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The Story Behind the Cover
(as told by Peter Blake)
The Beatles already had a cover designed by a Dutch group called the              Fool, but my gallery dealer, Robert Fraser, said to Paul, "Why don't              you use a 'fine artist', a professional, to do the cover instead?"              Paul rather liked the idea and I was asked to do it. The concept of              the album had already evolved: it would be as though the Beatles were              another band, performing a concert, perhaps in a park. I then thought              that we could have a crowd standing behind them, and this developed              into the collage idea.
I asked them to make lists of people they'd most like to have in the              audience at this imaginary concert. John's was interesting because              it included Jesus and Ghandi and, more cynically, Hitler. But this              was just a few months after the US furor about his 'Jesus' statement,              so they were all left out. George's list was all gurus. Ringo said,              "Whatever the others say is fine by me", because he didn't really              want to be bothered. Robert Fraser and I also made lists. We then              got all the photographs together and had life-size cut-outs made onto              hardboard.
EMI realized that because many of the people we were depicting were              still alive, we might be sued for not seeking their permission. So              the Beatles' manager, Brian Epstein, who was very wary of all the              complications in the first place, had his assistant write to everyone.              Mae West replied, "No, I won't be in it. What would I be doing in              a lonely hearts club?" So the Beatles wrote her a personal letter              and she changed her mind.
Robert Fraser was a business partner of Micheal Cooper, an excellent              photographer, so he was commissioned to do the shoot. I worked in              his studio for a fortnight constructing the collage, fixing the top              row to the back wall and putting the next about six inches in front              and so on, so that we got a tiered effect. Then we put in the palm              tree and the other little objects. I wanted to have the waxworks of              the Beatles because I thought they might be looking at Sgt. Pepper's              band too. The boy who delivered the floral display asked if he could              contribute by making a guitar out of hyacinths, and the little girl              wearing the 'Welcome the Rolling Stones, Good Guys' sweatshirt was              a cloth figure of Shirley Temple, the shirt coming from Michael Cooper's              young son Adam. The Beatles arrived during the evening of March 30.              We had a drink, they got dressed and we did the session. It took about              three hours in all, including the shots for the center fold and back              cover. I'm not sure how much it all cost. One reads exaggerated figures.              I think Robert Fraser was paid 1500 pounds by EMI, and I got about              200 pounds. People say to me, "You must have made a lot of money on              it" but I didn't because Robert signed away the copyright. But it has never mattered too much because it was such a wonderful thing              to have done.
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