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lovemesomerafael · 5 years ago

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El Amor Todo Lo Puede Chapter 34: La Roca

Source: @Crowzley

Chapters 1-31 Chapter 32 Chapter 33

It was winter, but it was hot in the mobile command van. There were too many anxious people trying to do too many things to resolve this crisis. Amanda Rollins was not going to get out of this situation unless everything went right. There was no room for mistakes.

Laura Parker was at the very back of the van, talking with the one man who might be able to make things come out well for Rollins. But only if Laura was very, very careful. The guy was more afraid of his buddies in the apartment than he was of the police, and the only way Laura was going to be able to get him to cooperate was to change that. Which wouldn’t be easy, because this was a group that was into everything: drugs, guns, prostitution, trafficking in children for sex. And word had it that their leader had a bad meth problem. Great. Hair-trigger temper combined with paranoia and a complete lack of reason. The guy Laura was questioning, Manuel Ocampo, was not wrong to be afraid of them. Amanda was in trouble.

Laura heard a new set of noises in the crowded van - the sound of the door opening and new conversations - and caught a glimpse Rafael’s camel colored wool coat through a gap between cops. It gave her an idea.

“Mierda[1],” she said, ostensibly under her breath, but loud enough for the man in the chair to hear.

“What?” He asked, seeing her demeanor change and looking in the direction she was scowling.

“Things did not just get better for you, Manny.”

“Why? What’s going on?”

Barba pushed through the crowd to stand before Laura, who was leaning over a disheveled, nervous-looking Hispanic man in khakis and a torn down vest over a hoodie. The guy had a cut on his cheek and his left eye looked like it was beginning to swell.

Laura stood up fast, looking anxious and holding out her hand to Rafael. “Detective Laura Parker, Sir.”

He squinted at her as they shook hands. “Yes.” What was she up to now?

“Manuel Ocampo,” she said to the guy in the chair, “This is A.D.A. Barba. He’s the attorney who will decide what charges we file against you, and what sort of sentence the State will recommend to the court.”

Barba inclined his head slightly, waiting for a cue from Laura as to what she needed from him.

“Sir,” she said, turning back to him. “If you could just give us a few more moments…?”

Sir. That meant… “Why is this man injured?” Rafael demanded.

“Ummm, there was a chase, and a brief… ah, scuffle before the arrest.”

Rafael’s lips flattened and his brow furrowed. “Detective, we’ve been over this.”

“Yes, Sir.” Laura looked down at Manny, then at the floor.

“I can give you five minutes,” Rafael said archly. He turned to move back past cops and technicians monitoring video feeds, and other cops strategizing, toward the front of the van.

Laura knelt down next to Manny. “You might be screwed, jefe[2].”

“Why? Who is that guy?” Manny started to panic.

“The last D.A. you want on your case, man. They call him La Roca[3]. You cannot impress him. And he never makes deals.”

“But I’m not even in there! I din’ do nothing! He can’t charge me if I din’ even do nothing!”

“You ran away from me, that’s resisting arrest. And we got about a million witnesses that say you’re part of this crew, that saw you leave this storefront earlier. You think he’s gonna believe ‘I didn’t’ do nothing’? Try it. Let me call him over right now and we’ll see how far that gets you with La Roca. He’ll put you away just for wasting his time.”

“Oh, man – “

“Look, Manny, this changes things. You gotta work with me now, man.”

“What do I gotta do?”

“Answer my questions. Tell me all about that place: doors, windows, layout, what’s inside, who’s in there. And I mean everything. You hold out on La Roca…”

“But they’ll kill me!”

“They’re across the street, barricaded in, with a cop as a hostage. They can’t bother you now, they got their own problems. But you… La Roca is right here. And you got one chance. I’ll try to help you, but you gotta give me everything. Only way the world doesn’t fall in on you right now is if you help us end this thing.”

“All right, all right…”

“You ready to cooperate? I’ll call over my Lieutenant and the IRT Captain, but only if you’re ready to do everything you possibly can to help us take your guys and get those hostages out safe. Otherwise…”

“La Roca…” he muttered, nodding agreement.

As Olivia Benson and the Captain of the Incident Response Team listened, Manny answered questions and drew a map of the storefront and the rooms behind it. Rafael, standing on the other side of Manny from Laura, tried to remember to scowl as Manny snuck looks at him. It was hardest when Manny would lean over to Laura, still squatting beside him, and ask quietly if he was doing OK. Laura would flick her eyes at Rafael and nod gravely.

When the IRT Captain felt she had enough information, she and Olivia formulated a plan. They were going to need Manny’s help, however, which was going to be delicate. Manny was still very, very afraid of the group holding Rollins hostage in the storefront.

They knew Rollins would be working from her side, trying to convince the leader of the group to let the hostages go and end the situation. The situation was especially delicate because the hostage situation had begun when they’d discovered Amanda was an undercover cop.

“All right, Mr. Ocampo, it’s time. We need you to call Esteban, try to get him to let you in,” Olivia told him.

Manny looked up at Laura, who was strapping on a bulletproof vest in preparation for her part of the rescue. “This is it, Manny. This is where you have to come through for us.” She sent a meaningful look toward Rafael, who stood with his arms crossed, actually looking pretty fierce.

“Yeah, yeah,” he said, also looking at Rafael. “I’ll do it. Anything.”

“Let’s go,” Olivia told Laura, and the two worked their way past the cops and technicians to the front of the van. It was a relief to Laura to step out into the cold, early-November air.

Rafael and the IRT Captain could hear the ringing through the speaker of Manny’s phone.

“Yo, ese[4], why you callin’ me? Didn’t you get pinched? You with the cops?”

“Naw, man, I’m outside. Lemme in.”

“Whadda ya mean, outside? There’s cops all over the fuckin’ place, man.”

“I know! That’s why you gotta let me in. I’m just in back. I’m trapped behind a dumpster. You gotta let me in.”

“That’s your problem, man. I’m not opening the door. How do I know you didn’t call all these cops? How do I know you’re not with them right now?”

Rafael could see Manny start to revert to his long-held fear of Esteban. If he folded now…

Rafael took a step toward Manny, lifting his chin in challenge.

“No, No, Esteban, I swear, I’m right outside. I can’t keep talkin’, man, they’ll hear me. Let me in. And I got the stuff. Open up, man.”

“You got the stuff?”

“Yeah. I swear.”

“OK, I’m sendin’ Aguilar back there, but he’s only gonna open the door for like one second. And if there’s any cops there, I swear to La Virgen[5]…”

The line went dead.

Rafael elbowed someone aside so he could see the video feeds from the scope cameras that had been snaked into the storefront. All the hostages appeared to be sitting against a wall except for Rollins, who was duct taped to a chair toward the center of the room. She was in a terrible position if there was a firefight.

Minutes later, the screen showed a chaotic scene with people running through the room. Rafael thought he saw Olivia deliberately knock Amanda’s chair over, shoving it roughly to one side to get her out of danger as much as possible. Rafael heard gunshots, but the chaotic video feeds on the screens told him nothing.

Manny started yelling. Without looking up from the video screens, Rafael held up a finger toward Manny, who instantly went quiet.

The excitement was over in moments. The call of “Clear, clear, clear” came from the IRT Team Leader over every radio in the van. Rafael breathed easier, although he couldn’t tell whether anyone had been hurt. He worried about Olivia and Rollins, but he was especially worried about Laura. He knew Fin and Carisi were outside the storefront, not directly involved in the rescue.

It seemed like hours before the IRT Team Leader announced that Esteban was dead and two other hostage takers wounded, and called for immediate medical help. The fact that he hadn’t mentioned wounded cops meant Laura was unhurt. But he still wanted to see that for himself.

Several of the cops who had been in on the rescue came in, Olivia and Laura supporting Rollins to a chair. She still had duct tape on her wrists and ankles, but it had been cut to free her from the chair. She appeared unhurt, and to be arguing with Olivia about needing to be checked out by the paramedics. When she was settled, Laura went to the back of the van to where Manny still sat on a metal chair in the corner.

“All right, Manny, I need you to stand up and put your hands behind your back,” she said, pulling handcuffs from her back pocket.

“But I cooperated, though, right? What about La Roca?” He looked helplessly from Rafael to Laura as he stood.

“You did good, Manny,” Laura said, cuffing his hands behind his back. “I’ll talk to Mr. Barba. I’m sure he’ll cut you a deal now.” As she pushed Manny toward the front of the van, past Rafael, she held out a fist behind Manny’s back. Rafael bumped it, neither of them breaking character.

Dinner at Amanda’s that night was a spur-of-the-moment, noisy, chaotic affair. Carisi commanded the kitchen, strictly controlling who went in or out, shamelessly conscripting anyone who caught his eye whenever he needed something done, regardless of rank. Chief Dodds, for example, was currently chopping scallions while the IRT Captain stirred a red sauce that smelled phenomenal.

“So here’s the Killa, fillin’ this boy’s ears with all kinda bullshit about how Barba’s the Antichrist,” Fin was animatedly telling a group of IRT officers. “And he’s just standin’ there, lookin’ like he’s about to eat a live baby. Poor hump was pissin’ his pants, couldn’t do enough to help us out.”

Everyone laughed, even those who knew the story by now. Partly it was because Fin was so obviously tipsy. It was probably about time to put the kids to bed in the girls’ room. As blood alcohol levels rose, there was a corresponding decrease in the politeness of the language used in the several conversations going on in Amanda’s small, very crowded apartment.

As Fin launched into the story of how Olivia had dumped Amanda, chair and all, to the ground during the rescue, Laura leaned over to Amanda. Amanda was settled comfortably on her couch, Billie in one arm and Jessie, sitting next to her, cuddled in with the other. Jessie was blinking with sleep.

“You want me to get these ladies to bed?” Laura asked.

“Would you? That would be great.”

Laura took Billie in her arms, settled her, and reached out a hand to Jessie. “Let’s go, Princess.”

“Nooooooo,” Jessie began to whine.

“Uncle Rafa will sing you a song. But only one, and only if you’re good.”

“Does Uncle Rafa get a vote?” Rafael muttered grumpily in Laura’s ear, although he’d leaned down to pick Jessie up, clearly on board.

“C’mon, Noah,” Laura called to him, where he sat on his own mother’s lap, leaning against her and also looking very sleepy.

“I don’t have to go to bed yet, Aunt Lala. The girls are babies. I’m a big boy.”

“C’mon, hombrecito[6], we’ll sing the pirate song,” Rafael said, holding his free hand out to Noah, confident that such a treat would be all he needed. Noah loved to try to sing the song with Rafael, although he had no idea what the words meant.

Rafael and Laura quickly got the baby settled in her crib. Jessie made Rafael promise that she got her own song, since Noah got to hear the pirate song, which Rafael deftly negotiated in turn for her putting on her pajamas and brushing her teeth. Soon Jessie and Noah were under the covers in Jessie’s bed. Rafael sat on the side of the bed and began to sing the pirate song with Noah. Laura stood leaning against the door, watching how cute Rafael was with the kids despite his attempts to appear above such things. She felt a surge of love for him, so strong and tough when he needed to be, so soft when he allowed himself to be.

Jessie and Noah fell asleep before Rafael was done singing the song about horses that Jessie had requested. Rafael smoothly stood, trying not to disturb them. He held his hand out to Laura as he came toward her, pulling her to him for a steamy kiss.

“Let’s get out of here.”

“I thought you were having fun.”

“I’ve had enough conviviality for one evening. I want to take you home.” His insistent, progressively intimate kisses were very convincing. “I want to get my hands on you,” he growled.

Just then, they heard Carisi announce that dinner was ready and bark instructions about plates and things.

“Dinner’s ready,” Laura breathed as he sent chills down her spine with his lips.

“You’re dessert,” Rafael muttered into her neck.

“Yes, Sir.”

[1] Shit

[2] chief

[3] The Rock

[4] Guy, dude, but with gang connotations

[5] The Virgin Mary

[6] Little man

#law & order svu #law & order: special victims unit #rafael barba #raul esparza #chicago pd #chicago fire #chicago med #chicago justice

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craigrcannon · 4 years ago

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Employee #1: Yahoo

Employee #1 is a series of interviews focused on sharing the often untold stories of early employees at tech companies.

Tim was the first employee at Yahoo, its Chief Product Officer for eight years, and is now a partner at YC, so we thought it would be fitting to kick things off with him.

Discussed: Meeting the Founders, Writing Yahoo’s Business Plan, Leaving Harvard Business School Early, Creating the Banner Ad, Yahoo’s First Ad Sales, Being an Early Employee After a Management Change, and Founder vs. Early Employee Differences.

Craig : What did you do before Yahoo?

Tim : Before Yahoo, I learned that I preferred working at small companies. I really didn’t think of it as entrepreneurship at that point. My first work experience out of school was at Motorola – a big company. And at the time, in the early ’90s, Motorola was held up as a model of a well-run company. Every business magazine at the time portrayed Motorola up as the ideal.

I went there with a positive attitude. The work was interesting. It was rewarding and intellectually challenging. But after a few months, I remember looking at my boss and my boss’ boss, and my boss’ boss’ boss, and saying to myself, “You know what? I don’t want any of their jobs.” I saw how they spent their time and didn’t find it interesting or very rewarding. They spent their time managing meetings and office politics.

This wasn’t my vision of what work was. To me, work was doing and making things and being able to see the fruits of that labor. At the end of the day or at least after a short period of time, I need to point to something and say to myself ‘that’s what I’ve been building.’

My experience in this big company was very different from that idea. If I rose up the managerial ranks in this big company, I could easy see myself going home and asking myself, “What did I do today?” and not having a very satisfying answer.

Craig : You couldn’t point at stuff.

Tim : That’s right. It‘s not that these managers weren’t doing things, but everything was so time inefficient. In big companies, time scales are longer. And the bullshit factor of office politics is high. For me, maintaining passion for your work when the feedback mechanism is that slow is difficult.

Once I internalized that big companies weren’t my cup of tea, I decided to go to business school in order to make a change.

Craig : But you ended up leaving Harvard Business School for Yahoo, right?

Tim : That’s right. I left in the middle of my second year. The whole point of going to business school was to figure out what I wanted to do and get exposed to a lot. The case study method was great for that.

I soon concluded that small companies were where I would thrive. I also thought that it would be great to work with friends. What could be more rewarding that working hard and doing something important with friends? And so here I was in business school thinking this when my friend Jerry Yang calls and says, “Hey, I want you to come out and join me and my co-founder start a company.”

Craig : That was the opportunity.

Tim : Exactly.

Craig : Just to rewind for a second, how did you guys meet?

Tim : Undergrad. Jerry and I were both double E’s [electrical engineers]. We spent 4 years studying together.

Craig : Cool. So Jerry calls and you’re thinking, “Oh, this might be it.” Did you know that Yahoo would be a thing, or did you just feel like this is a good first step?

Tim : The latter. I didn’t know it would be a big thing. Jerry came to visit me at the beginning of my second year at HBS. At the time he was a PhD student in EE at Stanford. He knew I was looking for a new job, and I told him, “I want something small.”

He called me a couple of months later and said, “Hey, a buddy of mine, my research partner and I started this thing. You should check it out,” and he showed me the world wide web for the first time. There was almost nothing online at that point, but I clearly remember a website company called Satchel.com, which published live sports scores.

I’m a sports junkie. So before I found this website, I used to sit and watch ESPN just for the score ticker that runs across the bottom of the screen. At the time, it only came on twice an hour. I was pathetic. I literally would just sit there and wait 30 minutes for the damn ticker to get the live score for Detroit Piston games. There was no other way.

Craig : Hahaha.

Tim : So Jerry showed me this site and I asked, “You mean I can just hit refresh and I get the live score instantly?” Okay, I got it.

Craig : That’s how you got the internet?

Tim : That’s how I got the internet.

Craig : That’s the best example I’ve ever heard.

Tim : After that, I was hooked. Jerry and his cofounder, David, had built a directory of the world wide web, which was finite at that point. Given where the internet is today, it’s hard to imagine. It was largely just double Es and technical folks posting their dissertations and sharing their papers. Only gradually did they make sites about their hobbies and quirky things, because they realized, “Hey, it doesn’t have to be just dissertations.” So Jerry and Dave started collecting these things and organizing them for everyone.

And so when Jerry called me at school, he said, “Hey, I have no idea if this is going to be big, but I know you’re looking for a job. So how about if you join David and me? Come out to Silicon Valley and get a regular 9 to 5 at a place like at SGI [Silicon Graphics], and then you can moonlight with us. And we’ll see where it goes.” I’m like, “Sounds good.”

Craig : And so where does this fall? Is this the summer before your second year?

Tim : No, this is November of my second year. And I’m thinking, “Sounds good. I’ll ramp up my job search in Silicon Valley, at SGI or Intel or wherever.”

Craig : Yeah, there are plenty of places like that.

Tim : Yes, plenty of places. But that’s also the time when internet usage started to take off.

A couple weeks later Jerry calls me and says, “Hey, we’re going to go raise some money. We need a business plan. Can you help us write a business plan?”

So I flew out to Stanford for Christmas break. I spent two weeks with them, wrote the business plan, then went back to school. They took the business plan, which they probably really didn’t need, it was mostly just a formality at that point, and they raised money from Sequoia Capital.

But in those two weeks I learned a ton from them about the opportunity and put it into a business plan format.

Again, that was about the same time that internet usage started to take off. So a couple weeks after I returned to school, Jerry called and said, “Ah, you know what? This thing is taking off. It might not be a moonlighting job by the time you graduate. It might be a full-time gig.” I’m like, “Fine by me.”

Craig : That just saved me time.

Tim : Exactly, I wouldn’t have to look for another job.

So a few weeks later Jerry calls and says, “Sequoia is going to give us money and we’re going to go for it.” I’m thinking,

“That’s awesome. I’m in. I will see you in June right after graduation.”

Two weeks later, Mike Moritz, a partner at Sequoia, calls me, “Tim, we have a problem.” “I’ll be out after my graduation on June 8th. What’s the problem?”

“We don’t need you in June.”

“Huh? Jerry said I’m in. What’s changed?”

“Well, this ship is sailing. You either need to get on now or don’t bother coming.”

“What’s that mean?”

“We need you in February, not June. Your position will be filled by June.”

So I’m like, “I’m in.”

Craig : Wow. So you just ditched business school?

Tim : It was a little more involved than that. It included a very uncomfortable phone call with my parents, who paid for business school. Luckily, I did end up graduating.

Craig : Nice. So what was your day-to-day when you moved out?

Tim : It was whatever needed to be done. I was an EE, but the other three were all more technical than me. They hired me as the business person so I had to do all the operations and business stuff – including figuring out if there was even an ad market. No one had ever sold advertising on the Internet.

Craig : So advertising was the clear strategy from the very beginning for you. That was in the business plan.

Tim : That was in the business plan. I shouldn’t say that nobody had sold ads online before though. Other people had sold advertising on the Internet, but not at scale and not as their primary business.

I think it was Wired Magazine that was the first one to sell an ad online. So there were the beginnings of something, but Wired was an offline magazine company. It wasn’t their primary business. There wasn’t much else being sold online.

So we came up with the traditional banner ad size that still exists today and tried to figure out how to sell it. At the time, the only people that used the Internet were traditionalists. And what I mean by that is the internet was used exclusively for the non-commercial sharing of information at the time. The idea of commercializing the internet wasn’t accepted by the very people using the internet. Of course, the number of people and the demographics of those people were rapidly changing.

Craig : So your job was to shift how that community was thinking or bring other people online or both?

Tim : Both.

Craig : And so you are cold calling people to sell ads? What were you doing?

Tim : Jerry and I tried to figure out the business side of things and we quickly realized that we were not the best people to sell ads. So we hired an outside agency in L.A. and convinced them to try to sell ads on the internet.

We decided we’ll sell every page on our site, except the home page, to five advertisers for a million bucks a pop. That made us $5,000,000, but they were the same 5 ads on the site for an entire month. Our users hated it.

Craig : What was the traffic at that point?

Tim : I can’t remember the exact number, but it was a double digit percentage of the traffic on the web. It was a big number.

Once we got advertising going, I was thinking, “Oh my god, we’re in the ad business. I’m an engineer, not an ad sales guy. As much as I’d love to pull an ad sales guy out of me, I’m not that guy.”

Jerry realized he wasn’t an ad sales guy either so we hired a CEO, a guy by the name of Tim Koogle. He came on in August of 1995 and helped us build an ad-supported media company. But that was a full seven months after I got there. Traffic on the site was growing at an amazing rate, but we were really struggling to build an organization that could keep up with the growth.

We knew we were on to something potentially really, really big and we knew we didn’t have enough experience to execute it alone.

Craig : So what interests me is throughout this phase it sounds like because you’re buddies with the founders and you’re sort of treated as this co-founder-type guy. How did that dynamic work?

Tim : Jerry and David were the founders and when a big decision needed to be made, like who to raise money from, they would lock themselves in a room and come back with a decision. That said, the day-to-day operational decisions were all made by consensus at the time. There were four of us, and in that sense, I certainly felt like a co-founder.

Craig : After you closed those first ad sales were you all still freaking out over if this would be viable to not?

Tim : It was probably a full year of discomforting uncertainty. Even after we brought Tim Koogle in, it wasn’t a sure thing. The Internet was a sure thing but Yahoo wasn’t a sure thing. It probably took until the end of ’95 to guarantee that.

Craig : Interesting. Did how you feel about the company change as you scaled?

Tim : Nope. I was all in the whole time.

Craig : How long did you stick around?

Tim : I was there until 2003.

Craig : How was it to ride that wave, especially when the bottom fell out in 2000?

Tim : When things are going well and you’re in a growth industry, you don’t have to deal with many difficult issues. It’s the old cliche, winning solves everything.

Craig : For sure.

Tim : It’s really true. It solves everything… or maybe better said, it masks all your mistakes. A lot of the mistakes you make get masked because you receive almost no negative feedback.

But then the bottom fell out and the board let Tim Koogle go. The upper ranks of management emptied out pretty quick, except for me and the CTO who stuck around. We got a new CEO and set of peers in upper management. Let me just say, I learned a whole lot more about business on the way down than I did on the way up.

Craig : When you think back on your time at Yahoo, how do you feel about it?

Tim : Well, I definitely made some of my closest friends there. I compare them to childhood friends. I can pick up the phone and call any of 50 people and talk to them as if no time had passed. It’s a pretty cool feeling.

Craig : That’s really neat.

Tim : It was formative in so many different ways. Granted it was early in my career, but then again most of the entrepreneurs at YC are early in their careers, too. It’s this intense experience where for the first time in your life where you’re defining your own test and seeing if you measure up. You find out a lot about yourself in that environment.

Craig : I imagine it really builds confidence.

Tim : It does.

It was certainly career defining. The financial success was nice, but it was way more than that. The entire process helps define who you are, what you’re good at, what you want to do, and what you think is important.

Craig : When it does work out for someone in your shoes, I feel like it really helps solidify your belief in how you understand people and markets.

I’ve been wondering if through these interviews we’ll find a strong correlation between early employees and people who are good investors. The way I see it, someone like you, you’re like, “Ok, good people, good product, and I can add value. I’m in.” Founders might be much more singularly focused. You know what I mean?

Tim : I do.

I guess Imagine K12 is the exception because that was my idea with Geoff, but Yahoo wasn’t my idea and QuestBridge wasn’t my idea. It was me recognizing a good idea and then being able to contribute to it, and I did that twice in a row. Even with Imagine K12, you could say, “Well, PG is really the one that kind of defined how to help companies… I just applied it in a different realm.”

Craig : Yeah, exactly.

Tim : But I guess you could say that about almost any idea.

I’ve never felt like an idea had to be mine in order for me to be passionate about it or want to contribute. I hope that helps me be a better advisor and investor.

Craig : I think whatever that quality is, that is the exact differentiator between the person who needs to start something and the person who’s comfortable accepting risk but will work on someone else’s idea.

Tim : You think so?

Craig : I think it can be easier to do your own thing, even if it’s a bad idea, because it feels cooler.

Tim : I think there’s social cache to starting your own company now. Back in the 90s, it wasn’t like that. There was no social backdrop to it. You didn’t go to bars and talk about it.

On one hand, I guess it could be seen as a lack of confidence to not do your own thing. But on the other hand, it could be seen as not letting your ego get in the way of recognizing a good idea. I can see both sides and honestly, I don’t know where the truth lies.

For me, my sweet spot is when I can say, “That’s a great idea. It’s just getting started. Count me in.”

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thejustinmarshall · 6 years ago

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Will Johns and 50 Years of Cream Coming to The Count Basie Theatre

Interview by Danny Coleman

“It’s going over really well I think,” says Will Johns of Cream. “We’ve got a really nice range of age groups coming to the shows and a lot of young guitar players as well; which is really great to see; every young guitar player that I know plays that riff from, “Sunshine of Your Love.”

Smack in the middle of a, “50th Anniversary Tour” celebrating the music of one of rock’s first power trios, these three men not only bring the music of Cream back into focus but do so literally through their blood lines.

Kofi Baker, the son of drummer Ginger Baker, Malcolm Bruce, the son of bassist Jack Bruce and guitarist Will Johns, nephew of Eric Clapton have combined to pay homage to the music of their fathers and uncle.

Johns, an avid fisherman was working on fishing vessels in the English Channel when he got the call from his buddy Malcolm asking him to stop out at a show he and Baker were doing near his home town.

“A few years ago, I’d say 2013 just after I lost my dad, I was in a pretty sad place and the phone rang and it was Malcolm Bruce. He phoned to say that he was coming to England on tour with Kofi and a great guitarist that they were playing with at the time named Godfrey Townsend and they were going to be doing a show fairly near to where I live and he invited me to come sit in on one of the shows; at the time I was really flattered that he thought that I could do something like that. So, I went along to the show and had a jam with the guys and things progressed kind of slowly from that point. It’s been a bit of a roller coaster ride; we had a tour of England but there were visa complications for Kofi so Malcolm and I ended up doing a couple of runs in the UK with another drummer. Then it all kind of came together last year with our new manager who put this particular project together and we toured Australia and New Zealand last year.”

Being the nephew of Eric Clapton; does Johns feel any additional pressure in his presentation of the material and has he received any help from old, “Slow Hand” over the years?

“I started out hitting the drums downstairs at my Uncle Eric’s house at stupid o’clock in the morning and I think I pissed him off a time or two and he’d come down at like six in the morning and say, “What the fuck are you doing? I’m trying to sleep; what are you learning and why don’t you learn a proper instrument? (Laughs)” I don’t think he meant the didgeridoo. Which by the way, all the time we were on tour in Australia I don’t think I saw anyone playing a didgeridoo; I didn’t see a kangaroo either.”

“He actually showed me the opening part of, “Crossroads” as a young guitarist and once I figured that out, I went back to him and said, OK I’ve got that bit, he nixed it and that was when he put me on the path of,”You’ve got to figure that bit out for yourself.” A little tough love but I guess it went a long way because here we are,” he said with a laugh as he recounted those earlier days.

” I think I may have felt some pressure before but I’ve been doing it for quite a while now and seems I’ve come to terms with that aspect of it. It’s a big pair of boots to fill but I don’t think that we as a band are necessarily trying to emulate or copy what’s been done before; it’s just more of an honoring of it and tipping our hat to it while still retaining our own musicianship and sense of personality; if that makes sense. We’re not wearing the clothes of the era or using big Marshall stacks of amps to recreate that sound; however Gibson Custom Shops have been very, very generous and sent me out a very beautiful cherry ES-355 to play on the tour and of course that’s the guitar that Eric used at the farewell concert back in November of 1968.”

Unlike many other classic acts these days, this lineup gives those who come to the show more than their money’s worth.

“You know, it’s a little bit elasticated where we can stretch it out or pull it back, there’s a lot of jams in the show but right now it’s running about two and a half hours. Sometimes it depends on what the venue requires, sometimes we have a break and sometimes we just run all the way through. Sometimes it’s a bit long to concentrate and be hit over the head with loud guitar, bass and drums,” he explained with a hearty laugh. “What we’re working on is a basic premise, Kofi is doing, “Toad” which features a drum solo that can be anywhere from 12 minutes to 20 minutes depending on the night and to be honest, there hasn’t been a night where after he plays his drum solo that he hasn’t pretty much gotten a standing ovation. I have to say, hand on heart that he’s probably one of the most phenomenal drummers in the world today. I think he has probably surpassed his father, so yeah.”

After two earlier shows at the Bergen and Mayo PACs, they will wrap up their New Jersey run with an October 23 show at Red Bank’s famed Count Basie Theatre. Johns reiterated once again the band’s pleasure with the diversity of the audiences.

“I think we’ve probably got one of the broadest age ranges of interest. Younger people are coming in, younger people with their grandparents and they’re obviously young players just starting out wanting to see where the riffs have come from.”

Even though they are technically not Cream, they are cut from the same cloth and Johns is very pleased with how they are being received and what they present every night on stage.

“The show is definitely a multi-media experience; we’ve got an incredible light show. Once again, it tips its hat to the lighting effects of time; the oil lamp and the psychedelia but then it also has modern contemporary aspects too. Included in that is footage and stories from our experiences and our upbringing with our respective parents and my uncle; combined with that we cover a lot of the Cream material and the well-known songs, so there’s some set pieces and also a lot of jam and free form. Both Kofi and Malcom have what I might call a genetic bond musically; it’s almost spiritual and bordering on telepathic and as a blues guitarist and somewhat of a simpleton, sometimes for me that can be a bit of a challenge (laughs). We turn it up and I’d like to think that we do our best to honor the music.”

To obtain tickets or discover more about Cream and this current tour, please visit www.musicofcream.com.

Danny Coleman (Danny Coleman is a veteran musician and writer from central New Jersey. He hosts a weekly radio program entitled “Rock On Radio” airing Sunday evenings at 10 p.m. EST on multiple internet radio outlets where he features indie/original bands and solo artists.)

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How to find cheapest car insurance for young drivers?

"How to find cheapest car insurance for young drivers?

How to find cheapest car insurance for young drivers?

BEST ANSWER: Try this site where you can compare quotes: : http://saleinsurancequotes.xyz/index.html?src=tumblr

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https://www.linkedin.com/pulse/aig-car-insurance-quote-dubai-dennis-medina/"

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tylerdoe1dafuq-blog · 7 years ago

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The Beatles waren eine britische Beatband und später auch Rockband in den 1960er Jahren. Mit mehr als 600 Millionen – nach Schätzungen ihrer Plattenfirma EMI sogar mehr als einer Milliarde – verkauften Tonträgern sind sie die bisher kommerziell erfolgreichste Band der Musikgeschichte.

Die musikalischen Ursprünge der Band liegen im Rock ’n’ Roll der ausgehenden 1950er Jahre, in den dann sehr bald Stilelemente der Liverpooler Beatmusik einflossen. Ihre erste Single Love Me Do erschien 1962. Den weltweiten Durchbruch schaffte die Gruppe im Jahr 1963 mit der Single I Want to Hold Your Hand. Aufgrund ihres damals neuartigen Musikstils und ihres öffentlichen Auftretens entwickelten sie sich schnell zu einer der populärsten Bands. Den Höhepunkt ihrer Karriere erreichten die Beatles zwischen 1964 und 1968, als sie zeitweise in fast allen Ländern die Hitparaden anführten.

Im Jahr 1970 trennten sich die Wege der vier Bandmitglieder aufgrund interner Spannungen. Die Musiker verfolgten danach erfolgreich eigene Musikprojekte.

Frühe Jahre (1956–1960)

Die späteren Beatles gingen Ende der 1950er Jahre aus einer Reihe von Vorläuferbands um den Liverpooler Schüler John Lennon hervor. Der musikbegeisterte 16-Jährige gründete gegen Ende des Jahres 1956 in Liverpool die Skiffle-Gruppe The Quarrymen, benannt nach der Quarry Bank High School, die er besuchte. Erste Mitglieder dieser Schülerband waren neben Lennon (Gesang/Gitarre) der Gitarrist Eric Griffiths, der Schlagzeuger Colin Hanton, der Banjospieler Rod Davis, der Bassist Len Garry und Pete Shotton am Waschbrett.

Die Besetzung der Quarrymen, die bei privaten Feiern und Schulfesten ihre ersten Auftritte absolvierte, wechselte allerdings ständig, was nicht unwesentlich am exzentrisch-launischen Bandleader Lennon lag. Zum Repertoire der Gruppe gehörten Stücke damaliger Musikgrößen wie Buddy Holly, Eddie Cochran und Lonnie Donegan.

Der wohl wichtigste Tag der noch jungen Bandgeschichte war der 6. Juli 1957, als die Quarrymen bei einem Gartenfest der Pfarrgemeinde von Liverpool-Woolton auftraten. Nach dem ersten der zwei Konzerte wurde John Lennon von seinem Schulfreund Ivan Vaughan dem 15-jährigen Paul McCartney vorgestellt. Lennon war beeindruckt, als McCartney textsicher eine Version des Cochran-Stücks Twenty Flight Rock zum Besten gab. Einige Tage später wurde er in die Gruppe aufgenommen.

Der erste gemeinsame Auftritt fand am 18. Oktober 1957 in der Liverpooler New Clubmoor Hall statt. Die Aufnahme von Paul McCartney bedeutete für John Lennon einerseits den Verlust seiner unumschränkten Führungsposition, andererseits aber eine künstlerische Konkurrenz auf Augenhöhe und eine gewinnbringende Quelle der Inspiration. Im Sommer 1957 begannen Lennon und McCartney mit dem gemeinsamen Komponieren eigener Stücke, zu den ersten gehörten Too Bad About Sorrows und Just Fun. Viele davon entstanden im Wohnzimmer des Reihenhauses der McCartney-Familie in der 20 Forthlin Road.

Im Januar 1960 stieß John Lennons Freund von der Kunstschule, der angehende Maler Stuart Sutcliffe, als Bassist zu den Moondogs. Der musikalisch unbedarfte Sutcliffe hatte sich auf Lennons Anraten hin vom Erlös eines seiner Gemälde eine Bassgitarre gekauft. Kurze Zeit später wurde die Gruppe in Anlehnung an die Buddy-Holly-Band The Crickets (Die Grillen) in The Silver Beetles und im Juli 1960 in The Silver Beatles umbenannt, wobei Beatles eine gedankliche Verbindung des Musikstils Beat und des englischen Wortes für „Käfer“, beetles, herstellt.

In einem Artikel, den Lennon für das Liverpooler Musikmagazin Mersey Beat verfasste, erläuterte er in seiner eigenen Weise, die Idee sei von einem Mann auf einem brennenden Kuchen gekommen, der ihnen in einer Vision erschienen sei.

Im August 1960 verzichtete die Gruppe auf den Zusatz Silver im Namen und nannte sich fortan The Beatles.

Lehrjahre in Hamburg und Liverpool (1960–1961)

Auf der Suche nach englischen Musikgruppen für seine Hamburger Nachtlokale wandte sich der deutsche Veranstalter Bruno Koschmider im Sommer 1960 an seinen Liverpooler Geschäftspartner Allan Williams.

Dieser hatte zeitweise das Management der Beatles übernommen und bot ihnen ein entsprechendes Engagement an. Am 16. August 1960 kamen John Lennon, Paul McCartney, George Harrison und Stuart Sutcliffe sowie der wenige Tage zuvor rekrutierte Schlagzeuger Pete Best in Hamburg an.

Am 17. August 1960 gab die Gruppe im Hamburger Rotlichtviertel St. Pauli ihr erstes Konzert unter dem Namen „The Beatles“. Von nun an spielten sie täglich im „Indra“, einem Stripclub an der berüchtigten Großen Freiheit. Nach und nach passten sich die Gruppenmitglieder dem spannungsgeladenen Umfeld aus Gewalt, Alkohol, Drogen und Sex an.

Durch die bis zu neun Stunden dauernden Arbeitstage wurden Repertoire, Spontaneität und Selbstbewusstsein vergrößert. Die Aufforderung des Clubbesitzers, eine „Schau“ zu machen, mündete in wüsten Bühnenauftritten, die das Publikum anlockten und die Band zum angesagtesten Geheimtipp der Großen Freiheit machten.

In Hamburg lernten die Beatles die Fotografen Astrid Kirchherr und Jürgen Vollmer sowie den angehenden Künstler Klaus Voormann kennen, die später den Stil und das Auftreten der Gruppe in Bezug auf Kleidung und Frisuren („Pilzkopf“, engl. moptop) entscheidend prägten. Zudem war Kirchherr, die sich besonders mit dem zurückhaltenden Bassisten Sutcliffe anfreundete, die erste, die die Band im Rahmen professioneller Fotoaufnahmen ablichtete.

Der Beatles-Haarschnitt, die sogenannte „Pilzkopf“-Frisur, wurde von dem deutschen Fotografen Jürgen Vollmer kreiert. Er selbst hatte sich diese Frisur geschnitten, lange bevor ihn Astrid Kirchherr und Klaus Voormann kennenlernten.

Weil der Indra Club wegen Ruhestörung geschlossen werden musste, zogen die Beatles Anfang Oktober in den Kaiserkeller um. Hier trat auch die ebenfalls aus Liverpool stammende Gruppe Rory Storm & the Hurricanes mit ihrem Schlagzeuger Ringo Starr auf. Am 15. Oktober 1960 vereinigten sich die beiden Gruppen zu einer privaten Aufnahme des Titels Summertime in einem kleinen Studio an der Kirchenallee 57. Im Laufe der Jahre gingen allerdings alle neun gepressten Platten dieser ersten gemeinsamen Produktion von Lennon, McCartney, Harrison und Starr verloren.

Ende November mussten die Beatles wegen der Minderjährigkeit von George Harrison (der zu diesem Zeitpunkt erst 17 Jahre alt war) und einer angeblichen Brandstiftung durch Paul McCartney und Pete Best Deutschland verlassen. Nur Stuart Sutcliffe blieb bei seiner Freundin Astrid Kirchherr in Hamburg, wo er am 10. April 1962 im Alter von nur 21 Jahren an einer Hirnblutung starb. In den folgenden zwei Jahren absolvierten die Beatles noch vier weitere Spielzeiten in der Hansestadt, davon eine im Top Ten Club, die restlichen im renommierten Star-Club.

Am 27. Dezember 1960 spielten die Beatles ein Konzert in der Liverpooler Litherland Town Hall, bei dem die Gruppe ihren Status als „beste Band der Stadt“ festigte und erste Anzeichen der aufkommenden Popularität zu spüren bekam. Bei diesem Auftritt wurde Sutcliffe durch den Studenten Chas Newby vertreten. Wenig später übernahm Paul McCartney endgültig die Rolle des Bassisten, und die Beatles wurden zu einer Vier-Mann-Band.

Die nachhaltige Wirkung ihres Konzertes in der Litherland Town Hall ermöglichte den Beatles Auftritte in zahlreichen Clubs von Liverpool und die damit verbundene Steigerung ihres Bekanntheitsgrades. Am 9. Februar 1961 feierten Lennon, McCartney, Harrison und Best ihr Debüt im Cavern Club, einem rauchig-düsteren Kellerlokal in der Mathew Street, das schnell zum Stammlokal der Gruppe wurde und heute durch 292 nachgewiesene[15][16] Auftritte einen Kultstatus innehat.

Amerika und die Welt (1964–1965)

Bereits kurz nach den ersten Erfolgen der Beatles hatte ihr Manager Brian Epstein versucht, die Gruppe auch auf dem US-amerikanischen Markt zu etablieren. Britische Musiker hatten es diesbezüglich in den USA traditionell schwer. Das US-Plattenlabel Capitol Records, das eigentlich die US-Vertriebsrechte für EMI wahrnahm, lehnte jedoch zunächst die Veröffentlichung von Beatles-Platten ab.

Im Februar 1963 sprang das kleine Label Vee-Jay Records ein, das die Single “Please Please Me / Ask Me Why” in den USA veröffentlichte. Ende Mai folgte die Single “From Me to You / Thank You Girl”. Beide Veröffentlichungen konnten sich nicht in den US-amerikanischen Hitparaden platzieren. Die nächste Single – “She Loves You / I’ll Get You” erschien in den USA im September 1963 auf dem Label Swan Records. Erst im Dezember 1963 war Capitol Records bereit, einen Tonträger der Beatles – die Single “I Want to Hold Your Hand / I Saw Her Standing There” – in den USA auf den Markt zu bringen. Capitol machte Promotion, Zeitungen schrieben über die seltsame Gruppe aus England, und die Radio-DJs fingen an, die Single zu spielen.

Am 16. Januar 1964 erreichte die Gruppenmitglieder in ihrem Pariser Hotelzimmer die Nachricht, dass mit I Want to Hold Your Hand die Eroberung der Spitzenposition in den US-Charts gelungen war. Der Durchbruch der Gruppe auf dem US-amerikanischen Markt war geschafft. Als Resultat dieses Erfolgs brachte Vee-Jay Records die früheren Tonträger ein weiteres Mal heraus und veröffentlichte im Januar 1964 das Album “Introducing… the Beatles”, um von der Popularität der Beatles zu profitieren.

Es kam zu Rechtsstreitigkeiten, die einen systematischen Vertrieb der Beatles-Singles in den USA behinderten. Folge war, dass gleich vier Plattenfirmen Beatles-Platten konkurrierend herausbrachten. Im April 1964 einigten sich Vee-Jay Records und Capitol Records darauf, dass Vee-Jay die 16 Beatles-Stücke, die vom Label bereits veröffentlicht worden waren, bis zum 15. Oktober 1964 weiterhin vertreiben durfte. Anschließend fielen die Veröffentlichungsrechte an Capitol.

Am 9. Februar 1964 traten die Beatles mit fünf Stücken (“All My Loving”, “Till There Was You”, “She Loves You”, “I Saw Her Standing There” und “I Want to Hold Your Hand”) in der populären Ed Sullivan Show auf. 73,7 Millionen Zuschauer an den Fernsehschirmen verfolgten die Live-Sendung.

Während der Show verlas der Moderator Ed Sullivan ein Glückwunschtelegramm von Elvis Presley und dessen Manager Tom Parker. Nach Konzerten in Washington und in der New Yorker Carnegie Hall flog die Gruppe nach Miami Beach (Florida), wo während eines Kurzurlaubs ein Treffen mit dem Boxer Cassius Clay stattfand. Nach einem weiteren Auftritt in der Ed Sullivan Show am 16. Februar kehrten die Beatles am 22. Februar 1964 nach London zurück.

Bis heute unerreicht ist die musikalische Dominanz, mit der die Beatles im April 1964 die Hitlisten beherrschten: In den USA besetzten sie am 4. April[25] die ersten fünf Plätze der Single-Hitparade (an der Spitze die am 16. März 1964 mit 1,7 Millionen Vorbestellungen veröffentlichte Single Can’t Buy Me Love), in Australien waren es sogar die ersten sechs Ränge. Zudem war die Gruppe mit sieben weiteren Stücken in den US-Top 100.

Wegen des anhaltenden Erfolgs wurde den Beatles geraten, sich auch im Filmgeschäft zu versuchen. Am 2. März 1964 begannen auf dem Londoner Marylebone-Bahnhof unter der Regie von Richard Lester die Dreharbeiten für die Musikkomödie “Yeah Yeah Yeah” (Originaltitel: A Hard Day’s Night). Das Titelstück “A Hard Day’s Night” komponierte John Lennon nach einer von Ringo Starr erfundenen Redewendung: Jener ging nach einem langen Arbeitstag aus dem Aufnahmestudio und wollte sagen “It’s been a hard day”, doch noch während er es sagte, bemerkte er, dass es bereits dunkel war und fügte in seiner typischen Art ein “’s night” an.

Der Schwarzweißfilm feierte am 6. Juli 1964 in London Weltpremiere und wurde zu einem Kassenschlager. Am 10. Juli erschienen das dazugehörige Soundtrack-Album, das erstmals nur Kompositionen von Lennon/McCartney enthielt (unter anderem Things “We Said Today”, “I Should Have Known Better”, “And I Love Her” und “If I Fell”) sowie die Single A Hard Day’s Night.

Nach einem knapp einmonatigen Urlaub gingen die Beatles ab dem 4. Juni 1964 erstmals auf Welttournee. Da Ringo Starr an einer schweren Mandelentzündung litt, wurde er bei den Auftritten in Europa und Hongkong durch den Session-Schlagzeuger Jimmie Nicol ersetzt. Erst in Sydney traf Starr wieder mit der Band zusammen. In Adelaide wurde die Gruppe von 300.000 Fans in der Innenstadt empfangen – der größten Menschenmenge, die sich bis dato in Australien versammelt hatte.

Am 10. Juli 1964 kehrten die Beatles für die Nordengland-Premiere von Yeah Yeah Yeah nach Liverpool zurück, wo sie von 203.000 Menschen an den Straßen begrüßt wurden. Zum Ende des Monats war die Gruppe erneut in Schweden zu Gast.

Vom 19. August bis 20. September 1964 absolvierten die Beatles ihre erste große US-Tournee, die einem Triumphzug glich. Neben Auftritten in San Francisco, Kansas City, Dallas und New Orleans spielte die Gruppe am 23. August in der Hollywood Bowl von Los Angeles. Am 28. August besuchte Bob Dylan die Band in ihrer Hotel-Suite in New York und führte sie in den Genuss von Marihuana ein.

Nur drei Wochen nach ihrer Rückkehr starteten die Beatles am 9. Oktober 1964 eine weitere, einmonatige Großbritannien-Tournee. Am 23. November wurde die Single “I Feel Fine” veröffentlicht. Das Album Beatles for Sale erschien am 4. Dezember 1964 und offenbarte nach Meinung von Kritikern erste Ermüdungserscheinungen.

Nur 8 von 14 Stücken waren Eigenkompositionen, darunter Eight Days a Week, Baby’s in Black und I’m a Loser. Tatsächlich hatten die vielen Konzerte und anderen Verpflichtungen den vieren kaum Zeit gelassen, neue Songs zu schreiben, was der Grund für die sechs Coverversionen auf dem Album war. Das Jahr endete mit der zweiten Auflage der Beatles Christmas Show im Londoner Hammersmith Odeon, die 39 Auftritte in drei Wochen beinhaltete.

Am 23. Februar 1965 begannen auf den Bahamas die Dreharbeiten für den zweiten Beatles-Film Hi-Hi-Hilfe!, diesmal in Farbe. Regisseur war erneut Richard Lester, zu den Nebendarstellern gehören Victor Spinetti und Eleanor Bron. Weitere Aufnahmen entstanden in Obertauern, London und auf dem Salisbury Plain in der Nähe von Stonehenge.

Die eher seichte Slapstick-Komödie feierte am 29. Juli 1965 im Beisein von Prinzessin Margaret in London Weltpremiere. Die Single Help! erschien am 19. Juli, das gleichnamige Soundtrack-Album (u. a. mit “You’ve Got to Hide Your Love Away”, “Another Girl” und “You’re Going to Lose that Girl”) am 6. August 1965.

Die neunte Beatles-Single Ticket to Ride war bereits am 6. April 1965 veröffentlicht worden. Zwei Monate später, am 14. Juni, produzierte die Gruppe in den Abbey Road Studios mit “Yesterday” eines ihrer bekanntesten Stücke.

Paul McCartney hatte die Ballade mit dem Arbeitstitel Scrambled Eggs (‚Rühreier‘) nach einer Melodie geschrieben, die ihm eines Tages beim Aufwachen im Haus seiner Freundin Jane Asher eingefallen war. Das als McCartney-Solo aufgenommene und mit Streichern unterlegte Lied wurde nicht als Single, sondern im Rahmen der Help!-LP und auf einer EP veröffentlicht. Es gehört heute zu den berühmtesten Pop-Stücken der Musikgeschichte.

Vom 20. Juni bis zum 3. Juli 1965 absolvierten die Beatles eine zweiwöchige Europatournee. Nur einen Monat später ging es erneut in die Vereinigten Staaten. Am 15. August 1965 spielte die Gruppe im ausverkauften New Yorker Shea Stadium vor 55.600 Zuschauern (darunter Mick Jagger, Keith Richards, Barbara Bach und Linda Eastman) den größten Live-Auftritt ihrer Karriere.

Es war das erste Mal, dass eine Popgruppe in einem offenen Stadion auftrat und die bis dahin größte zahlende Zuschauermenge bei einem Konzert. Der Lärmpegel der weiblichen Fans war während der 30-minütigen Show so hoch, dass weder die Zuschauer noch die Beatles die Musik hören konnten.

Nachdem sich die Beatles während der Tournee bereits mit Stars wie Bob Dylan, Del Shannon, Joan Baez, Peter Fonda und Peter, Paul and Mary getroffen hatten, fand am 27. August 1965 das langerwartete Treffen mit ihrem Idol Elvis Presley in dessen Haus in Bel Air statt. Man unterhielt sich und ging schließlich zu einer Jam-Session über. Angeblich wurde dabei eine Coverversion von “You’re My World” auf Band mitgeschnitten.

Am 12. Juni 1965 gab das britische Königshaus bekannt, dass die Beatles wegen ihrer Verdienste um die britische Exportindustrie von Königin Elisabeth II. mit dem MBE-Orden ausgezeichnet werden würden. Die Ehrung fand am 26. Oktober 1965 im Londoner Buckingham Palace statt. 4000 Fans und Journalisten harrten vor dem Gebäude aus.

Die Hysterie um die Ordensverleihung blieb allerdings nicht ohne Folgen. Vornehmlich Militärs waren es, die ihre jahrzehntelange Pflichterfüllung im Dienste der Krone durch die Verleihung desselben Ordens an eine Popgruppe herabgesetzt sahen und daraufhin ihre MBE-Orden zurückgaben.

Neue Klänge und das Ende der Tourneen (1965–1967)

Am 3. Dezember 1965 veröffentlichten die Beatles die Doppel-A-Seiten-Single “We Can Work It Out” / “Day Tripper” und das Album Rubber Soul. Die Stücke der LP (unter anderem “Drive My Car”, “Nowhere Man”, “Girl” und “In My Life”) lassen erste Anzeichen eines musikalisch-geistigen Reifungsprozesses der Gruppenmitglieder erkennen.

Bei Norwegian Wood (This Bird Has Flown) spielte George Harrison auf einer Sitar, einem indischen Instrument, das er während der Dreharbeiten zu Hi-Hi-Hilfe! kennengelernt hatte. Paul McCartney steuerte mit Michelle eine englisch-französische Ballade bei. Zu einigen der Lieder drehten die Beatles erstmals sogenannte „Promotionfilme“, Vorläufer von Musikvideos.

Zur selben Zeit starteten die Beatles ihre sechste und letzte Großbritannien-Tournee (unter anderem mit The Moody Blues als Vorgruppe). Während dieser Tour bestritten sie auch den letzten Auftritt in ihrer Heimatstadt Liverpool am 5. Dezember 1965. Viele ihrer Freunde und Verwandten saßen im Publikum.

Am 1. Mai 1966 standen die Beatles im Rahmen des NME-Poll-Winners-Konzerts zum letzten Mal auf einer britischen Konzertbühne. Einige Aufregung verursachte im Juni 1966 die Veröffentlichung des US-Albums Yesterday and Today. Das Coverfoto zeigte die Beatles inmitten von rohem Fleisch und zerbrochenen Puppen (Butcher Cover). Nach scharfen Protesten aus der Öffentlichkeit wurde die LP zurückgezogen und erschien mit einem neuen Cover. Am 10. Juni 1966 kam die Single „Paperback Writer“ in die Läden.

Vom 24. Juni bis zum 4. Juli 1966 absolvierten die Beatles eine weitere Welttournee, die im Rahmen der BRAVO-Beatles-Blitztournee auch sechs Konzerte an drei Tagen in Deutschland umfasste (München, Essen und – zum letzten Mal am 26. Juni – Hamburg). Für Unfrieden sorgten Proteste von Traditionalisten in Japan, die einen Auftritt der Gruppe im Budōkan, einer vorwiegend der Kampfkunst vorbehaltenen Halle in Tokio, ablehnten.

In Manila spielte die Gruppe zwei Konzerte vor insgesamt 80.000 Zuschauern. Die Tour endete mit einem Eklat, als Brian Epstein im Namen der Band eine Einladung der philippinischen Diktatoren-Gattin Imelda Marcos zum Abendessen ablehnte. Während der darauffolgenden hastigen Abreise wurden die Beatles und ihre Mitarbeiter auf dem Flughafen der Hauptstadt von „Sicherheitskräften“ attackiert. Ringo Starr ging nach einem Kinnhaken zu Boden, ein Chauffeur erlitt einen Rippenbruch.

Die Veröffentlichung der LP “Pet Sounds” durch die Beach Boys spornte Lennon und McCartney zu neuen Höchstleistungen an. Am 5. August 1966 erschien das Album Revolver, mit dem die Beatles in Bezug auf Klang und instrumentale Bandbreite musikalisches Neuland betraten, was einzelne zeitgenössische Kritiker bewog, das Album vorschnell als „Selbstmordwaffe“ des Quartetts abzuwerten. Das Cover des Albums wurde von Klaus Voormann, dem Freund aus Hamburger Tagen, gestaltet.

Die langwierig ausgefeilten, teilweise auch unter Drogeneinfluss entstandenen Stücke, darunter Eleanor Rigby, Taxman, Good Day Sunshine, I’m Only Sleeping, For No One und das psychedelisch angehauchte Tomorrow Never Knows, waren aufwendig mit klassischen Elementen und Tonbandschleifen aus dem Studio angereichert worden. Gleichzeitig wurde die populäre Single Yellow Submarine veröffentlicht, ein Kinderlied, das Paul McCartney für den stimmlich etwas eingeschränkten Ringo Starr komponiert hatte. Die Single erreichte in den USA „nur“ Rang 2 der Hitlisten.

Am 12. August 1966 starteten die Beatles in Chicago ihre vierte US-Tournee. Die Vorkommnisse in Asien und die Tatsache, dass durch den enormen Lärmpegel während der Auftritte kaum noch Musik zu hören war, sorgten bei den Gruppenmitgliedern zunehmend für Verdrossenheit. Neue Aufregung entstand durch die Veröffentlichung einer Bemerkung John Lennons aus einem früheren Interview, wonach die Beatles „schon jetzt populärer als Jesus“ seien.

Nach nervenaufreibenden Pressekonferenzen, öffentlichen Plattenverbrennungen und Demonstrationen des Ku-Klux-Klans entschloss sich die Gruppe, nicht mehr auf Tournee zu gehen und ihre Arbeit ausschließlich ins Studio zu verlegen. Die Tournee endete am 29. August 1966 mit einem Konzert vor 25.000 Zuhörenden (Eintrittspreis damals fünf US-Dollar) im Candlestick Park von San Francisco.

Im Herbst 1966 gönnten sich die Beatles einen fast dreimonatigen Urlaub, der einen radikalen Imagewandel nach sich zog. John Lennon wurde in Celle, wo er für den Richard-Lester-Film Wie ich den Krieg gewann vor der Kamera stand, der Pilzkopf gestutzt. Die Anzüge der Liveshows gehörten der Vergangenheit an und wurden durch farbenfrohe Kleidung ersetzt. Zudem ließen sich die vier Bandmitglieder einen Schnurrbart stehen.

Allen Trennungsgerüchten zum Trotz begann die Gruppe am 24. November 1966 mit den Aufnahmen für ein neues Album. Am 13. Februar 1967 erschien die Doppel-A-Seiten-Single „Strawberry Fields Forever / Penny Lane“, auf der sich die Beatles musikalisch-nostalgisch ihrer Heimatstadt Liverpool widmen.

Erstmals seit 1963 erreichte die Platte nicht die Spitze der britischen Hitparade, sondern blieb auf Rang 2 stehen, was darauf zurückzuführen ist, dass die Verkaufszahlen der Single durch zwei geteilt wurden, um somit als zwei einzelne Singles in den britischen Charts geführt werden zu können.

Fünf Monate lang arbeiteten Lennon, McCartney, Harrison und Starr in den Abbey Road Studios an ihrer LP „Sgt. Pepper’s Lonely Hearts Club Band“, die als eines der ersten Konzeptalben in die Musikgeschichte einging.

Die unbegrenzt verfügbare Aufnahmezeit ermöglichte es den Beatles, alle Studioressourcen einzusetzen und wochenlang an einzelnen Musik- oder Textpassagen zu feilen. Es entstanden Stücke wie “With a Little Help from My Friends”, Lucy in the Sky with Diamonds und When I’m Sixty-Four.

An den Aufnahmen zu A Day in the Life wirkte ein 41-köpfiges Orchester mit. Für das Coverfoto ließen sich die Beatles in Kostümen vor einer Bilderwand berühmter Persönlichkeiten (unter anderem Stan Laurel, Mae West, Bob Dylan, Shirley Temple, Aleister Crowley und Marlon Brando) ablichten. Begleitet von großem Medieninteresse wurde Sgt. Pepper am 1. Juni 1967 veröffentlicht.

Peace & Revolution (1967–1968)

Nachdem Bob Dylan die Beatles 1964 mit der Droge Marihuana bekannt gemacht hatte, griffen die Gruppenmitglieder im Laufe der Zeit auch zu stärkeren Drogen. John Lennon und George Harrison waren bereits 1965 mit LSD in Kontakt gekommen. Paul McCartney gab im Juni 1967 während eines Fernsehinterviews öffentlichkeitswirksam bekannt, viermal LSD konsumiert zu haben.

Am 25. Juni 1967 traten die Beatles mit der von Lennon komponierten Friedenshymne “All You Need Is Love” in der per Satellit weltweit übertragenen BBC-Fernsehsendung Our World Live auf, die von 400 Millionen Zuschauern gesehen wurde.

Zu den Gästen in den Abbey Road Studios, wo die Aufnahmen stattfanden, gehörten Mick Jagger, Keith Richards, Eric Clapton, Keith Moon und Marianne Faithfull. Die Single All You Need Is Love wurde am 7. Juli 1967 veröffentlicht. Sie brachte die Gruppe beiderseits des Atlantiks an die Spitze der Hitparaden zurück.

Ende Juli 1967 verbrachten die Mitglieder der Beatles mit ihren Frauen einen gemeinsamen Urlaub in Griechenland. Die Idee zum Kauf einer privaten Insel und die damit verbundene Einrichtung eines Aufnahmestudios wurde verworfen, nachdem die griechische Regierung den Besuch zur Touristenwerbung genutzt hatte. Am 19. August 1967 wurde Ringo Starrs zweiter Sohn Jason in London geboren.

Auf Pattie Harrisons Anregung hin besuchten die Beatles am 24. August 1967 einen Vortrag des indischen Gurus Maharishi Mahesh Yogi, der in London für die Techniken der Transzendentalen Meditation warb. Die Gruppe wurde zu einem Einführungs-Wochenende nach Bangor eingeladen. Mit dabei waren auch Mick Jagger und Marianne Faithfull. Während des Kurses erhielten die Beatles die Nachricht, dass ihr Manager Brian Epstein am 27. August 1967 tot in seiner Wohnung aufgefunden worden war.

Schockiert vom Tod ihres Freundes begannen die Beatles am 11. September 1967 mit den Dreharbeiten für ihren dritten Film Magical Mystery Tour. Die psychedelische Komödie nach einer Idee von Paul McCartney entstand völlig ohne Drehbuch. McCartney übernahm weitgehend die Rolle des Regisseurs, was bei Lennon und Harrison für Verstimmungen sorgte.

Das Soundtrack-Album “Magical Mystery Tour” (unter anderem mit The Fool on the Hill und I Am the Walrus) wurde am 27. November in den USA veröffentlicht. Die Single Hello, Goodbye erschien bereits am 24. November. Am 26. Dezember 1967 feierte Magical Mystery Tour im BBC-Fernsehen Weltpremiere, um kurz darauf – als erster Misserfolg – von Presse und Kritikern verrissen zu werden.

Mitte Februar 1968 reisten die Beatles mit ihren Frauen nach Rishikesh (Indien), wo ein mehrwöchiger Meditationskurs des Maharishi stattfand. Weitere Teilnehmer waren Mia Farrow, Mike Love und Donovan. Ringo Starr kehrte bereits Anfang März nach England zurück, Paul McCartney folgte drei Wochen später.

John Lennon und George Harrison verließen Indien erst Mitte April, nachdem Lennons Freund Yanni „Magic Alex“ Alexis Mardas das Gerücht verbreitet hatte, der Maharishi habe Mia Farrow und andere weibliche Kursteilnehmer sexuell belästigt – ein Gerücht, das von Farrow selbst nie bestätigt wurde und für das sich George Harrison später beim Maharishi entschuldigt haben soll.

Während der Indienreise erschien am 15. März 1968 die an den Stil von Fats Domino angelehnte Single Lady Madonna. Der Aufenthalt in Rishikesh war nach Ansicht von Paul Saltzman, Autor eines Bildbandes über jene Tage, die kreativste Zeit der Beatles: 48 Songs seien in diesen sieben Wochen komponiert worden.

Am 11. Mai 1968 flogen John Lennon und Paul McCartney nach New York, wo sie bei Pressekonferenzen und Fernsehauftritten das neue Beatles-Unternehmen Apple vorstellten. Der Konzern mit Abteilungen für Musik, Film und Kunst sollte sich vorrangig der Entdeckung und Förderung von Talenten aller Art widmen. Als Leiter ihrer Pressestelle engagierten sie den Journalisten Derek Taylor, der 1964 bereits einmal als Pressesprecher für die Gruppe gearbeitet hatte.

In der Folgezeit entwickelte sich Apple jedoch durch den mangelnden Geschäftssinn der Beatles und ihrer Mitarbeiter zum Millionengrab. Bereits im November 1967 war in London eine Apple-Boutique eröffnet worden, die jedoch mangels Einnahmen nach wenigen Monaten geschlossen werden musste. Zu den wenigen Lichtblicken gehörte die Entdeckung der Sängerin Mary Hopkin und der Gruppe Badfinger durch Paul McCartney.

Die fortschreitende Liebesbeziehung John Lennons zu Yoko Ono – er hatte die japanische Avantgarde-Künstlerin am 9. November 1966 bei einer ihrer Londoner Ausstellungen kennengelernt – führte im Mai 1968 zur Trennung von Ehefrau Cynthia.

Am 30. Mai 1968 begannen die Beatles mit den Aufnahmen zu einem neuen Album; in Anbetracht der Fülle der in Indien komponierten Stücke entschloss man sich zur Produktion eines Doppelalbums. Die Arbeiten, die wegen des Termindrucks teilweise getrennt stattfanden, wurden von einer zunehmend schlechten Stimmung zwischen den Gruppenmitgliedern geprägt.

Neben der offenen Abneigung, die McCartney, Harrison und Starr gegenüber Yoko Ono hegten, war man sich auch über die Single-Auskopplung des Lennon-Songs „Revolution“ uneinig. Nach einem heftigen Streit verließ Ringo Starr die Gruppe, konnte aber zur Rückkehr überredet werden.

Trotz aller Schwierigkeiten bewerkstelligten die Beatles die Aufnahme von Liedern wie „Back in the USSR“, „Ob-La-Di, Ob-La-Da“, „Dear Prudence“, „Helter Skelter“ und „Happiness Is a Warm Gun“. Bei George Harrisons Komposition „While My Guitar Gently Weeps“ wurde die Gruppe von Eric Clapton unterstützt, der das E-Gitarren-Solo spielte.

„Yellow Submarine“, ein Zeichentrickfilm, der auf dem gleichnamigen Lied basiert, feierte am 17. Juli 1968 in London Weltpremiere. Das dazugehörige Soundtrack-Album erschien erst am 13. Januar 1969 und ist die einzige Beatles-LP, die nicht die Spitze der Charts erreichte – möglicherweise, weil die zweite Seite des Albums nur Instrumentalmusik im „Klassikstil“ von George Martin enthält.

Mit der Veröffentlichung von „Hey Jude“ am 26. August 1968 (erstmals auf dem Apple-Label) gelang der Gruppe ein weiterer Welterfolg. Das von Paul McCartney komponierte Stück über die Situation von John Lennons Sohn Julian nach der Trennung seiner Eltern wurde zur erfolgreichsten Beatles-Single überhaupt.

Am 4. September spielte die Gruppe das Lied in der britischen Fernsehsendung „Frost on Sunday“ – der letzte gemeinsame Fernsehauftritt der Beatles. Das Album „The Beatles“, wegen seines vollständig weißen Covers auch als „White Album“ (deutsch: ‚Weißes Album‘) bekannt, erschien am 22. November 1968. Die ersten Auflagen waren mit einer fortlaufenden Nummerierung versehen, sodass jedes Cover ein Unikat war.

Am 1. November 1968 veröffentlichte George Harrison sein erstes Soloalbum Wonderwall Music, das den Soundtrack zum Film Wonderwall darstellt. Am 12. November folgten John Lennon und Yoko Ono mit ihrer Avantgarde-LP Unfinished Music No.1: Two Virgins, die vor allem wegen des Coverbildes, das Lennon und Ono nackt zeigt, für Aufregung sorgte.

Die Trennung (1969–1970)

Am 2. Januar 1969 begannen die Beatles in den Filmstudios von London-Twickenham mit den Dreharbeiten für die Musikdokumentation „Get Back“ (später: “Let It Be”). Nach der Idee von Paul McCartney sollte die Gruppe bei der Produktion eines neuen Albums und der Ausarbeitung einer Liveshow von Kameras beobachtet werden. Die Stücke sollten ohne Orchesterbegleitung und Doppelspur-Aufnahmen eingespielt werden.

Regisseur war Michael Lindsay-Hogg. Schon nach wenigen Tagen bildeten sich erneut Spannungen zwischen den Bandmitgliedern. Während sich John Lennon zunehmend unbeteiligt zeigte und bei Entscheidungen Yoko Ono für sich sprechen ließ, übernahm Paul McCartney wiederholt die Rolle des Produktionsleiters. George Harrison und Ringo Starr debattierten über das Ausmaß der geplanten Liveshow.

Am 10. Januar 1969 verließ Harrison das Aufnahmestudio, nachdem er von McCartney vor laufenden Kameras für sein Gitarrenspiel kritisiert worden war. Nach einem klärenden Gespräch setzten Lennon, McCartney, Harrison und Starr die Dreharbeiten zwölf Tage später in den neu eingerichteten Londoner Apple-Studios fort. Mit dabei war der Keyboarder Billy Preston, der zur Beruhigung der Situation beitrug.

Nach dem Ende der Dreharbeiten wurde das Get-Back-Projekt im Februar vorläufig auf Eis gelegt. Am 12. März 1969 heiratete Paul McCartney die Fotografin Linda Eastman in London. Gleichzeitig wurden George und Pattie Harrison von dem Rauschgiftfahnder Norman Pilcher, der im Herbst 1968 bereits John Lennon und Yoko Ono verhaftet hatte, wegen Drogenbesitzes festgenommen und später zu Geldstrafen verurteilt.

John Lennon und Yoko Ono heirateten am 20. März im britischen Konsulat von Gibraltar. Anstatt einer Hochzeitsreise entschloss sich das Paar, eine Woche lang in einem Hotelbett in Amsterdam für den Frieden zu demonstrieren (Bed-in). Später folgten weitere Friedensproteste, darunter ein weiteres Bed-in in Montreal, mehrere Auftritte in Säcken (Bagism) und die Rückgabe von Lennons MBE-Orden.

Im Frühling 1969 nahmen die geschäftlichen Probleme der Beatles überhand, als Dick James und dessen Partner Charles Silver ohne Wissen der Gruppenmitglieder ihre Anteile an Northern Songs Ltd., die die Lennon/McCartney-Kompositionsrechte beinhalten, an die Associated Television Corporation (ATV) verkauften.

Im Laufe der Bemühungen zu einem Rückkauf stellte sich heraus, dass Paul McCartney seine Anteile ohne das Wissen von John Lennon erhöht hatte. Für zusätzliche Verwicklungen sorgten Lennon, Harrison und Starr am 8. Mai, als sie den Geschäftsmann Allen Klein gegen den Willen von McCartney als neuen Beatles-Manager einsetzten.

Am 11. April 1969 veröffentlichten die Beatles ihre Single Get Back. Bereits am 29. Mai folgte das ausschließlich von John Lennon und Paul McCartney eingespielte Stück „The Ballad of John and Yoko“.

Trotz der persönlichen und geschäftlichen Differenzen begannen die Beatles am 16. April 1969 mit den Aufnahmen für ein neues Album. Durch die von den Gruppenmitgliedern angestrebte Konzentration auf ihre Musik und die von Produzent George Martin unterstützte Rückbesinnung auf die Machart früherer Arbeiten verlief die Produktion weitgehend harmonisch.

Unter einer spürbaren sentimentalen Abschiedsstimmung entstanden Klassiker wie „Come Together“, „Golden Slumbers“, „Oh! Darling“, „Octopus’s Garden“ (eine Komposition von Ringo Starr) und Here Comes the Sun (Harrison). Am 20. August 1969 waren die Beatles zum letzten Mal zu viert im Studio, und zwei Tage später fanden im Tittenhurst Park die letzten gemeinsamen Fotoaufnahmen statt.

Paul und Linda McCartneys erste Tochter Mary wurde am 28. August 1969 in London geboren.

Am 20. September 1969 unterzeichneten John Lennon, Paul McCartney und Ringo Starr in London einen neuen Tantiemen-Vertrag mit der EMI und Capitol Records. Als McCartney während des Treffens eine Reihe weiterer Beatles-Konzerte vorschlug, erklärte John Lennon seinen Ausstieg aus der Gruppe.

Sechs Tage später wurde das Album Abbey Road, auf dessen berühmtem Cover die Beatles den Zebrastreifen der Londoner Abbey Road überqueren, veröffentlicht. Die LP endet nach einem mehrteiligen Medley mit dem Stück The End, das mit den Worten schließt:

“And in the end the love you take is equal to the love you make.”

„Und am Ende ist die Liebe, die du empfängst, gleich der Liebe, die du gibst.“

Die Dreharbeiten für den Promofilm zur Single Something, die am 6. Oktober erschien, und die Aufnahme einer Weihnachtsplatte für die Fanclubs im November gingen bereits getrennt vonstatten. Nach einer Fernseh- und Presse-Umfrage wurde John Lennon am 2. Dezember 1969 neben John F. Kennedy und Mao Zedong zum Mann des Jahrzehnts gewählt.

Im Oktober 1969 und Anfang der 1970er Jahre geriet das White Album noch einmal in den Fokus der Weltöffentlichkeit, da das Doppelalbum eine Rolle bei einer Mordserie in Los Angeles spielte, die aufgrund der Prominenz der Opfer ein großes Medieninteresse hervorrief und die Aufklärung der Morde in diesem Zeitraum erfolgte.

Der Sektenführer Charles Manson und seine Anhänger meinten aus einzelnen darin veröffentlichten Liedern (Helter Skelter, Piggies, Blackbird, Honey Pie, Revolution 9) Botschaften herauszuhören und initiierten nachfolgend eine Mordserie, deren prominentestes Opfer die hochschwangere Schauspielerin Sharon Tate war (siehe: Mansons „Helter Skelter“).

Die Beatles distanzierten sich von Mansons Interpretation ihrer Lieder. Die Verkaufszahlen des Weißen Albums stiegen in den USA aufgrund des Medienhypes um den Prozess stark an. Das White Album ist bis heute das Beatles-Album mit den meisten Auszeichnungen der RIAA in den USA.

Während sich John Lennon mit seiner Frau Yoko Ono in Dänemark aufhielt, arbeiteten Paul McCartney, George Harrison und Ringo Starr am 3. Januar 1970 in den Abbey Road Studios an der Harrison-Komposition I Me Mine. Einen Tag später vollendete McCartney sein Stück Let It Be, das am 6. März 1970 als Single veröffentlicht wurde. Am 27. März 1970 erschien Ringo Starrs erstes Soloalbum „Sentimental Journey“.

Ohne das Wissen von Paul McCartney hatte John Lennon den Produzenten Phil Spector mit der Abmischung der Filmbänder vom Januar 1969 beauftragt. Dieser veränderte den ursprünglichen Get-Back-Gedanken einer einfachen Aufnahmetechnik und versetzte die Stücke mit klassischer Begleitung und Gesangsdoppelungen.

Im Rahmen dieser Arbeiten fand am 1. April 1970 die letzte Beatles-Aufnahmesitzung statt, als Ringo Starr in den Abbey Road Studios für drei der Stücke Schlagzeug-Overdubs einspielte. Das Soundtrack-Album wurde schließlich als Let It Be am 8. Mai 1970 veröffentlicht. Der gleichnamige Film feierte am 20. Mai in London Weltpremiere und wurde ein Jahr später mit einem Oscar für die beste Filmmusik ausgezeichnet.

Am 10. April 1970 schickte Paul McCartney der britischen Presse ein in den Vorabexemplaren seiner ersten Solo-LP McCartney enthaltenes Interview, in dem er die Trennung der Beatles bekanntgab:

Am 8. Dezember 1980 wurde der 40-jährige John Lennon, der gerade mit dem Album Double Fantasy sein musikalisches Comeback gefeiert hatte, vor seinem Wohnhaus in New York von dem psychisch gestörten Fan Mark David Chapman erschossen. Paul McCartney (gerade in London), George Harrison (in Henley-on-Thames) und Ringo Starr (auf den Bahamas) wurden telefonisch über den Tod ihres Ex-Partners informiert.

Starr flog am 9. Dezember mit seiner Freundin Barbara Bach nach New York und besuchte Yoko Ono und Sean Lennon im Dakota-Haus. Eine Woche später trafen sich die restlichen Ex-Beatles mit Ono im Plaza Hotel, um die geschäftlichen Konsequenzen von Lennons Ermordung zu diskutieren.

„Nach allem, was wir durchgemacht haben, mag und respektiere ich ihn immer noch sehr. Ich bin bestürzt und fassungslos. Jemandem das Leben zu rauben ist der schlimmste Raub, den man im Leben begehen kann. Dieses ewige Eingreifen in den Freiraum anderer Menschen wird durch den Gebrauch einer Waffe aufs Äußerste getrieben. Es ist ein Gräuel, dass man das Leben eines anderen nehmen kann, wenn man sein eigenes Leben nicht im Griff hat.“

– Presseerklärung von George Harrison

Als Ringo Starr am 27. April 1981 die Schauspielerin Barbara Bach in London heiratete, gehörten auch Paul und Linda McCartney sowie George und Olivia Harrison zu den 70 Gästen. Während der Feier traten McCartney, Harrison und Starr mit Harry Nilsson und Ray Cooper als All-Star-Band auf. Am 11. Mai veröffentlichte George Harrison die John-Lennon-Tribut-Single „All Those Years Ago“, die musikalische Beiträge von Paul McCartney und Ringo Starr enthält. Starrs Album „Stop and Smell the Roses“ vom 27. Oktober beinhaltete je zwei McCartney- und Harrison-Kompositionen.

Die am 26. April 1982 veröffentlichte Paul-McCartney-LP „Tug of War“ enthält das John-Lennon-Tribut-Stück „Here Today“. Ringo Starr spielte bei „Take It Away“ Schlagzeug. Am 24. Mai besuchten George Harrison und Ringo Starr die Aufführung des Films The Cooler (mit Starr und McCartney) auf dem Filmfestival von Cannes. Am 23. Juni spielten Paul McCartney und Ringo Starr ein gemeinsames Konzert vor Fanclub-Mitgliedern in den Elstree Film Studios in Hertfordshire.

Den möglichen Rückkauf der Firma Northern Songs erörterten Paul McCartney, George Harrison und Ringo Starr bei einem Treffen am 25. Juli 1983 im Londoner Gore-Hotel. Im September klagten die drei Ex-Beatles gegen eine Veröffentlichung der Beatles-Fan-Club-Weihnachtssingles aus den Jahren 1963 bis 1969. Bei einem weiteren Geschäftstreffen mit Yoko Ono am 1. Dezember wurde über die Zukunft von Apple diskutiert.

Am 25. Oktober 1984 feierte der Paul-McCartney-Kinofilm Broad Street in New York Weltpremiere. Der Film und der Soundtrack Give My Regards to Broad Street entstanden in enger Zusammenarbeit mit Ringo Starr. Im Dezember verhinderten die drei Ex-Beatles die Veröffentlichung des Albums The Beatles Sessions, das bisher unveröffentlichte Aufnahmen enthalten hätte.

Im Jahr 1985 flammten die geschäftlichen Auseinandersetzungen zwischen den Ex-Beatles erneut auf. Am 25. Februar wurde Paul McCartney von George Harrison, Ringo Starr und Yoko Ono verklagt, da er angeblich seine Tantiemen-Quoten an den Beatles-Platten heimlich erhöht hatte. Am 4. April feierte der von George Harrison produzierte Film Wasser – Der Film Premiere, in dem Harrison unter anderem mit Ringo Starr und Eric Clapton das Lied Freedom singt.

Am 10. August kaufte Michael Jackson für 47,5 Millionen Dollar die Rechte an allen 251 Lennon/McCartney-Kompositionen. Der unterlegene Bieter Paul McCartney war entsetzt, da Yoko Ono ihm versichert hatte, ein Angebot von fünf Millionen Dollar würde ausreichen.

Ab dem 26. Februar 1987 wurden sämtliche Beatles-Alben auf CD neu veröffentlicht. Dabei stieg Sgt. Pepper zum 20-jährigen Jubiläum bis auf Rang 3 der britischen Hitparade. Am 5. Juni traten George Harrison und Ringo Starr gemeinsam bei der Prince’s Trust Rock Gala in der Londoner Wembley Arena auf. Auf dem am 2. November veröffentlichten Harrison-Album „Cloud Nine“, das auch den Beatles-Tribut-Song „When We Was Fab“ enthält, spielte Starr Schlagzeug.

George Harrison und Ringo Starr nahmen am 20. Januar 1988 an der Einführung der Beatles in die Rock and Roll Hall of Fame im New Yorker Waldorf Astoria-Hotel teil. Paul McCartney blieb wegen der andauernden geschäftlichen Differenzen fern. Harrison und Starr gaben mit Bob Dylan, Mick Jagger, Bruce Springsteen und Mike Love ein All-Star-Konzert. Am 8. März wurden die Alben „Past Masters Vol. 1 & 2“ veröffentlicht, die eine Zusammenfassung aller Beatles-Singles und EPs enthalten.

Am 8. November 1989 wurden die Plattenfirmen EMI und Capitol dazu verurteilt, 100 Millionen US-Dollar unbeglichene Tantiemen an die Ex-Beatles nachzuzahlen. Ende des Monats enthielt eine Presseerklärung von George Harrison das Zitat, die Beatles würden sich nicht wiedervereinigen „solange John Lennon tot bleibt“.

Im April 1990 wurden vier in den Jahren 1983/1984 entdeckte Asteroiden von der Internationalen Astronomischen Union in Lennon, McCartney, Harrison und Starr umbenannt. Im Oktober 1991 endete der zweite Rechtsstreit zwischen Apple Corps und der Computerfirma Apple in einer außergerichtlichen Einigung.

Am 6. April 1992 trat Ringo Starr auf einem von George Harrison organisierten Wohltätigkeitskonzert zugunsten der Meditiations-Organisation Natural Law Party in der Londoner Royal Albert Hall auf. Am 8. Oktober trafen sich McCartney, Harrison und Starr mit Yoko Ono zu einer Geschäftsbesprechung in der Londoner MPL-Zentrale.

Anthology (1994–2001)

Bereits 1970 und 1980 hatte es Pläne für eine groß angelegte Fernsehdokumentation unter dem Arbeitstitel The Long and Winding Road gegeben, bei der Neil Aspinall die Geschichte der Beatles aufarbeiten sollte. Kurz vor der Ermordung John Lennons waren die Verhandlungen mit den Ex-Mitgliedern, die als Teil der Werbekampagne sogar einem gemeinsamen Live-Auftritt zugestimmt hatten, weit fortgeschritten.

Am 19. Januar 1994 wurde John Lennon postum in Anwesenheit von Paul McCartney und Yoko Ono im New Yorker Waldorf-Astoria-Hotel als Solointerpret in die Rock and Roll Hall of Fame aufgenommen. Auf der anschließenden Pressekonferenz bestätigte McCartney die Gerüchte um eine bevorstehende Beatles-Reunion. Ono übergab McCartney vier von Lennon in den 1970er Jahren angefertigte Demobänder, die bis dato unveröffentlichte Stücke enthielten.

Ein Querschnitt der Beatles-Rundfunkaufnahmen aus den Jahren 1963 bis 1965 wurde am 30. November 1994 auf dem Doppel-Album Live at the BBC veröffentlicht, das die Spitze der britischen Hitparade erreichte. Ringo Starrs ehemalige Frau Maureen Tigrett starb am 30. Dezember im Alter von 48 Jahren in Los Angeles an den Folgen einer Leukämie-Knochenmarktransplantation.

Am 6. Februar 1995 nahm die Gruppe in Peasmarsh die Arbeit zu ihrer zweiten neuen Single Real Love auf. Die Produktion gestaltete sich diesmal schwieriger, da die Tonqualität des Demobandes katastrophal war. Die Vollendung der weiteren neuen Stücke, „Now and Then“ und „Grow Old with Me“, wurde einen Monat später wegen Meinungsverschiedenheiten abgebrochen.

In Anwesenheit von George Martin begannen die Beatles am 22. Mai 1995 in den Londoner Abbey Road Studios mit der Auswahl und Abmischung der Stücke für die geplanten drei Anthology-Alben, die Outtakes und unveröffentlichte Stücke der Gruppe enthalten sollten. Ihr langjähriger Freund Klaus Voormann wurde mit der Covergestaltung beauftragt. Im Oktober und November fanden Dreharbeiten für die Videoclips zu „Free as a Bird“ und „Real Love“ statt.

Begleitet von einer monströsen Werbekampagne feierte am 19. November 1995 der erste Teil der fünfstündigen Dokumentation „The Beatles Anthology“ im US-Fernsehen Weltpremiere. Zwei Tage später wurde das Doppelalbum „Anthology 1“ mit Titeln aus den Jahren 1958 bis 1964 veröffentlicht. Es erreichte die Spitze der US-Hitparade. Am 4. Dezember kam die Single „Free as a Bird“ in die Läden, die entgegen allen Erwartungen hinter Michael Jacksons Earth Song auf Rang 2 der britischen Hitlisten stehen blieb.

Am 4. März 1996 erschien die zweite Comeback-Single „Real Love“, die vom britischen BBC-Rundfunk wegen „tontechnischer Gründe“ aus dem Programm verbannt wurde. Anthology 2 (mit Titeln von 1965 bis 1968) erschien am 18. März und stieg beiderseits des Atlantiks an die Spitze der Hitlisten. Der Beatles-Produzent George Martin wurde am 15. Juni zum Ritter geschlagen. Am 7. Oktober erschien die Anthology in einer achtteiligen Videobox.

In einer Presseerklärung gaben McCartney, Harrison und Starr am 17. Oktober 1996 bekannt, dass es keine weiteren gemeinsamen Aufnahmen geben würde. Das am 28. Oktober veröffentlichte Doppelalbum Anthology 3 (mit Titeln von 1968 bis 1970) erreichte wiederum Rang 1 der US-Hitlisten.

Die Beatles sind damit die einzige Gruppe, von denen zweimal innerhalb von zwölf Monaten drei Alben die Spitze der US-LP-Hitparade erreichten (1964 und 1996). Insgesamt wurde die Gruppe für die dreiteilige Anthology mit 15 Multi-Platin-Schallplatten und drei Grammy Awards ausgezeichnet.

Am 11. März 1997 wurde Paul McCartney im Londoner Buckingham Palace von Königin Elisabeth II. zum Ritter geschlagen. Zwei Monate später veröffentlichte er das Album „Flaming Pie“ (benannt nach Lennons Äußerung zur Entstehung des Namens „Beatles“), das musikalische Beiträge von Ringo Starr enthält.

McCartney revanchierte sich ein Jahr später bei dessen CD Vertical Man. Am 14. Oktober besuchten die beiden Ex-Beatles gemeinsam die Weltpremiere von McCartneys Orchesterwerk Standing Stone in der Royal Albert Hall.

Im Mai 1998 klagten Paul McCartney, George Harrison und Ringo Starr gegen eine Plattenfirma, die den Mitschnitt eines Star-Club-Konzerts der Beatles auf CD veröffentlicht hatte. Am 8. Juni nahmen McCartney, Harrison und Starr in London an der Trauerfeier für Linda McCartney teil, die am 17. April in Tucson (Arizona) ihrem Brustkrebsleiden erlegen war. Am 28. Dezember wurden die Beatles mit einem Stern auf dem Hollywood Walk of Fame verewigt.

Am 14. September 1999 wurde der digital restaurierte Zeichentrickfilm Yellow Submarine auf DVD veröffentlicht. Gleichzeitig erschien ein neu zusammengestelltes und abgemischtes Soundtrack-Album. Zum Ende des Jahres wurden die Beatles in einer landesweiten Umfrage unter 600.000 britischen Bürgern zu den Bedeutendsten Künstlern und zur Besten Musikgruppe des 20. Jahrhunderts gewählt. „Sgt. Pepper’s“ gewann die Wahl zum Besten Album.

Am 30. Dezember wurde George Harrison bei einem Messerattentat in seiner Villa in Henley-on-Thames im Brustbereich verletzt.

Bereits im August/September 1997 hatte sich George Harrison nach der Entfernung eines geschwollenen Lymphknotens in London einer Radium-Strahlentherapie unterzogen. Im Januar 1998 folgte eine Behandlung in der renommierten Mayo Clinic von Rochester (Minnesota). Am 21. März 2001 wurde Harrison mit Verdacht auf Lungenkrebs erneut ins Krankenhaus eingeliefert.

Bei der anschließenden Operation wurde ein bösartiges Krebsgeschwür von der Lunge entfernt. Paul McCartney besuchte seinen Ex-Kollegen am 8. Mai während dessen Erholungsurlaubs in der Toskana. Nur eine Woche später diagnostizierten Ärzte der Krebsklinik von Bellinzona einen schweren Hirntumor. Das letzte Treffen von Paul McCartney, George Harrison und Ringo Starr fand am 12. November im University Hospital von Staten Island (New York) statt, wo Harrison mit einer starken Chemotherapie behandelt wurde.

Am 29. November 2001 starb George Harrison im Alter von 58 Jahren in Los Angeles (Kalifornien).

Musikalische Bedeutung

Die Beatles werden vielfach als wichtigste Popband der 1960er Jahre bezeichnet[63] und haben nahezu alle Genres der Pop-/Rockmusik nachhaltig beeinflusst. Bis zum Jahr 2012 haben sie mehr als 600 Millionen Tonträger verkauft.

Anfänglich standen sie namensgebend für die Musikrichtung des Beats. Dies war ein gitarrenlastiger Musikstil, der sich durch schnellen 4⁄4-Takt und eingängige Melodien auszeichnete. Seine Bedeutung liegt darin, dass er zum ersten Mal einen eigenständigen Rockstil in Großbritannien etablierte und damit eine musikalische Unabhängigkeit von den US-amerikanischen Vorbildern ermöglichte.

Ab 1964 begannen die Beatles, sich musikalisch weiterzuentwickeln und mit anderen Musikstilen zu experimentieren. So zeigt das Album Beatles for Sale deutliche Einflüsse aus der Folk- und Country-Musik. Das folgende Album Help! enthält erstmals Gastmusiker, und zwar – wie nachfolgend regelmäßig – aus dem klassischen Bereich:

Unter anderem ist mit der Ballade „Yesterday“ ein Stück zu hören, in dem der Sänger (McCartney) neben seiner Akustikgitarre nur von einem Streichquartett begleitet wird. Auf dem 1965 veröffentlichten Album Rubber Soul wurden erstmals indische Einflüsse hörbar. Das 1966er Album Revolver beeindruckte durch eine breite Palette unterschiedlichster Pop-Derivate. Darin zeigte sich eine wesentliche Stärke der Beatles: Sie vermochten verschiedenste Geschmäcker zu bedienen, ohne dabei ihren eigenen Charakter zu verlieren.

Mit dem Album „Sgt. Pepper’s Lonely Hearts Club Band“ von 1967 legten sie eines der ersten Konzeptalben der Popgeschichte vor, das auch von „Pet Sounds“ der Beach Boys inspiriert ist. Sgt. Pepper war auch die erste Platte in der Popgeschichte, auf deren Cover die Texte der Lieder abgedruckt waren.

Mit der Doppel-LP The Beatles – wegen des Covers gemeinhin „White Album“, das „Weiße Album“, genannt – demonstrierten die Beatles noch einmal ihr gesamtes musikalisches Spektrum, unter anderem mit Helter Skelter, einem der ersten Hard-Rock-Stücke der Rockgeschichte.

Somit bediente die Musik der Beatles Stilrichtungen von Rock ’n’ Roll, Beat und Balladen über Country, Folk, Music Hall und Blues bis zu Psychedelic Rock, klassischer Musik und auch Hardrock.

Die Musikzeitschrift Rolling Stone wählte die Beatles im Jahr 2004 auf den ersten Platz der 100 größten Musiker aller Zeiten.

Bedeutung für die Popkultur

Bis zu den Beatles hatten lediglich Frank Sinatra in den 1940er sowie in den 1950er Jahren Elvis Presley eine ähnliche Welle der Begeisterung und fanatischen Verehrung ausgelöst. Dabei nahmen die Beatles gegenüber den Rolling Stones die Rolle der „braven Jungs“ ein und blieben auch textlich noch recht lange dem harmlosen Schlager treu.

Doch im Rahmen der geistigen und gesellschaftlichen Veränderungen der späten 1960er Jahre änderten die Beatles ihren Stil. Ab 1965 wurden die Texte, inspiriert durch Bob Dylan, allmählich tiefgründiger und persönlicher. Die Kompositionen und Arrangements wurden zunehmend komplexer.

In Liedern wie „She Said, She Said“ verarbeiteten sie die ab 1966 gemachten Erfahrungen mit LSD. Sie beschäftigten sich mit indischer Spiritualität und bekannten sich 1967 zu dem Guru Maharishi Mahesh Yogi und seiner Meditationstechnik. Letztlich verstanden es die Beatles meisterhaft, sich den jeweiligen gesellschaftlichen Strömungen anzupassen, ohne sich zu sehr zu exponieren.

So experimentierten sie zwar 1967 mit psychedelischen Elementen in der Musik, blieben dabei aber wesentlich gemäßigter als etwa Pink Floyd zur selben Zeit. Nicht zuletzt durch ihre Filme – insbesondere durch Yellow Submarine (1968) – übten sie einen nachhaltigen Einfluss auf die Popkultur aus und trugen zur Entwicklung des Musikvideos bei, da sie zeitweise kurze Filme speziell für ihre neuen Single-Erscheinungen drehten und diese an die Fernsehsender schickten.

Ihre Clips für „Paperback Writer“, „Rain“, „Strawberry Fields Forever“ und „Penny Lane“ waren somit die ersten Musikvideos der Popgeschichte, in denen die Band nicht einfach ihren Song spielte, sondern in denen auch andere Dinge passierten. Allerdings waren sie damals noch auf Film aufgenommen und nicht auf Video. Starr und Harrison sagten später dazu, sie hätten diese Filme gedreht, um ihre Titel nicht mehr live in Fernsehstudios präsentieren zu müssen.

The Beatles The Beatles waren eine britische Beatband und später auch Rockband in den 1960er Jahren. Mit mehr als 600 Millionen – nach Schätzungen ihrer Plattenfirma EMI sogar mehr als einer Milliarde – verkauften Tonträgern sind sie die bisher kommerziell erfolgreichste Band der Musikgeschichte.

#George Harrison #John Lennon #Paul McCartney #Ringo Starr #The Beatles

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