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Editorial Reviews. About the Author. Thomas E. Uharriet, author, encoder, philosopher, speaker Beatles Enlightenment: Spiritually Transformative Selections from The Memoirs of Billy Shears - Kindle edition by Thomas E. Uharriet. Download.
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John seemed especially in his element. Tyler remembered a card game when John picked up a bottle and cracked it over the head of a fellow card player. Their third surprise was the engagements themselves. The Beatles were contracted to play for an exhausting four and a half hours every weekday night until 2 a. The Beatles did so and made a reputation for themselves by creating a new persona—stomping all over the stage, throwing chairs, jumping into the audience, and yelling back and forth with the customers in an interactive display.
Not their music so much. The band was now engaged in a kind of popular performance art, hardly surprising in the country that was home to Brecht and cabaret. Of course, they were no strangers to similar traditions, hailing from a country where the roots of popular entertainment go back to the theater and music hall with their similar interaction between the performer and the audience.
The Benzedrine that Royston Ellis had introduced to them in Liverpool came in handy too. The Beatles, of course, were in the same situation, if not more so, since they were also drinking constantly. He wore dark glasses and on this particular evening had a cigarette dangling from his mouth. Astrid and her crowd were a Hamburg version of the students John and Stuart had known at art college, and the two crowds soon drew close.
Though intelligent, the Beatles were hardly sophisticated. Here, suddenly, was this exotic, beautiful, and understanding artist with a car no less! Astrid also spent a great deal of time photographing the group in shadowy half-light pictures. The Beatles were always drawn to photographers; Paul later married an accomplished one.
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In a world in which their look was so important to them, the Beatles understood from the beginning the importance of images. In the late fall of , George was deported for being too young to work in a German nightclub late at night. Three of the others soon straggled back to England. Stuart, however, remained in Hamburg for several weeks with Astrid, to whom he was now engaged.
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That began the process that would see him leave the group to return to art studies with British artist Eduardo Paolozzi, who was teaching in Germany at the time. Stuart had far more traditional artistic talent than the others and had always viewed his musical experience with the group as a kind of sabbatical. Moreover, he was beginning to break down from the whole experience.
It had become unique, it had become their sound. By January , the group had twenty local bookings; by February, over thirty. The girls just ran up from the back of the hall. With Allan Williams now out of the picture, they had no one other than Bob Wooler, who acted more as a friend to represent them to ensure they got paid what they were worth.
They needed help.
Yet they still lacked direction and any sense of how they could convert their momentum into commercial and artistic success. It turned out to be two Liverpool outsiders—an ambitious woman and a troubled gay man—who would set them on the path to their promised land. It was not happenstance that it was an unconventional woman and a gay man whom they drew in and to whom they were drawn. She helped with the bookings; bought them a van; paid for equipment; got their performance fees raised; and, when they were faced with visa entry problems, wrote letters to help get them back to Hamburg in the spring of Mona took an intense interest in them at a time when few others in a position to help them would.
Like Astrid, Mona stood out in a crowd. That meant she had no local Scouse accent. She was restless and bored, yet unlike many women at the time, she found unusual ways to channel her ambitions. First, she decided to move, and when she found a large house she liked, she got the funds to pay for it by pawning some of her possessions and putting the money on a winning horse at the racetrack. Then she designed and opened her basement club, which the Beatles helped paint.
She was known for giving raucous parties, and with her marriage on the rocks, the club and the Beatles became her focus. According to Roag Best in his book, The Beatles: The True Beginnings, sometime during this period, she began having an affair with their roadie and original acolyte, Neil Aspinall. A former student at the Liverpool Institute with Paul and George, Aspinall was studying to be an accountant when, as a lodger in the Best home, he met Mona, who was eighteen years older than he was.
Aspinall heard about the band through Mona and Pete, and soon became their driver, road manager, and general Mr. In April they made another lengthy trip to Hamburg, where they played for hours over ninety-two nights, according to Beatle historian Mark Lewisohn. The rest of the time, they often took the van or the bus to play at local ballrooms around Liverpool. After going downstairs and passing the toilet and coatroom, fans found the room divided into three parts with brick pillars in between.
In the middle was a small stage two feet off the ground, which gave the Beatles about six feet of playing space. There were no curtains or rugs and only a couple of lightbulbs hanging from the ceiling. There were benches on the side, a few chairs in front, and in the back young women danced, mostly with each other. Bob Wooler, the compere, usually announced the acts; the coffee bar in the back served no alcohol. The Cavern was a somewhat unusual venue for Liverpool. It was far more intimate than a ballroom.
The club was thus less likely to attract the toughs who would disrupt evening performances with their violence. That, in turn, made the Cavern palatable to a different class of patron and to far more women. The post-Hamburg Beatles continued to strike Liverpudlians as different from anything they had seen or heard.
Sometimes the Beatles wore collars and ties but no shirts, or cellophane bags around their shoes. Meanwhile, Pete Best often played the drums with one hand while smoking with the other. Their amps were covered with cigarette burns. He was so popular, in fact, that Bob Wooler suggested they move his drums from the back to the front. On the small Cavern stage, Paul played the PR man.
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These collaborative Beatles were far less hierarchical than most other Liverpool bands, who tended to play a rehearsed, prearranged set. In contrast, the Beatles sometimes ate and smoked on stage, and they engaged in a continual dialogue with audience members about which songs to play and who had come to hear them. They never stopped laughing. In many ways, the group got to know its audience as well as its audience got to know the group. It was completely raw and it was all their own—this one-two-three-four rock-and-roll beat. I Love You. When I was around them I could never relax because you got the feeling you were never quite good or fast enough.
At this point in , however, they had written only about a dozen numbers, and even these were rarely performed. Instead the Beatles played anything by others they or the crowd liked—and they seemed to like almost everything. One scholar later calculated that the Beatles covered a new song about every ten days between and Throughout his career in the Beatles, Paul played the bass like a frustrated lead guitarist, thereby reinventing the role of the instrument in rock and roll.
This is very evident on Sgt. Soon the two leads also began wearing black turtlenecks in the fashion of other French students. He had curlier hair. It was all in keeping with their background.
The English have always been a bit nutty about hair. Even today, an American in the UK is often struck by what appears to be the highest ratio of hair salons to customers in the world. Hair styling is an expensive and elaborate ritual; it takes forever and the customer is plied with drinks and snacks. Long hair was also something of a European tradition. Styles, after all, had begun to become shorter only at the dawn of the nineteenth century in imitation of Napoleon, who had something of a hair problem.
Ditto for Caesar, who lionized the laurel wreath worn on the head because it hid his baldness. In contrast, Louis XIV, like most French kings, had grown his hair very long, and his courtiers wore similarlength wigs in imitation. After that, thanks to the Romantic movement, it was mainly artists, like Oscar Wilde, who wore it longer.
Brian was a world removed from the Liverpool background of all four Beatles. He had gone to private school and went frequently to the theater and the symphony. He was as close to the posh establishment in the North—raised with a maid and a nanny—as a Jew could be in a country in which Christianity, after all, is the state religion. Despite these trappings of success, however, Brian was as much an outsider as the Beatles saw themselves, if not more so.
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He attended eight or nine schools—no one wanted to keep count—but he was always having to leave because he was unhappy or in trouble. Clearly there were problems at home. Once his parents went to a school play. In both cases, the problem was his homosexuality, combined with an addiction to danger. I can think of very few successful homosexual relationships in those days. Back in Liverpool and apparently prone to frequent mood swings, Brian was put into the family business. They gave him the record department to run in a music store they owned on Charlotte Street; soon he was so successful they put him in a larger store on Whitechapel.
Soon, he had developed an exquisite ear for what his customers wanted, which would pay off later in his dealings with a wide array of Liverpool groups and acts.
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Others had a different opinion of what drew him to the Beatles. The Beatles offered him a kind of liberating acceptance.