from music, television and film. The panel normally comprised two male and two female guests, many of whom appeared more than once. Singers Gary Miller and Alma Cogan were regular panelists in the early shows. Actor Eric Sykes was often a panelist and Katie Boyle was a frequent Juror (appearing at least 37 times), as were Lulu and Cilla Black, who appeared twelve and nine times respectively. From 31 December 1966, a regular panel was established for eight consecutive editions. Jimmy Savile, Simon Dee, Alan Freeman and Pete Murray sat in judgement for all these programmes, having first appeared together on 3 December 1966. From 25 February until 1 April, the foursome continued as regular panelists, but alternating in pairs each week, with Savile and Murray appearing together, followed by Freeman and Dee. Among the diverse others from the world of entertainment who appeared were Thora Hird, Alfred Hitchcock, Spike Milligan, Lonnie Donegan, Johnny Mathis, Roy Orbison and David McCallum. By October 1959 Juke Box Jury had reached a weekly audience of almost 9 million viewers. Bill Cotton took over production of the series during 1960, to be followed later in the year by Stewart Morris and then Neville Wortman, who was to remain the producer until the series ended in 1967. On 7 December 1963, the panel was the four Beatles, while George Harrison and Ringo Starr both appeared separately later, as did their manager Brian Epstein, who was twice a panellist. John Lennon had already appeared on 29 June 1963. Then on 4 July 1964 the five members of the Rolling Stones formed the panel, the only time there were more than four Jurors on the programme. Keith Richards later wrote of this appearance: "We didn't give a shit.... We just trashed every record they played." By early 1962, Juke Box Jury had a weekly audience of over 12 million viewers, while the Beatles appearance on 7 December 1963 garnered an audience of 23 million, and news of the Rolling Stones' appearance the following June garnered 10,000 applications to the BBC for tickets for the recording. The attraction of the programme deftly crossed generational boundaries – younger viewers revelling in the appearance of their current pop stars, while older adults identified with the often anti-pop sentiments of the panellists from a non-musical or older background, confirming "adult and youthful prejudices at the same time"'. In January 1967, the