and "I've Got a Feeling". The working title, based on Lennon's verses, was "One of the Beautiful People", to which McCartney added the "Baby, you're a rich man" chorus. In a 1980 interview, Lennon described it as "two separate pieces ... forced into one song". The two songwriters worked on the composition at McCartney's London home, on Cavendish Avenue in St John's Wood. During the 1960s, "beautiful people" was the term adopted by Californian hippies to refer to themselves. According to author Barry Miles, who was among the leading figures in the UK underground in 1967, Lennon drew inspiration for the song from newspaper articles on the emerging hippie phenomenon. It is thought that McCartney wrote his section about the band's manager, Brian Epstein. Lennon's lyrics are in the form of a question-and-answer exchange, similar to that used by him and McCartney in "With a Little Help from My Friends". Musicologist Walter Everett writes that the song "asks an unnamed Brian Epstein what it's like to be one of the 'beautiful people'"; Everett adds: "This appellation was used of both communal hippies and those who mingle with the most celebrated entertainers." Lennon claimed that the meaning of the song was that everybody is a rich man, saying, "The point was stop moaning. You're a rich man and we're all rich men." George Harrison said the message was that all individuals are wealthy within themselves, regardless of material concerns. According to author and critic Ian MacDonald, Lennon was most likely inspired to write the verses after attending the 14 Hour Technicolor Dream, an all-night festival held at Alexandra Palace in north London on 29 April 1967. Attended by 10,000 people, this musical and performance art event was a fundraiser for the proprietors of the underground newspaper International Times, after a police raid had forced the closure of their offices; in MacDonald's description, it marked the first large-scale coming together of Britain's "beautiful people". Writing in 1981 on the musical and societal developments of 1967, sociomusicologist Simon Frith said that this event was one of the "multi-media happenings" that reflected the new aesthetic represented by English psychedelia, whereby "Dancing became less important than listening" and fashion embraced vivid colours while retaining "the mod concern for looking smart". Frith added: "Psychedelia was essentially elitist but the joy of psychedelic pop was that it made everyone part of the elite." Composition The song's principal