1966–70: Studio years, break-up and solo beginnings

Lennon grew concerned that fans attending Beatles concerts were unable to hear the music above the screaming of fans, and that the band's musicianship was beginning to suffer as a result.[49] Lennon's "Help!" expressed his own feelings in 1965: "I meant it ... It was me singing 'help'".[50] He had put on weight (he would later refer to this as his "Fat Elvis" period),[51] and felt he was subconsciously seeking change.[52] The following January he was unknowingly introduced to LSD when a dentist, hosting a dinner party attended by Lennon, Harrison and their wives, spiked the guests' coffee with the drug.[53] When they wanted to leave, their host revealed what they had taken, and strongly advised them not to leave the house because of the likely effects. Later, in an elevator at a nightclub, they all believed it was on fire: "We were all screaming ... hot and hysterical."[53] A few months later in March, during an interview with Evening Standard reporter Maureen Cleave, Lennon remarked, "Christianity will go. It will vanish and shrink ... We're more popular than Jesus now—I don't know which will go first, rock and roll or Christianity."[54] The comment went virtually unnoticed in England but caused great offence in the US when quoted by a magazine there five months later. The furore that followed—burning of Beatles records, Ku Klux Klan activity, and threats against Lennon—contributed to the band's decision to stop touring.[5

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The second design again feature the low rise buildings this time they are square in appearance and quite formal in how they are arranged on this site, in contrast the tower accompanying this proposal has a triangular appearance thanks to its facades. The core of the tower is circular around which the glazed facades are wrapped culminating in a triangular lip-stick style peak. The tower uses the same blue and clear glass combination as the previous entry.

The third and final entry has a definite lighthouse look to it. The low-rise part of the scheme lies close to the tower, almost like its part of it. From a squared base the tower rises and tapers inwards creating an almost octagonal form.

The podium of the tower features sheer glass facades again sporting the same colour choice as the previous designs, about a half the way up the tower balconies start to appear, first at the corners of the tower continuing until the run all around the tower. Peaking above it is a blue glazed crown featuring a spire plonked on top.

Although still awaiting a final verdict on the winner and permission it is hoped the tower and exhibition centre can become something of an icon for the city and bring in some much needed business travellers, and of course their money.

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