the two musicians developed a fascination for Eastern philosophical concepts, particularly regarding the illusory nature of human existence. Despite his bandmates' urging, after Ringo Starr had also partaken of the drug, Paul McCartney refused to try LSD. Intent on self-improvement, McCartney drew inspiration from the intellectual stimulation he experienced among London's arts scene, particularly its thriving avant-garde community. With Barry Miles as his guide, he became immersed in the nascent British counterculture movement, which soon emerged as the underground. While arranging dates for the band's world tour, Epstein agreed to a proposal by journalist Maureen Cleave for the Beatles to be interviewed separately for a series of articles that would explore each of the band members' personality and lifestyle beyond his identity as a Beatle. The articles were published in weekly instalments in London's Evening Standard newspaper throughout March 1966, and reflected the transformation that was underway during the group's months of inactivity. Of the two principal songwriters, Cleave found Lennon to be intuitive, lazy and dissatisfied with fame and his surroundings in the Surrey countryside, while McCartney conveyed confidence and a hunger for knowledge and new creative possibilities. In his book Revolver: How the Beatles Reimagined Rock 'n' Roll, Robert Rodriguez writes that, whereas Lennon had been the Beatles' dominant creative force before Revolver, McCartney now attained an approximately equal position with him. In a further development, Harrison's interest in the music and culture of India, and his study of the Indian sitar, had inspired him as a composer. According to author Ian Inglis, Revolver is widely viewed as "the album on which Harrison came of age as a songwriter". Recording history The Beatles had hoped to work in a more modern facility than EMI's London studios at Abbey Road and were impressed with the sound on records created at Stax Studio in Memphis. In March 1966, Epstein investigated the possibility of their recording the new album at Stax, where, according to a letter written by Harrison two months later, the group intended to work with producer Jim Stewart. The idea was abandoned after locals began descending on the Stax building, as were alternative plans to use either Atlantic Studios in New York or Motown's Hitsville USA facility in Detroit. Recording for the album instead began at EMI Studio 3 in London on 6 April, with George Martin again serving as producer. The first track attempted was Lennon's "Tomorrow