a ring
Ink, 131226
A hard day’s night


042
Anytime at all (Lennon McCartney, 1964)
At first I had an idea of a telephone. But later on I changed to the inside of a clockwork. 
‘Anytime at all’ is so many times repeated that time became important in the drawing.
‘If the sun has faded away I’ll try to make it shine’ made a nice detail in the drawing.
Between all the black ink wheels there’s one in gold. The sun will shine.
It was a very intensive drawing of more than forty hours but I’m really satisfied with it.
Ink, gold paint. 140101
A hard day’s night 


043
I’ll cry instead (Lennon McCartney, 1964)
It’s was temping to make a drawing with tears. But I already did, twice I think. 
And I found the hiding and breaking hearts more interesting. So I made a man, hiding behind the curtains.
A man who’s probably responsible fot the breaking of hearts.
It was a lot of work again with the curtains and in the end a cut myself while breaking the hearts.
I hesitated in using real blood but it’s just a bit of aquarelle.
Ink, plastic, aquarelle. 140126
A hard day’s night 


044
Things we said today (Lennon McCartney, 1964)
This lovesong was made by Paul for is his girlfriend Jane Asher. 
I made a drawing of Jane and Paul blindfolded.
As Paul sang: “though we may be blind”. But they’re still recognisable in spite of the kitchen towels.
It was nice working at it although all the hair was quite a job.
Ink. 140207 
A hard day’s night


045
When I get home (Lennon, 1964)
As far as I know this is the only Beatlessong where cows are wandering about. 
So, coming from Holland it was a easy choice to make.
Of course four!, cows, a bit doubtful, it’s getting dark, lounging towards the door.
Sketching, drawing, painting, eventually lots of work. A strange drawing, so is the song
Ink, 120928
A hard day’s night 


046
You can’t do that (Lennon McCartney, 1964)
It didn’t matter what the girl did to make Lennon jealous because there was this cowbell!. 
The klingklang of the bell is there constantly, so my decision for the drawing was clear.
It had to be a cowbell, a cowbell in different positions, also to show the vitality.
The cowbell is a inheritance within the family. We used to rang this bell to call (all ten children) for diner.
Ink 140222 
A hard day’s night


047
I’ll be back (Lennon McCartney, 1964)
Lennon is the singer, dressed in black. He’ll be back although she will break his heart again and again. 
There was a comic about the Beatles in those days.
I saw  a resemblance with the melodramatic style of the comics and this song.
That’s why I almost copied one of those drawings, added a sobbing girl in the corner and the songtext.
We’ll be back to the sixties, it’s comical
Ink, aquarelle. 140304
A hard day’s night


048
No reply (Lennon McCartney, 1964)
Again a disappointed Lennon. His girl went out with another guy. 
And when he’s at the door, he sees her peeping through the window.
She won’t open the door. He is the black/and white part, she is the color.
He’s looking back, she’s looking forward.  
Ink, aquarelle, acryl. 140407
Beatles for sale


049
I’m a loser (Lennon McCartney, 1964)
Here’s Lennon in his Dylan period because the word ‘clown ’is in it. 
Lennon objected at first to the word because it’s a bit arty-fartsy
but Dylan had used ‘clown’ in a song so Lennon thought it was all right.
So that’s why I made a clownesk Dylan complete with
orange hair and mouth and a round red nose attached by a string.
For the first time I added the song in the drawing.
Ink, aquarelle, acryl 140420
Beatles for sale


050
Baby’s in black (Lennon McCartney, 1964)
The song is about Astrid Kircherr. Astrid met the Beatles during their Hamburg period. 
Stu Sutcliffe, the fifth Beatle, became her fiancee.
She belonged to the group of Hamburg’ intellectual youngsters who were dressed in black.
It is told that it was Astrid who gave the Beatles their, later famous, hairdo.
Astrid made pictures with her Rolleiflex from the boys.
She made the photos for the album ‘With the Beatles”, for instance.
After the death of Stu now there was for Astrid a serious reason to dress in black.
That’s why I have chosen for Astrid’s camera, in black surrounding.
There letters on the two buttons I replaced in een A and a K. 
A(strid) K(ircherr) Rolleiflex’s in black.
Ink, black spatting, 120106
Original sold
Beatles for sale


051
Rock and roll music (C. Berry, 1958)
I used Chuck Berry already in the drawing Roll over Beethoven. Then I used the pose of Chuck for George. 
Now Chuck is the leading character while the Beatles seems to explode from Chuck’s energy.
Singles and musicnotes reinforce this ‘explosion of rock’.
Ink and aquarelle. 140501
Beatles for sale


052
I’ll follow the sun (Lennon McCartney, 1964)
Maybe the fastest drawing so far. The first idee came while finishing the drawing of Rock and roll music. 
A simple idee for a simple song. It may be rain so I’ll follow the sun.
At first there was a man in the rain with a umbrella walking to the sun.
But finally it was only a umbrella, drwan in ink, and splattered sunshine in silver, gold en acrylpaint.
Ink, gold- and silverpaint, acryl 140503
Beatles for sale


053
Mr. Moonlight (R. Johnson, 1962)
In this drawing I have resisted the temptation of a young couple in the moonlight. 
I tried to draw the sphere of the moonlight instead.
It was not easy to make a clear moon in the centre of darkening clouds.
Also the transition of the inclines into acrylpaint was an effort.
But I am satisfied with the result.
Ink, acryl 140511
Beatles for sale


054
Kansas city Hey hey hey (Lieber Stoller, 1952)
It was not easy to find a good idea. There was not much information. 
Finally I found a picture of a concertticket and so I had a start.
I enlarged the ticket and pasted on a collage of Beatles and fans in concert.
changed the numbers and letters of the ticket in 19, 52, W and 60.
My year of birth, the first letter of my forename and my age at the moment.
Funny that this song is written in my year of birth.
Ink, aquarelle, collage, 140530
Beatles for sale


055
Eight days a week (Lennon McCartney, 1964)
Paul was not licensed to drive because of a fine. So he had to take a cab. 
The driver was busy, working eight days a week.
The idea for a new song was born. I illustrated the hectic bij drawing a block-calendar.
The days are torn and crumpled up.
Eight pages. 18 is referring to the 18th of October, the day of recording.
Friday 4 is referring to the 4th of December 1964, the day the song was released.
Ink, 140629
Beatles for sale


056
Words of love (Holly, 1956)
It became a hit first by the Diamonds and later on by the Beatles. 
Buddy Holly was one of the favourites of the Beatles.
It was Buddy Holly and the Crickets. Beatles, (with an ‘a’) is named after Buddy Holly (and the Crickets).
The big glasses had become a trademark of Buddy Holly.
The drawing is showing  glasses with on the corners little diamonds
and in the one glass a cricket and in the other a beetle.
The grass on the bottom shows the lines of the song.
Ink, 140712
Beatles for sale


057
Honey don't (C. Perkins, 1956)
Before we went on summer holiday I started this drawing. 
I had an idea with the line panting the town .
A vague idea of honey dripping letters on a wall. But it didnt work out.
So back from holiday I destroyed the drawing and started all over.
Now the lines  Sunday morning you dont look right, you’ve been out, stepping around were deciding.
Now I was more satisfied.
The woman legs, high heels, a glass, a bottle, the hangover.
(color)ink, 140815
Beatles for sale


058
Every little thing (McCartney, 1964)
A very small drawing in the middle. A little thing.
Ink and paint, 110424 
Beatles for sale 


059
I don’t want to spoil the party (Lennon, 1964)
A sixties interior. A record player and singles on the ground. 
Is there a party, no one is the, she is not there. He’s leaving.
Mournful, gloomy. On the wall posters with paintings, loneliness by
Caspar David Friedrich, Picasso, van Gogh, Francis Bacon.
Ink, 110721
Beatles for sale


060
What you’re doing (Lennon McCartney, 1964)
Paul is sad. Is relationship with Jane Asher is doubtful. He feels lonely and sad. Feeling blue. 
This sadness is symbolised by acrylpaint (blue) and tears.
If you look very well you can see a sad man in the middle.
In the end Jane found Paul in bed with another woman. (they are tarred with the same brush)
140826, acryl, ink 
Beatles for sale


061
Everybody’s trying to be my baby (C.Perkins, 1957)
Again a cover from Carl Perkins. But for the Beatles  a appropriate subject 
Every girl wanted to be their baby.
So, searching for foto’s with screening fans. Not hard to find.
With eardrops I made a collage of all the crazy girls.
A lot of girls, a lot of work. Therefor only one drawing in the month september
140927, ink
Beatles for sale


062
I feel fine (Lennon/McCartney, 1964)
Simple song. Difficult. Then I got the idea that people in love show it bij scratching their names in trees. 
Feeling fine.
So I made this drawing of a heart and vaguely the letters F, I, N and E scratched in a tree with ivy around.
Not easy, but a nice composition after all
Ink and aquarelle, 110422
Single


063
She’s a woman (Lennon McCartney, 1964)
In the beginning of this project I made the drawings at random. 
But after year of two I started to draw in order of the date the songs were published.
So, after the Beatles for sale album there were several singles. The first was I feel fine/She’s a woman.
This first song was drawn already in 2011 so now I focused on She’s a woman.
‚She’s a woman, she’s no peasant' is such a funny line that it inspired me
to a candid pin-up between the cabbages, leek and tomatoes.
A healthy drawing
141020 Ink
Single


064
Long tall sally (Johnson, Blachwell, Pennyman, 1956)
This song by Little Richard was one of the Beatles’ favourites in Hamburg. 
They sang it in the obscure rooms near the Reeperbahn, the red light district.
The song is undoubtedly about the red light district.
Uncle John is having fun with Long Tall Sally, but he’s hiding when Aunt Mary appears.
So, there’s an ally with a Sally in the doorway and in the distance a man hiding in the shadow.
Of course all this in black ink.
(washed) ink, 141109
Single


065
I call your name. (Lennon, 1963)
Lennon sings: “Oh, I can’t sleep at night since you’ve been gone”. 
The book on the floor refers to Lennon (it is his book: ‘in his own write’).
The titel of the song gets an extra dimension when 10 years after Lennon’s death the song is sung
by Ringo Starr in a concert. 
Ink and aquarelle,  101002
Single


066
Slow down (L.Williams, 1958)
Walk with me, talk with me, pleas, slow down!. But she’s moving way to fast to her friend down the street. 
Although he used to carry her schoolbooks, now he’s done. She’s gone, high heeled, grown up.
Paint spatter and strokes express the hurry.
141210 Ink, acryl, glitter
Single


067
Matchbox (Perkins, 1956)
In poverty, people used to take a matchbox to hold their clothes. 
In the fifties and sixties Matchbox was also a toy, small cars for boys to play with.
So I made a drawing of clothes held together with a matchbox.
On the matchbox a Bedfordvan. The van the Beatles used in their early days.
The drumsticks refers to Ringo, the singer of the song.
The peach on the small matchbox refers to a line in the song where is sang:
if you don’t want my peaches, you’d better stop shaking my tree.
Ink and aquarelle, 101222
Single


068
Help (LennonMcCartney, 1965)
Again it is very busy on the end of the school year. 
Despite of less children also next year and that the school will close in a few years we had better results ever!
But that won’t change the mind of inspection and schoolboard. It was a challenge, as was this bird eye perspective.
Nice working on it. What a coincidence that one the day I ended this drawing my mother broke her hip!
Help! Get my feet back on the ground!
Ink, 110708
Help!


069
The night before (Lennon McCartney, 1965)
Treat me like you did the night before. He seems surprised she now has changed her mind. 
She changed in his point of view. That’s why I choose for silhouettes. The outside doesn’t show the inside.
Silhouettes embracing, silhouettes, quarrelling. From the night to the day.
(color)ink, 141224
Help!


070
You’ve got to hide your love away (Lennon McCartney, 1965)
What was the hidden love Lennon sang about? Was it about Brian Epstein’s homosexuality or was it
about the many affairs Lennon had during his marriage? The drawing follows the lines of the song.
Here I stand with my head in my hands, the face turned to the wall. The people/clowns stare and laugh.
A lot of work especially for all the bricks.
(Color)ink, aquarelle 150111
Help!


071
I need you (Harrison, 1965)
George is in love with Patti Boyd but she seems not so interested anymore. 
Did she already met Eric (Clapton?).
George is longing for her, he sings he needs her.
In the drawing arms are stretched towards Patti in the middle.
Patti in a nice sixties dress with the Beatlesalbum in her hand. Help!.
The songtext is written in a spiral, starting in the centre.
Ink, 150329
Help!


072
Another girl (Lennon McCartney, 1965
Paul is already a bit tired of Jane Asher but not tired enough for other girls. 
As he sings: “I have got another girl, she’s sweeter than all the other girls and I’ve met quite a few”.
A lot of girls crossed Paul’s path (and his bed) and now he has found the perfect girl and sings:
“Nobody in all the world can do what she can do”.
Well that must be an inflatable girl who will always be there and never argues or protest.
So ‘from today he has somebody that’s new’ but he’s a bit in the background as if in shame about his new girl
Ink, aquarelle. 150404 
Help!


073
You’re going to lose that girl (Lennon McCartney, 1965)
A nice song. You should take your girl out, give her attention otherwise you lose her. 
The Beatles liked girls a lot and the girls liked them.
The flesh is weak. John was already married and was the first to divorce.
The Beatles going out, in black tie, (at the premiere of Help!), Cynthia in the middle.
All in black, there will be hearts broken.
Ink, marker 150421
Help!


074
Ticket to ride (Lennon McCartney, 1965)
Not an easy one to draw. 
But the lines  ‘ she’s riding so high’ and ‘living with me would bring her down and never be her free’
gave me the idea for a rollercoaster.
Imagine: buy a ticket, get in, go up to the top and then……
suddenly, higher, loose from the earth, higher in the sky, free, towards the sun, just a silhouette. Free at last!
Ink, 150514 
Help!


075
Act naturally (Russell,  Morrison, 1961)
Is was evident that Ringo would be the main character in this drawing. 
Not only he was the singer but also because he was the best actor of the fab four. 
I used the announcement for the Help movie as a base for this drawing wis Ringo in the middle.
He deserves a laurel wreath for his singing and natural acting.
In the title role there’s of course Ringo but alsp Russel en Morrison, the composers, and of course Buck Owens.
The country singer who sang the song at first. But Ringo (The Beatles) gave an extra dimension to the song
Ink and aquarelle, 150531
Help!


076
It’s only love (Lennon McCartney, 1965)
At first the word “butterflies” pops up in the first lines of this song, 
and than there is the line ”Is it right that you and I should fight very night?”
This gave me the idea of a fight between butterflies in the night: moths in the dark.
This drawing was a struggle as well.
I spattered dark acrylpaint over forms. I glued bandages of those mothforms and later on I removed the bandages.
Now the structuur looked a bit damaged. I drew with red (fight) and black ink to get a bit more lines in the moths.
It has become a strange drawing, like the song
Ink, acryl, bandage, 150619
Help!


077
You like me too much (Harrison, 1965)
They are not married yet but it seems that Patti Boyd and George Harison already have some distance. 
Not only in this song text. So I made a drawing of George and Patti close to each other but not looking at each other.
All over I written the line “you like me too much, and I like you” in a businesslike handwriting, in black and red
Ink 150704
Help!


078
Tell me what you see (Lennon McCartney, 1965)
Paul is trying to get through to girlfriend Jane. “Listen to me one more time. 
Can’t you see that I’m trying to get to you?
It is no surprise now, what you see is me”. A
nd there is the idea of a Paul doll as a Jack in the box. Surprise!
Ink, aquarelle 150721 
Help!


079
I’ve just seen a face (Lennon McCartney, 1965)
Paul has fallen in love with the face he just has seen (Jane Asher). 
There’s no one like her. Butterflies in his heart/head.
I found a portrait of Jane, looking over her shoulder (see me, I’ve spotted you already).
The hair is blending into black shadow.
There are the butterflies.
Ink, stamps, 150730
Help!


080
Yesterday (McCartney, 1965)
The story tells that Paul had dreamed this song in the house of Jane Ascher, his then called girlfriend. 
Knowing about his escapades it isn’t just a dream.
The working title was ‘scrambled eggs’ and the second line was originally: “oh baby, how I love your legs”
So, that’s why I made a babyfaced, ‘innocent’ Paul,
singing and guitar playing with a woman leg instead of a guitar neck.
In the foreground scrambled eggs and broken (love) eggs.
The inktechnic with dots is meant as shadow (there’s a shadow hanging over me)
Ink, acryl 120726 
Help!


081
Dizzy miss Lizzy (Williams, 1958)
It is a song from the fifties, a bit rock ‘n roll. 
That’s why there are jukeboxes in de wedding cake. “Girl I want to marry you”
Miss Lizzy is dancing the jive on top of the cake.
Ink and aquarelle, 101121
Help!


082
Bad boy (Williams, 1958)
This one is recorded by the Beatles in 1965. This bad boy loves only rock and roll and behaves badly.. 
Puts tacks on teachers chairs, gums in little girl’s hair.
He even gave the cocker spaniel a bath in his mother’s laundromat.
That was a nice subject to draw.
So the cocker spaniel in now turning round in the machine with bubbles all over.
Ink, 150822
Single


083
Yes it is.(Lennon McCartney, 1966)
A red dress on a clothesline, between other garments, in the wind. After the party?
Ink and aquarelle, 110514
Single


084
I’m down (Lennon McCartney, 1965)
This is Beatles’ own Little Richard hit. 
It is one of their wildest rockers and a hit on their live performances on stage, like big stadiums.
In front of 50.ooo screaming fans they must have felt very small, down there in the middle of a stadium.
So that’s why I drew the Beatles on a small podium line almost at the bottom, down, of the paper.
A wall of fans towering all over them. I’m down, we’re down
150915 Ink
Single


085
Drive my car (Lennon McCartney 1965)
The title is in the blues a reference to sex. There are even explicit references like “you can do something in between”. 
That’s why I chose for a pose of womanless, a tough chauffeur in between.
The film refers to the movie star, the woman hopes to become.
The film is like a snake, from the crunch of the man, round the legs to the crunch of the woman.
The golden background refers to stardom.
Of course, there is no car.
Ink, gold paint, turpentine, 120122
Original sold
Rubber soul


086
Norwegian wood (Lennon Mc Cartney, 1965)
John was trying to write about an affair without letting his wife know that he was having one. 
He was sort of writing from his experiences ... girls' flats, things like that.
In those days people were decorating their rooms with pine, cheap pine.
The girl in the song makes him sleep in the bath and then
finally in the last verse Lennon had this idea to set the Norwegian wood on fire as revenge.
I drew a pile of wood in the winter (cold relation) with a burning match in the foreground.
Fire and smoke is technical no joke.
Ink and aquarelle, 110401 
Rubber soul 


087
You won’t see me (Lennon McCartney, 1965)
Paul is jealous again and a bit angry that Jane is going her own way. 
Jane is playing in the Old Vic Theatre in Bristol for several days.
Paul wants her around but she has her own public.
So I made a drawing of an actress, in a Beatlesdress, with a audience in a theatre inspired by the Old Vic.
Four (!) lights give Jane the right attention. It was a lot of work and I’m a bit insecure about the result.
(Washed) ink, collage, aquarelle 151031
Rubber soul


088
Nowhere man (Lennon, 1965)
Lennon sees himself as a blindman who only sees what he wants to see and doesn’t know which way he is going. 
In Yellow Submarine the Beatles meet dr. Jeremy Hilary Boob. The Beatles call this little coloured man a ‘nowhere man’.
In the drawing he is a sort of eye dog.
On the background is the house in Weybridge John bought, just married Cynthia, boring himself already.
Ink and aquarelle, 110213
Rubber soul


089
Think for yourself (Harrison, 1965)
The story goes this is all about Pete (Best) who sued the Beatles. Harrison says: think for yourself. 
But it is also about a girl.
I hesitated of making a drawing with Pete best but I came up with balloons as brainscans.
Balloons because of the fragile and of the air.
Thinking, thoughts floating away. 
Ink, 151120
Rubber soul


090
The word (Lennon McCartney, 1965)
Quite a confinement. I was very busy changing job, so there was not much time for drawing. 
I had the idea but it took almost a month before I finished the drawing.
I intended to have it look like the posters from the Pop Art.
I used the letters from Robert Indiana’s ‘ LOVE’, included the tilted O.
The word is love, the word is sunshine, so therefor sunrise.
Ink, acryl, goldpaint. 121226
Rubber soul


091
Michelle (Lennon McCartney, 1965)
One of the most difficult  to draw thus far. A nice song, but what is it all about? 
Finally it became a ‘paper doll’.
With some French images, inspired by French fashion magazines.
Compose your own Michelle -  “qui vont tres bien ensemble” 
Ink and aquarelle, 110929
Rubber soul 


092
What goes on (Lennon McCartney Starkey, 1965)
What goes on in your heart, what goes on in your mind? You are tearing (my heart) apart. 
You ruined my life but now the tide is turning. So there it is, a heart in waves, in the tide.
And when the drawing was finished I tore the heart a bit. It hurt a bit.
Colourink, 151209
Rubber soul


093
Girl (Lennon McCartney, 1965)
In an interview in 1980 John claimed this song as one of his best. 
It speaks about his dream girl, the one he was looking for.
“It was Yoko” he said in this interview.
However, the girl in the lyrics is far way from a dream girl, she hurts, humiliates and manipulates.
Just like the girls in the comics in the sixties.
So I made a collage with girls from comics but also from my own earlier Beatlesdrawings.
There is also John (from an earlier drawing, also inspired by a Girls romance comic) and a small picture of Yoko.
This is the first ‘non-drawing’.
The only ink in it is my signature.
Collage, 151225
Rubber soul


094
I’m looking through you (Lennon McCartney, 1965)
Paul is not happy with Jane. She’s going her own way (as an actress). He sees through her. 
He sees she’s changed, that he’s changed, that their relationship is changed.
I liked the idea of looking through someone. So Ithere you see a drawing of Jane (lots of hair) but without her face.
Looking through her, there’s the song text and on the right the eyes of Paul.
Nice working on it in the last days of 2015
Ink, 151230 
Rubber soul


095
In my life (Lennon McCartney, 1965)
Peter Shotton, a friend of Lennon, advised Lennon to write about his life. 
The sentence ‘some are dead and some are living’ refers to Stu Sutcliffe and Peter Shotton.
Stu was playing guitar in the Hamburg period. Stu stayed in Hamburg with Astrid Kircherr and died a few months later.
I made a drawing of a photoalbum with John with aunt Mimi, with George and Stu in Hamburg,
with his first wife Cynthia and with Paul and other artists in the cavern.
Ink, 111230
Rubber soul


096
Wait (Lennon McCartney, 1965)
A real Paul song. Paul is coming back home and the girl is now to chose between turning away or to hold on. 
But she’s had to wait. It gave me the idea of  an on-off relationship. A sort of traffic light: Stop, wait, walk.
Therefore this time no drawing but adhesive glittering plastic as for the glass light and four adhesive letters.
Hope it will stick over the years. Just wait.
Adhesive plastic, 160101
Rubber soul


097
If I needed someone (Harrison, 1965)
A Harrison song. He will call her, he writes her name and number on the wall. 
A wall telephone compleet with the instructions how to use it and when to insert the coins
(the song would be totally different with the Iphone from this century).
Writings on the wall, “If I needed someone”  in several different languages, telephone numbers made up
from data of the recording of this song.
Ink, colourpencil. 160125
Rubber soul 


098
Run for your life (Lennon McCartney, 1965)
I was intrigued by the death thread of the little girl. He rather sees her dead than with another man. 
She is advised to hide her head in the sand. So there is the The Dead.
Not a skeleton but his symbol, the scythe and crows of course.
One crow is waiting, the other one is already attacking.
And she is hiding in the sand. Already dead? 
Ink, glue, modelbau sand, 160212
Rubber soul


099
Day tripper (Lennon McCartney, 1965)
In ‘Many Years From Now’, McCartney said that "Day Tripper" was about drugs, and "a tongue-in-cheek song 
about someone who was ... committed only in part to the idea."
The line recorded as "she's a big teaser" was originally
written as "she's a prick teaser.
Along with sentences like: tried to please her, she only played one night stands’ the idea
was born of a prostitute and a ‘Sunday driver’. A dark drawing, a trip in the night. 
Ink, 110707
Single


100
We can work it out (Lennon McCartney, 1965)
My favourite song especially in the cover version of Noa together with Khaled!
An interesting song about arguing, having a sort of fight. I got the idea of boxing.
Boxing gloves looks a bit like persons.
So there there are two gloves ‘looking’ to each other, a bit insecure. Will they fight or make it up as friends?
A lot of drawing work in between a trip to Boston and a lot of work at my school.
But I worked it out
Ink, 160320
Single


101
Taxman (Harrison, 1966)
In the song there is a reference to the political leaders of those days, Wilson and Heath. 
Because of the many photo’s of Wilson with the Beatles, probably in a sort of humorous interview,
I took Wilson as a taxman.
He lits his pipe with a pound note and so all the taxonomy goes up in smoke.
There are pennies on his eyelid, so he can pay the ferryman when he’s dead
(see the last sentences in the song).
Ink, collage 160417
Revolver


102
Eleanor Rigby (Lennon McCartney, 1966)
The loneliness of Eleanor, the open grave, an English church, father McKenzie turns his back
Ink, 110612
Revolver


103
I’m only sleeping (Lennon McCartney, 1966)
John likes to sleep, dreaming, drifting away from the world, hiding between the blankets. 
This time, My oldest son is my model.
He’s a good sleeper also. A vague figure under white blankets.
A reference to the, yet to come, bed-inn of John and Yoko also in white.
There’s also a resemblance to one of the first drawings (five years ago!) I’m so tired.
Ink, 160425 
Revolver


104
Love you to (Harrison, 1966)
A beautiful love song by George. 
This song, on the Revolver album, was the first in Indian style. Indian musicians played on sitar,
tabla and tambura.
The background with a overprint of Indian patchwork completed the cross-over.
Ink, colorprint, trichloorethyleen, 111212 
Revolver


105
Here, there and everywhere (McCartney, 1966)
Just a simple song, no story. I found the character issues in holding each other, caressing each other. 
Coloured arrows refer to hand, feet, body, ear, hand, eye (Paul’s).
Ink and aquarelle 110119 
Revolver


106
Yellow submarine (Lennon McCartney, 1966)
The submarine is too well known to use in my drawing. So I choose the line: “we lived beneath the waves”. 
That’s why I have drawn 4 (!) divers in a sea of green.
The drawing has a similar atmosphere as in the well known images and movie.
There is something strange, something untouchable. But everybody has his own interpretation.
Ink, aquarelle, color pencil, 120313
Revolver


107
She said, she said (Lennon McCartney, 1966)
The Beatles needed a holiday after their tour in the U.S.A. so Brian Epstein rented a house in Beverly Hills. 
There were many visitors, invited as well not invited. Harrison and McCartney were hiding under umbrellas for the fans
who flew round the house in helicopters. There was LSD. The Byrds and Peter, “who knew what it was like to be dead”, 
Fonda came for a visit. 
So it was a pretty bizarre trip in Beverly Hills. Therefore a made a sort of collage of drugs and helicopters.
Ink and acryl, 120324
Revolver 


108
Good day sunshine (Lennon McCartney, 1966)
A lot of sunshine, burning your feet on the ground, shadow under a tree. 
I tried to make al to of sunshine with acrylpaint, gold paint and plastic pearls.
A suggestion of leaves and a bit of shadow.
Some leaves drawn with ink. Hope that the non-colourblind sees the colours like I intended :)
Acryl, goldpaint, plastic, inkt 160508
Revolver


109
And your bird can sing (Lennon, 1966)
Lennon sings about a girl, a ‘bird’. But he’s mocking her. She has everything but she can’t get him. 
Despite having it all she is still getting bored. He’s around but she doesn’t hear him.
That’s the reason I’ve chosen for this lonely bird, this mockingbird. Alone on a trench, whistling his tune
Ink, 120515
Revolver

110
For no one (McCartney, 1966)
In 1966 is Paul wis his girlfriend Jane Asher on holiday in Swizerland. After a quarrel he writes this song in the bathroom. 
Through the window there is a view on the mountains. The bathroom is in black and white, the view is in color.
This contrast stands for the quarrel, so do the fluttering music papers, thrown away in anger.
Ink and acryl, 120421 
Revolver


111
Doctor Robert (Lennon McCartney, 1966)
Probably, there’s meant doctor Robert Fryman from NYC. 
He was famous and notorious because of his descriptions of pills and injections.
Lennon recognised much of himself in the song.
Lennon told that on tours, he was the one who had always all kind of pills to ‘survive’.
As a matter of course I made a deadly doctor with a deadly read background.
I worked on the drawing in the last school weeks,
in the last weekend I sprayed the background and finished the needles
Ink, silver paint, car paint, 120617 
Revolver


112
I want to tell you (Harrison, 1966)
Not so easy to get an idea of this song written by George, the so called quiet Beatle. 
And with a head filled with words he’s not even talking at all. That’s why I took the drawing of the Revolver sleeve.
He’s staring right at you, mouth shut, his heads filled with thoughts to tell. Tell to Patti (Boyd).
So I did a full copy of George’s head with Patti in the same style. A lot of work, a lot of hair after all.
Something to talk about.
Ink, 160721 
Revolver


113
Got to get you in my life (Lennon McCartney, 1966)
“It’s all about pot” said Paul when asked about this song. Paul liked double meanings. 
In this songs it looks like its all about a girl but in the meantime he likes to get pot/cannabis/marihuana in his life.
There was no hesitation, marihuana must be drawn, a life (drawing) full.
And to be sure he will let the other Beatles also get it in their life as-well
there are four little bags with real good stuff in the drawing.
Hope you resist the temptation.
Ink, aquarelle, plastic, marihuana, 160728
Revolver


114
Tomorrow never knows (Lennon McCartney, 1966)
John wanted to sound his voice to sound like the Dalai lama chanting from a hilltop. 
He borrowed the first line of the song from the theme of ‘the psychedelic experience’ 
written by the famous Dr. Timothy Leary:
“Turn off your mind, relax, and float downstream”.
So there’s the Dali lama, in the batboy of Timothy Leary floating downstream on op-art waves.
The seagulls stands for the shrieking sound you hear in the background of the song
Acryl, aquarelle, ink
Revolver


115
Paperback writer (Lennon McCartney, 1966)
Between all the fuss, inclusive an application for a new job and the acceptation of this new job, 
I find enough time  to make this drawing.
A collection paperbacks, some covers inspired by Pinguin, Also a reference to the Daily Mail, pen and ink.
The song is pictured. Paperback drawing.
Ink. 121015
Single


116
Rain (Lennon McCartney, 1966)
Sometimes it’s raining cats and dogs. Even worse it was in Melbourne in 1966.
The grumbling of the people on the weather was for Lennon reason to write this song.
People hide behind umbrellas in the pouring rain. The rain is simulated with pitter-patter of diluted paint.
Home at last, off goes the wet clothes, a hot coco by the fireplace.
This song is chosen in 2017 to be part of the Water Summer Expo in Museum Fundatie in Zwolle, the Netherlands
Ink and diluted paint, 110916
Single


117
Strawberry fields forever (Lennon McCartney, 1967)
The title of the song is inspired by the Children’s Salvation Army, close to the house of John Lennon. 
In the bewildered garden Lennon had a beautiful place to play with his boyfriends.
Like McCartney’s Penny Lane is Strawberry Field for Lennon a memory from his childhood.
I have chosen for strawberry’s all over, they seem to roll through the entrance, the former gate of the Salvation Army.
There was a temptation to use color but Children Salvation Army sounds so dark.
That’s why I used the black and white only.
Ink, 120409
Single


118
Penny lane (McCartney, 1967)
Following the lines in the song, with a Dinky Toys fire engine, a pretty nurse behind the wheel, selling poppies. 
(Dinky toys was a popular boy toy in the fifties and sixties).
The barbershop that used to be in Penny Lane, in the background.
Ink and aquarelle, 111106
Single


119
Sgt. Pepper’s lonely hearts club band (Lennon Mccartney, 1967)
The story goes that Mal Evans asked 
about the meaning of the S and P on the little bags along with the meals in the plane.
The ‘pepperband’ is meant as the alter ego of the Beatles. In the title song Billy Shears is introduced.
Billy Shears as alter ego of Paul McCartney. There where rumours that Paul died in a car-accident.
Already in 2011 I made a drawing of Sgt. pepper but I was not satisfied with the result
and I destroyed the drawing.
Now I made a collage of a brassband.
A band with almost the similar clothes as the Beatles on the inner sleeve of the album.
When the collage was finished it looked a bit like the collage of all the people on the front of the album
(made by pop artist Peter Blake).
Collage, aquarelle, goldpaint
Sgt. Pepper’s lonely hearts club band 


120
With a little help from my friends (Lennon McCartney, 1967)
Originally the text began with: “What would you do if I sang out of tune? 
Would you stand up and throw tomatoes at me?”
Ringo objected. “There’s not a chance in hell am I going to sing this line.”
he was worried the fans might pick up the suggestion!
I picked up the idea indeed and there’ Ringo amidst tomatoes.
Ink, paint (red of course) 160926
Sgt. Pepper’s lonely hearts club band


121
Lucy in the sky with diamonds (Lennon McCartney, 1967)
No diamonds, no Lucy either. I have chosen for the inside of a London cab with a rocking horse. 
So the song goes: “climb in the back” with “rocking horse people”.
“a head in the cloud” is shown by the clouds in acrylic paint. 
Ink, acryl, 120501
Sgt. Pepper’s lonely hearts club band

122 Getting better (Lennon & McCartney, 1967)
For this song I have all ideas from the song itself. 
There is a schoolboy, a young Paul McCartney, holding a book.
On the cover a drawing of a man beating his wife. In the corner there is a woman crying.
There is also a ostrich. “I used to get mad at school”; “I used to be cruel to my woman”;
and “….is hiding his head in the sand”.
Ink and aquarelle, 110223 
Sgt. Pepper’s lonely hearts club band
 
123 Fixing a hole (Lennon McCartney, 1967)
I always had the idea of making a drawing of a hole in a tile roof. 
As Paul told: fixing is also about marihuana.
“ Fixing a hole and stops my mind from wandering”. I must be an old roof with moss between the tiles.
So, between the tiles I sprinkled some ‘moss’ and grass.
The grass is a bit of marihuana what was left fro the ‘Got to get you into my life’ drawing.
It’s for the viewer if I’m succeeded in fixing the hole.
161017, ink, aquarelle, toy moss, marihuana
Sgt. Pepper’s lonely hearts club band
 
124 She’s leaving home (Lennon McCartney, 1967)
The moment the mother is at the top of the staircase and cries out: 
Daddy, our baby’s gone!” is to my opinion crucial for this song. So that’s the subject of the drawing.
You can see a dressing-gown, a bit colourful shabby kind of thing and a hand holding a letter.
And a staircase, looking downwards. And when you’re looking good you can see a part of a door, slightly open.
The whole staircase is of a bit old fashioned wood, dull, not for young people.
The text in the letter is the text of the song itself and there are also three other pieces of paper flying downwards.
Daddy!; Our baby; Gone!
161028 (Colour)ink
Sgt. Pepper’s lonely hearts club band


125
Being for the benefit of Mr. Kite
(Lennon McCartney, 1967)
On January 1967, the Beatles were in Kent where John visited a antique store. 
There he bought a Victorian poster announcing Pablo Fanques’ Circus Royal.
All the main characters from the poster he used in this song.
In my drawing I used the portrait of Pablo Fanque, the lettertype and the meander on the edge of the poster.
I made a drawing with the so called ‘ somersaults’, a kind of flip over in air.
There was a horse at first but it bolted, probably to make way for the trapeze workers with pommade and moustache.
Just like the old poster, only in black and white.
Ink, 161113 
Sgt. Pepper’s lonely hearts club band


126
Within you, without you
(Harrison, 1967)
‘ People behind a wall of illusion, hiding the truth, but with our love we could save the world, together’. 
That is the message in the song. Therefor there are waves of brushstrokes, silver paint makes a sort of barrier/wall.
Silver stands for reflection, illusion. On one side there are people, together.
Totally it has become sphere, and to my opinion a positive one. Like the song.
161117, acryl, maquette figures
Sgt. Pepper’s lonely hearts club band


127 When I’m sixty four
(Lennon McCartney, 1967)
It was a suggestion of my son a few years ago to work in chronologic order with the songs. 
Maybe that’s why I worked on this song in the same month that I myself became 64?
I liked the idea of the nitting a sweater near the fireside aswel as sending postcards.
So there are postcards of the Isle of Wight, a grandma with three children,
an instruction how to mend a fuse and a postcards of weeds.
All seen through the knitting.
Ink, collage, singed paper 161231
Sgt. Pepper’s lonely hearts club band


128
Lovely Rita
(Lennon McCartney, 1967)
A typical Paul song, as John said. To much romantic fantasy. 
I used a drawing of a (wonder)woman from the comics from the sixties.
The boys fantasy of wide breasted women in to small suits.
With the uniform like coat and cap it fitted in the imaginary world of the song.
On the background a parking meter. The time (of Paul?) is expired.
Ink, aquarelle, acryl. 170106 
Sgt. Pepper’s lonely hearts club band

129 Good morning, good morning (Lennon McCartney, 1967)
John is bored to death and is laying on the bed or on the couch for weeks. 
In the background there is always the flikkering and noise of the television.
And every morning there is the advert of Kelloggs awakening him from is ‘dull life’.
The good mornings in the advert inspired John for this song.
So there is now a rooster with the word Lennon instead of Kellogs and a
(black and white) television instead of a plate with cornflakes.
Acryl, washed ink, 170123

130 Sgt. Pepper’s lonely hearts club band (reprise) (Lennon McCartney, 1967)
The reprise is almost similar to the Sgt Pepper collage. 
Made at the same time but with a slightly different composition.
Also there is a difference in the drum in the foreground and there’s silverpaint instead of gold.
The men look still lonely.
Collage, aquarelle, silverpaint