The Beatles influence … … … … 11 [610120]

Contents
Introduction ………………………….. ………………………….. ………………………….. ………………………….. ………… 2
British Culture ………………………….. ………………………….. ………………………….. ………………………….. ……… 6
The Beatles ………………………….. ………………………….. ………………………….. ………………………….. ………….. 7
Name change ………………………….. ………………………….. ………………………….. ………………………….. …… 9
John and Paul ………………………….. ………………………….. ………………………….. ………………………….. …. 10
The Beatles influence ………………………….. ………………………….. ………………………….. …………………… 11
British invasion ………………………….. ………………………….. ………………………….. ………………………….. …… 32
The Origin of the British Invasion ………………………….. ………………………….. ………………………….. …… 33
The Beatles in America ………………………….. ………………………….. ………………………….. ……………………. 33
Beatlemania," a phenomenon created artificially? ………………………….. ………………………….. ………….. 34
The "Committe e of the 300", the initiator of the "Aquarius Project" ………………………….. ………….. 35
Allen Ginsberg and the LSD manufactured by Sandoz, the "arms" of the "Aquariu s" conspiracy … 38
"Pop culture" and "shocks of the future" ………………………….. ………………………….. ……………………….. 39

Introduction

The idea that society and culture are coexisting means that through the culture we
understand what man adds to nature, that is, society. Through its activities, through its own
transformation from a natural being into a social being, man becomes also a cultural being.
This means that man is the creative being of values, that is, culture. It means, however, more
concretely that man is not only a self -satisfied, socialized animal, but a cultivated animal. "The
question then arises: What is c ulture? Culture is a very complex social phenomenon, almost
impossible to grasp in a strict definition. The term culture originates from Latin culture, but in
antiquity Romans used this term often in the original meaning of cultivating the earth as
anatomy transformation, a meaning which, in many Romance languages, has been perpetuated
to this day. The meaning of the other culture, animate culture, and opposite to the agrarian
culture, as a broad -minded education, of the non -indivisible spirit, understood f rom the
intellectual milieu of ancient Rome, is also present among the usual meanings of culture.
Instead, the concept of civilization was used with reference to the totality of the characteristics
displayed in the collective life of an advanced population or in a period of history such as the
Greek civilization of Pericles' time. Thus, civilization appears as a factor of progress.
Etymologically, the term "civilization" derives from classical Latin, where the civilian
civilization and the civilian noun des ignate the general qualities of the citizen.
While some authors adm it that only the term "civilization" is justified, others express
the preference for the term "culture" when they describe the whole of material and spiritual
life.
The sociology of culture anal yses the relations between society and culture, from the
perspective of social conditioning of the culture and social f unction of culture and the relation
between culture and civilization, especially from the perspective of mutual conditioning. It is
the role of the cultures in the process of socialization of individuals, in the action of
organization, leadership, control and social dynamics. Cultural anthropology emphasizes the
cultural types of different ethnic communities embodied in livelihoods. Very close to the
cultural anthropology is ethnology.

Ethnology means maturity. It deals with the study of human behavio ural b ehavio ur,
habitat, population, and often highlights the cultural specificity of a social group . History refers
to culture as a dimension of societ y. History seeks to customize the cultural phenomenon to
different peoples or regions , to frame it in time and to reconstruct it in its manifestations. It
shows that the infinite epoch forms a definite hierarchy of the types of values and some of these
values exert a dominant role.
For our age, the dominant values are the technical technique, the scientific fidelity, the
aesthetic originality and the political participation. New trends are manifested in science, for
example, today, when it is more than ever developed in its abstract area, it is often preferable
to a knowledge knowled geable attitude or at least a knowledge is not rejected because it is
directly verifiable by the consequences or the predictions it lies. In the historical evolution of
the culture were interdependent between the philosophy of Sisterhood, Religion and Art,
Philosophy and politics and so on .
Culture is not a layer of ideal values, it is an ensemble of distinct, built by types of
specialized creative activities. The term "culture" has come to designate not only the ensemble
of values, but above all, the subs et of new values, derived from the creation and self -creation
of man.
Culture and civilization are two branches of human creation. After a culture has finally
reached its culmination, it has inevitably transformed itself into civilization . Civilization would
have constituted the end of any culture.
It has been point ed out that civilization, as the final phase of any culture, comes from a
loss of spiritual affections of man kind (Jörg Baberowski , Der Sinn der Geschichte:
Geschichtstheorien von Hegel bis Foucault , 2005 :53). Wha t characterizes civilization is the
deviated will, to live, to enjoy the pleasures of life, and as such, in this stage of humankind the
dominant concern would be the practical organization of life. While culture is secular by being
free, free, civilization is characterized by its practical preoccupations. b. Conceptions that put
civilization on the "count" come from a certain category of historical band thinkers. It is enough
to look at a high school history textbook to discover the major weight given in a chapter about
the medieval Middle Ages, for example, economic, political, administrative, legal, military
organization, habitat, clothing, food, versus the cultural ones.c. Between culture and
civilization, some say, it ca n’t be a fatal succession, neith er absolute paralysis, nor

subordination or inclusion, but rather interaction. Today almost all the cultural domains have
scientific and philosophical characteristics. In many of its areas, contemporary culture is
characterized by a strong professionalism, it als o presents time and aspects marked by
deculture.
In the present age there is a tendency to share the creative dimension of culture by its
participative dimension. It is today a new attitude towards the two dominant forms of culture,
science and technology. They are increasingly seen as bivalent, potentially contructive or
destructive factors in the evolution of the society. Each of the fields of culture, but to a greater
extent politics, art and science, suppose and include elements of technical culture. Th e cultural
art of the technique is characterized by the fact that it is not only a complex of means or an
assembly of methods, processes and techniques that are useful in various cultural plans, but are
part of the internal structure of the different field s of culture. If culture is not a homogenous
phenomenon, is it an incremental one, devoid of dynamics?
The terms of cultural advancement and evolution are in the field of cultural criticism,
it is produced by a process of introducing a valuable judgment on the cultural act, thus
appreciating the cultural creation. Change is a kind of being a culture, one of its existential
ways.
In a certain field of culture, for example art, the new artistic style can not always be
viewed from the perspective of superiorit y to the previous. The history of culture is not,
therefore, the "evolution of culture" or "the progress of culture". If there is no "general" stylistic
field "human, but" concrete ", differentiated and ephemeral" stylistic fields ", can they talk?
The st ylistic factors, relatively independent, can be the way of a stylistic matrix, and
they can move from one stylistic field to another, in new stylistic configurations. The
tendencies of a new style overlap and assimilate the elements of another style. Cultu re is a
process of humanization of nature, an active dialogue culminates through an action of
individualization, personalization.
The emphasis is placed on the inner pedimation, on the learning and learning, on the
exercise of individual spiritual skills and energies; the author of the cultural act is the individual
(creator and devalorist). The beneficial cultural environment is where all kinds of cultural

attitudes, not only cognitive, are present, active and interdependent. The mode of involvement
of cu lture in the formation of the human individual differs from other epochs in many aspects.
In our age, culture is lacking in unity, especially in the sense that, within it, there are
several types of values that are not integrated into a whole ensemble. I t is believed that today
we are witnessing a cultural syncretism in which values deceive values in search of meaning.
We consider that some of the evidenced traits and trends of the societal domain of society lead
to what we consider to be the cultural characteristic of our age. Continue the formation of so –
called subcultures or contrac – tures, as expressions of the removal of human groups from the
cultural system or even as forms of contestation . Civilization is neither beyond culture nor
culture, but is a way of being culture, "the active and functional sense of culture, the field of
action, effectiveness and positivity." While the fundamental correlates of culture are nature and
man, alecivilization are society and man. "Culture is the result of the detachment of man of
nature, having a face your subject to the subject; civilization is the result of man's insertion into
society has a face towards the object. "
Civilization is an excellent collective work, it cultivates, by definition, individual
creat ion, personal effort. Culture, as genesis, omitting from natural to subjective, from social
and objective to individual and subjective, requires civilization to reverse, from individual to
subjective to social objective.
The current culture has a prospective character. More than ever, both individual actions
and social development are oriented towards coherent forward -looking models. In addition to
a range of prospective sciences, social activities also shape out specific activities, organizations
and institutions. Most and most important changes are being made today in the culture of
culture; these changes occur both at the level of the scientific activities and relations, as well
as at the level of the scientific institut ions, but especially within the science itself. Today, the
technique includes more theoretical knowledge elements, surpassing even the applied science
status and even that one of science's application. Our era is the era of cultural promotion. This
stateme nt can be considered as a general truth, as it can be amended, as there is a negative and
negative account. In terms of individuality, subjectivity, culture is the result of education,
civilization is the organized, institutionalized system of education. L ending thus nature as a
boundary line, we can say about culture as everything that man creates with elements of nature,
but besides nature, for practical needs or ideal purposes, are suitable with his own nature. Of
all, they create the primordial role, be cause without it there is nothing to be broadcast and

assimilated. Creative culture is the providential task of geniuses and talents. It is not poetry
without poets, nothing without composers, it is not painting without painters, sculpture without
sculptor s or architecture without architects, as it is science without scholars, philosophy
without thinkers without culture.

British Culture

England has a vast and influential culture that includes both old and new elements.
Modern culture of England is sometimes difficult to identify and difficult to separate from the
culture of the whole of the United Kingdom because its nations are so intertwined. However,
traditional and historical English culture remains distinct from substantial regional differences.
(I. Botez, Aspecte din Civiliza ția Engleză , 1912)
The English Legacy is a governmental body with a wide remittance of historical sites,
artefacts and the surrounding area of England. The British British Museum, the British Library
and the National Gallery contain the most beautiful collecti ons in the world.
The English played an important role in the development of the arts and sciences. Many
of the most important figures of modern Western scientific and philosophical thinking, either
born or at some point, have been here or even lived in En gland. Thinking English thinkers of
international importance include scientists like Sir Isaac Newton, Francis Bacon, Michael
Faraday, Charles Darwin and Ernest Rutherford (born in New Zealand), philosophers like John
Locke, John Stuart Mill, Herbert Spenc er, Bertrand and Thomas Hobbes , and economists like
David Maynard Keynes.
Britain is the largest of the British Isles, including Ireland, Man Island, Jersey,
Guernsey, the Shetland and Orkney archipelagos. The UK is also used to designate the three
UK con stituent countries on this island: England, Wales and Scotland. England is Britain's
largest and most populated division of the United Kingdom, located in the south and east.
Wales is in the west and Scotland is north. The Capital of Great Britain is the c ity of London,
located in southeastern England. Despite the relatively small size, Britain is very populated,
with an estimated 58 million inhabitants. It is highly developed economically, in the arts and

sciences, in sophisticated technology. The British population is one of the richest in Europe
and enjoys a high standard of living with the rest of the world. Many countries around the world
have been influenced by Britain in history and culture. Britain has been a pioneer in economic
matters. The first in dustrial revolution took place in the United Kingdom between the
eighteenth and nineteenth centuries and led to the development of the world's first middle class
dominated society. Britain was the first nation in which half of the population lived in urban
areas. The rapid development of world economy and trade has made Britain one of the richest
nations in the world during Queen Victoria in the nineteenth century. For a long time, before
and after the Industrial Revolution, London was the center of the cap italist world, and today it
is one of the most important business and finance centers. Great Britain has played an important
role in modern art. Games, novels, stories and, recently, screenplays from the UK have been
admired around the world. However, the UK can still boast a number of artists such as painter
David Hockney and composer Sir Edward Elgar.

The Beatles

There were 4 Liverpool boys, and they were called JOHN, PAUL, GEORGE and
RINGO. They revolutionized the world of music and contributed with their attitude, their tastes
and their opinions to consolidate the appearance of youth in the social scene. Nothing was the
same after their arrival and nobody seems to have forgotten them despite their break in 1970;
their records, almost all of them millionaires at the time of their release, were still selling at a
surprising rate . (Hunter Davies, The Beatles: The Authorized Biography , 2004 :25)
They did not arise in Liverpool by chance. The city, located to the northwest of England,
owned a very active port in whose docks they often docked North American boats. The cultural
innovations (call them disks or cowboy shirts) arrived thus before to this provincial and
industrious city that to the m ost sophisticated London; but it was an intimate contact, apart
from the fashions and the media, which are ultimately the ones that decide the direction of the
tastes.

JOHN, PAUL, GEORGE and RINGO they had been born there between 1940 and
1943, in the boso m of lower class families. None had great cultural aspirations, neither interest
nor possibilities of studying a university career. Like any other youth of their generation and
their social status, they would forcefully fulfill their school obligations and then they would
have to look for work in some factory or office or on the docks.
John Lenon was born on October 9, 1940, during the bombing of German aircraft. Son
of a sailor who never appeared again in the family home, and of Julie, a woman surprised by
the joy and generosity with which she took her life, and who died hit by a car when John was
nine years old. From a young age Lennon demonstrated magnificent qualities for social
provocation; He was a partygoer, violent, sharp and imaginative, he hated sc hool and he was
only interested in drawing, writing short stories and poems and music. His was the idea of
forming the QUARRYMEN, the group that would later give birth to the Beatles, and almost
nobody discussed the status of the charismatic leader
Paul M CCARTNEY. This one was quite different. He also dressed like ateddy boy, but
he was neither so violent, nor such a bad student, and he almost always managed to reach that
difficult point of equilibrium between adolescent tastes and good relations with the family. A
common friend, Ivan Vaughan, introduced them during a performance of the Quarrymen at a
parish party and Paul was accepted as the new guitarist in the group.
George Harrison . He was the most discreet character of the Beatles, was also the
younges t and needed several weeks of testing to be accepted in the set, despite his friendship
with Paul. Already at that time he spoke very little; Almost all his time was dedicated to
rehearsing alone with the expensive guitar that his parents, Harry and Louise had bought him.
Ringo Star . It was the fourth Beatle, but his entry into the group was later, replacing
PETER BEST, the drummer, and curiously the member of the group that more female interest
awoke in Liverpool. The reasons for his expulsion have never b een entirely clear. Best's
mother, who has not yet forgiven the other three members of her decision, explains to anyone
who wants to listen that everything was the fruit of jealousy and envy; the real reason points,
however, to that Best tune less and less with his companions and that they found a good
opportunity to get rid of him when the first producer of the group, George Martin, put
objections to his playing.

Name change
The QUARRYMEN changed their name to SILVER BEATLES. The group was then
a quintet, and they formed it: JOHN LENNON and PAUL McCARTNEY, who played the
guitar, sang and composed; GEORGE HARRISON, who was the guitar soloist; PETER BEST,
on drums and STUART SUTCLIFFE, an art student friend of John, who had been persuaded
to play bas s.
The first Silver Bealtes tour had taken place in Scotland, where they accompanied
Johnny Gentle. The second trip, much more important for his career, had taken them to
Hamburg (Germany), where they met a bustling environment and in which they matured, far
from their homeland as people and as musicians. There they recorded some discs
accompanying Tony Sheridan; there they were intimate with the drummer of another set of
Liverpool, RORY STORM AND THE HURRICANES, called Ringo Star, there was born what
everyone would call the bealte haircut, creation of the German girlfriend of Stuart, Astrid; there
they knew the true environment of the rockers and the "leather culture"; there Stuart Sutcliffe
left them in a friendly way to dedicate himself to painting, shortly before a brain tumor ended
his life.
At Martin's command and with Ringo on drums, they recorded the first single disc,
which included Love Me Do , and that appeared in stores in October 1962. The reception was
good but could not be compared with the one th at the public paid to Please, Please Me , that
went off to number one in January 1963; the next, From Me To You it was also another success,
but the madness came with the fourth single, which included She Love You .
In a year, the Beatles had outperformed al l its competitors in the English market, opened
the way through which other groups would coalesce, such as the Rolling Stones, the Kings, the
Animals.
After their great successes of 1963, the Beatles occupied everything, to such a degree
that today it is d ifficult to understand how a society as stable as the English would be moved
to its foundations by four teenagers. It all started with the youth, who felt identified with the
music, with the ironic, cheeky and humorous attitudes of their idols, with their increasingly
longer hairstyles, with their neckless jackets … They checked their records to millions and they

became the living example that there was no need to be old to find a place in society; in the
demonstration that young people could be enough to succeed without help from anyone.
Whether they wanted it or not, the Bealtes became the idealized image of thousands and
thousands of young people not only English, but also North Americans, Mexicans, Swedes,
Germans, etc.
The Beatlemania was an undoubted injection for the British economy, and the Crown
ended up recognizing it with the delivery of the medal of the Member of British Empire
(Knights of the Order of the British Empire), as a prize for the injection of currency that the
four musicians meant.

John and Paul
Most of the ensem ble compositions were signed by Lennon and McCartney, and there
is no doubt that this collaboration was one of the keys to success. From a p ersonal ly and
musically point of view, they were very different; While John was violent, torn, innovative and
passionate about rock and ro ll, Paul had an innate facility for melody and romantic ballads and
something sweet, the cocktail was perfect and balanced. Lennon was the first of the group to
be interested in drugs, politics and avant -garde music; McCartney, who was much more
conservati ve in his attitudes towards life, always showed more interest in the professional side
of the business, and when Brian Epstein died, it was he who took the reins of the whole. While
the communication between the two lasted, things worked; when it broke, th e Bealtes
disappeared.
In 1966, fed up with the tumultuous tours, they decided to dedicate their efforts
exclusively to the records. Around the same time, George Harrison had begun to take an interest
in oriental philosophies and had dragged the other mem bers into the arms of Maharishi, while
Lennon began to consume LSD and entered a world of permanent crisis and doubt; I had just
met, in addition to YOKO ONO.

The Beatles influen ce
The filming of Magican Mystery Tour
Initiated by Paul's decision to raise again the flight o f the whole, meant his first great
failure. Since then everything seemed decided: Paul, impotent to stop the crisis, prepared the
blow of being him, the first to leave the ship. As a backdrop, the most absolute confusion
surrounded the network of businesse s that surrounded the set, and while John, George and
Ringo wanted Allen Klein, former manager of the Rolling, who put order in the bottomless pit,
Paul He preferred to hire a New York lawyer, the father of his future wife, Linda Eastman.
One of the great strengths of the Beatles was that by 1962, the year they released their
first album, they were already accustomed to playing in public, well versed in American soul,
gospel, r ythm & blues and rock'n'roll. Most of what they knew had bee n learned in the most
difficult way. They knew how the songs were built because, unable to access the scores, they
had to decipher the lyrics and get the chord changes by listening to the records over and over
again. Having played rock'n'roll for their ado rable teenagers at lunchtime sessions at the
Cavern, and also for drunken Germans in Hamburg, they also knew how to excite, calm and
seduce the audience.
John and Paul had been together for five years; George had been with them almost the
same time. Ringo was a recent member, since he had joined Pete Best as a replacement on
drums, although they had known each other since 1959 and his old position with Rory Storm
and the Hurricanes meant that they had played in the same places. At that time, the material of
the Beatles was typical of the beat groups of the moment: the best -known rock songs of the
most well -known rock'n'roll artists. At the top of the list was Elvis Presley. They covered
almost 30 of the songs that Elvis had recorded, as well as songs by Chuc k Berry, Buddy Holly,
Carl Perkins, Gene Vincent, Fats Domino, Jerry Lee Lewis, Larry Williams, Ray Charles, the
Coasters, Arthur Alexander, Little Richard and the Everly Brothers. Studying the music of
these artists taught John and Paul the basics of comp osition. When they met at Paul's to write
their own material, it was a matter of reassembling the chords and words that were familiar to
them to do something that was distinctly theirs.
This is how a bass riff from a Chuck Berry song was incorporated into "I saw her
standing there", and explains how the sound of Roy Orbison's voice became the inspiration

behind "Please please me", the first Simple No. 1 of the Beatles. Sometimes their songs dealt
with incidents taken from their own lives but often the lyri cs, like the chords, were "borrowed"
from what had happened before. At this stage, words were important to create sounds and
impressions, rather than to convey a message. Most of his debut album was recorded in a single
session on February 11, 1963. It was released on March 22, 1963 and reached the top of the
British rankings. In U.S.A. it was titled "Introducing The Beatles" and edited by the little
known label Vee Jay. The American version did not include "Please please me" or "Ask me
Why", and did not re ach the charts.

I saw her standing there
The original idea of the producer George Martin had been to record a show of the
Beatles in the Cavern Club in Liverpool, but eventually it was decided that the group would
play their su bjects in the studio as if they were doing it live and cut the album in one day. This
was done on February 11, 1963, when in a 15 -hour session the Beatles recorded 10 new tracks
that were added to both sides of their first two single discs, and released th em as "Please please
me". "I saw her standing there" was the perfect theme with which to open the first album of the
Beatles because it placed the band in a context of frenetic dance hall, full of adore adolescents.
They decided to keep the introduction of "1-2-3-4!" since he added the feeling of "Liverpool
beat group" captured in the middle of his live performance.
Originally the first two lines were 'She was just seventeen, never been a beauty queen'
(She was just 17, she had never been a beauty queen ). At that time it sounded like a good
rhyme, but when I touched John the next day, I realized that it did not work and John agreed.
Then we both sat down and tried to come up with something else that rhymed with "seventeen"
and meant something. "After a while, John came up with 'You know what I mean', that like
Paul he acknowledged, it can be seen as both a filler and a hint of a sexual type, it was also a
very typical phrase from Liverpool that avoided the Americanisms that vitiated most of the
rock'n'roll of that time.

The two boys completed the melody on their guitars a nd explained the lyrics in a
Liverpool Institute workbook, Paul explained later in an interview for Beat Instrumental
magazine that the bass riff was taken from Chuck Berry's song "I'm talking about you" (1961)
"I played exactly the same notes as him and t hey fit perfectly into our subject," he confessed.
"Even now, when I tell this, almost nobody believes me. Therefore, I maintain that a bass riff
does not have to be original. "In December 1961, Paul started dating Iris Caldwell, the sister of
beat singer Rory Storm (also from Liverpool), in whose band 'The Hurricanes' 'Ringo Starr
played as a drummer (Ringo joined the Beatles in August 1962.) Iris was only 17 years old
when Paul saw her dancing the Twisten at the Tower Ballroom in New Brighton (25 minutes
from Liverpool).
It was also one of the five songs that played in the famous Ed Sullivan Show on 9
February 1964, which was watched by 70 million people, the largest audience for a TV show
ever achieved by then. In Novem ber of 1974, John played this song together with Elton John
at Madison Square Garden.

Ask Me Why
Probably written in 1962 with John as lead author, "Ask me Why" was a romantic
"lightweight" song premiered at th e Cavern Club that year, and shown by the "Teenager's Turn"
program on BBC Radio on June 11, 1962 It was one of the four tracks that led to his first
recording session on June 6, 1962 at the EMI studios on Abbey Road, but George Martin did
not think he had the strength to be his debut solo album. Re -recorded in February 1963, it was
released in Britain as side B of "Please please me".

Love Me Do
In Britain, 'Love Me Do' was the first success of the Beatles and, like the group's image,
it was all very rare for a generation that had spent the last two or three years listening to a rather
insipid pop played by men of hair short and big forced smiles. One of the first songs written by
Paul, the lyrics of "Love M e Do" was more basic impossible: most of the words consisted of a
single syllable and "love" repeating 21 times. "I love you forever so please love me" was the

whole message. What diverted him from the romantic teen songs of the time was that gospel –
blues singing, which was enhanced by the harmonica and the closing that sounded slightly like
a lament, which harmonized. (Michael Braun , Love Me Do!: "Beatles" Progress , 1995 :74)
John's taste for the gospel was confirmed when he placed "R & B and gospel" in the
New Musical Express magazine on February 15, 1963 on the list of his musical preferences.
During 1962, the American star Bruce Channel had enjoyed a British hit with "Hey
Baby" in which appeared a harmonica solo of Nashville session musician, Delbert McClinton.
John was impressed by that and when he met McClin ton in June of '62 at the Tower Ballroom
in New Brighton, where the Beatles were playing as support for Channel, he asked how he
played it. "John was very interested in the harmonica and, when we continued playing a couple
of dates with the Beatles, he and I were very much together," says McClinton. "I wanted him
to show him what he could, he wanted to know how to play, before the tour was over , he
already had his harmonica list in his pocket." Only three months later the Beatles recorded
"Love Me Do", in wh ich John included a distinctive harmonica break. John continued playing
harmonica in the following two singles, "Please , please me" and "From Me , To You", and in
six other songs including "Little Child" (With The Beatles) and "I Should Have Known Better"
(A Hard Day's Night). The last time he used it on a record was "I'm a loser" (Beatles for Sale),
recorded in August 1964. By that time , he had become, according to him, a trick of the Beatles.
"Love Me Do" was included in the first EP (extended play, a disc of four songs) that contained
in its cover notes written by Tony Barrow, a Lancashire journalist who worked at that time as
press agent for the Beatles. Barrow's comments on the four themes "" From Me , To You ","
Thank you, Girl "," Please, please me "and" Lo ve Me Do ") were strikingly premonitory:" The
four themes of this EP have been selected from the Lennon and McCartney Songbook. If that
description sounds a bit pompous maybe let me suggest you keep this cover for ten years,
exhume it from your collection sometime in 1973 and write me a very impolite letter if the pop
people of the seventies are not talking about at least two of these titles like the 'first examples
of the modern standards beats taken from Lennon and McCartney's Songbook' "In 1967, when
it was believed that each Beatles song was steeped in meaning and had been elevated to the
status of" spokesmen of a generation " , Paul told Alan Aldridge in an interview for the
Observer: "'Love Me Do' was our most philosophical song … to be simple and tr ue, it means
that it is incredibly simple"

From me to you
"From me to you", the third single of the Beatles, was written on February 28, 1963
while they were traveling by bus from York to Shrewsbury on the tour with Helen Shapiro.
Helen does not remember seeing them write it, but she did touch it when they arrived in
Shrewsbury in the afternoon while they were getting ready for their night concert at the
Granada Cinema. "They asked me to go listen to two new songs they had, Paul sa t at the piano
and John stood next to me and they sang" From me to you "and" Thank you, girl. "They said
that they more or less knew what their but they had not decided completely, so they wanted me
to tell them which one would be better for the A side. It happened that I told them that I liked
'From me to you' and they said 'Buenísimo! That's what we thought' ". The Beatles played at
the Odeon Cinema in Southport, Lancashire the next day, which was the closest they got with
the tour to Liverpool. There the y had the opportunity to touch his new subject to Paul's father
to get his opinion. They knew that the lyrics were simple enough but they were worried that
the music was a bit complicated and that "I did not hit the fans". It was Paul's father who
convince d them that it was a "pretty little ditty". The title was suggested by the weekly New
Express pop column, "From You to Us." Paul and John were reading the February 22 issue,
which published the dates of their tour on the cover and notes on Cliff Richard, B illy Fury and
Elvis Presley inside. They began to "talk about one of the letters in the column," as John
revealed in May '63, when asked about the origins of the subject. There were only two letters
and it is difficult to guess which may have caused the co mment.
One letter complained about the "maniacal laughter" in two recently released limbo
dance albums, and the other rejoiced that Cliff Richards was doing better in the ranking than
Elvis Presley. Perhaps it was this last letter that unleashed the Beatle s' own ambition.
Apparently Paul and John began the theme by interspersing phrases, being one of the few
themes of the Beatles that they built together from scratch. The hook of the song was the use
of the "uuuuuhhh" sharp, inspired by the recording of "Tw ist and Shout" of the Isley Brothers.
When Kenny Lynch heard them singing this in the microphone, he said, "They can not do that,
they sound like a fairy bouquet," to which they replied, "Okay, the guys are going to like it."
In April of 1963 John commente d: "We were humping with the guitar for a long time, then a
good melody started to come out, and we started to work on it more, before the trip was over
we had already completed the lyrics, everything. " A year later, again talking about how the
song had b een written, John said: "Paul and I threw in some ideas and we came up with what

we thought was an appropriate melody." The lyrics were not that difficult, especially because
we had decided not to do anything it was complicated, I guess that's why we alway s put "you"
and "me" in the song titles, it's the kind of thing that makes the audience identify with the song,
we think this is very important. Fans like to feel like they are part of what artists do. " It took
five days to write it to record but, as John recalls, "We almost did not record it because we
thought it was very bluesy at first, but we finished it and George Martin had improved it with
the harmonica, it was fine". In April 1963 "From me to you" became the second success to
reach No. 1 but, edite d by the Vee Jay label in the USA. He did not even enter the Top 40.

Beatles for sale
The cover of Beatles for Sale showed the other side of Beatlemania: the fatigue, the
depression and loneliness of life there at the top. John, Paul, George and Ringo looked
exhausted and worn in the cover photos of Robert Freeman, and, lacking a bit of spark to
compose, they could only present eight of their songs from the fourteen that contained the
album. Covers of their early rock'n'roll heroes did the rest. The songs they could write showed
signs of having been composed under pressure. Although "Eight Days a Week" is a love song,
the title actually came out of a comment by Ringo that referred to the superhuman demands
that being a beatle demanded. John's songs were the darkest thing he had wri tten so far, with
"I'm a Loser" as the first exponent of his confessional style of composing. To get to "I'll follow
the sun," Paul had gone through his old school notebooks until he found a subject he had not
touched since his days in the Cavern. The new (and most significant) influence of the album
was Bob Dylan, which both John and Paul had heard and first met in 1964. In the early days,
the Beatles had concentrated mainly on improving the musical part of the songs -the
construction of chords, arrangemen ts and how they sounded. Dylan was the first artist to affect
them especially as lyricists. Initially, Paul was Dylan's big fan, but John was soon on par. Dylan
called their attention because their lyrics were as important as their melodies.
(Mark Lewisohn ,The Complete Beatles Recording Sessions , 2013 :32)

When writing what he felt instead of following the conventions, Dylan's intense and
personal expression style contrasted terribly with the anodyne pop lyrics of the time. His lyrics
were "made to measure" rather than "made -up". The shift to a narrative style that Dylan started
particularly excited John, since he had been writing poems and stories for years, mostly to
entertain his friends. Some of these were published in the book "In His Own Write" of 1964
when it was called "the literary beatle" and compared to Lewis C arroll, Edward Lear and James
Joyce of "Finnegan's Wake". Dylan, and later the British journalist Kenneth Allsop, made him
see that there did not necessarily have to be a big gap between his literary expressions and his
lyrical compositions. John interpret ed this as "instead of projecting me into a situation, I would
try to express what I feel about myself (as I have) in my book." Beatles for Sale took two and
a half months of recording and was released in December of 1964, reaching No. 1 in Great
Britain. The US equivalent "Beatles '65" also reached the top of the charts and sold a million
copies the first week.

Ticket to ride
A "Ticket to ride" was written by John as a single and was described by him as "one
of the first heavy metal albums ever made". Although they had been surpassed in the subject
of the heavy metal by "You really got me" of the Kinks (that had been in the fi rst positions of
the British rankings the previous summer), this one was the first subject of the Beatles in
containing an insistent riff with metallic sound with a heavy battery base. Used in "Help!"
During the scenes in the snow in Austria, it was releas ed as a single in April 1965 and had
already reached the top of the charts in Great Britain and the USA. for the time it came out.
Some of the Beatles fans thought that the band was singing about a train ticket from the British
Rail to Ryde, a city on the Isle of Wight, but the song actually spoke of a girl "taking the ship"
of John's life. To Don Short, a show journalist who traveled a lot with the Beatles in the sixties,
John told him that the phrase had a double meaning. "The girls who 'worked' in Hambur g had
to be in good health and the medical authorities then gave them a health book confirming it.I
was with the Beatles when they returned to Hamburg in June 1966 and that's when John told
me he had coined the phrase ' ticket to ride 'to describe these no tebooks, I was kidding around
there (you always had to be alert with John in that sense) but I remember it just the way telling
me that. "

Revolver
Revolver marked a significant development in Beatle sound, as well as the end of an
era. After this album, all his music would be sculpted in studio, with little idea of how they
could be played live. Under the influence of the hippie movement in the US and the British
avant -garde artistic environment, they also started writing for a different audience. The
encounters with this underground environment, together with the effect of psychedelic drugs,
would alter their perceptions of both themselves and thei r music. In a March 1966 interview
with the teenager magazine Rave, Paul spoke enthusiastically about George's foray and interest
in Indian music and his own explorations of theater, painting, cinematography, and electronic
music. "We have been interested in things that never occurred to us before, I myself have
thousands, millions of new ideas." Revolver was an album that exploded with new ideas.
Although the variety has since become the raw material of rock'n'roll, at that time Revolver
challenged all the conventions of pop. Not only did he introduce musical styles that ranged
from a children's song to a psychedelic melange of turbulent "curls" sounding from tapes
passed backwards, he also presented a strange mix of themes in his lyrics: taxes, Tibetan
Buddhism, doctors who broke the law, solitary spinsters, sleeping, submarines and sun shines.
Even so, despite his experimentation, Revolver was not inaccessible. "Eleanor Rigby", "For
No One" and "Here, There and Everywhere" are three of the most popular son gs that Paul has
written, "Taxman" and "I Want to Tell You" were the best compositions of George until that
moment , the dreamer "I'm Only Sleeping" by John and "She Said She Said" perfectly captured
the wave of the time. (Mark Lewisohn , op. cit ., 2013 :45)
Launched during what turned out to be their last tour, none of the 14 tracks was going to be
played live. They had entered a new phase of being recording artists rather than performers,
and were happy to now be able to concentrate on the art of making records as opposed to having
to "compr ess" the compose into a tight schedule of tours and appearances in movies, radio and
TV. Revolver was launched in August 1966 and caused a sensation in both Great Britain and
the USA. This was the last time that the British and American editions of the alb ums differed.
Three of the songs composed by John ("I'm Only Sleeping", "And Your Bird Can Sing" and
"Doctor Robert") had already appeared in the USA. on the album "Yesterday and Today".

Doctor Robert
On the visits to the USA The Beatles learned of a ver y chic New York doctor who gave
mysterious injections of "vitamins". "We heard people saying 'You can get anything from him,
the pills or remedies you want,' Paul said. "It was a big mess." The theme was a joke about this
guy that cured everyone of anythin g with all those pills and tranquilizers. He seemed to keep
New York 'blown up.' " Dr. Robert was almost certainly Dr . Robert Freymann, a 60 -year-old
German doctor with his office on East 78th Street. (Dr. Charles Roberts quoted in some books
of the Beatles did not exist.) It was only an alias used by the biographer of the actress Edie
Sedgwick, Jean Stein, who worked for Warhol, to hide the identity of another "speed doctor" –
" speed doctor "). Known as Dr. Robert or the Great White Father for his white ha ir, Freymann
was always connected to the city's art scene. He had helped, among others, Theolonius Monk
and Charlie Parker (whose death record he signed in 1955), and had his reputation for being
generous with amphetamines. "I have a distinguished clientel e, from all spheres of life," it
enlarged once. "I could tell you in ten minutes probably a hundred famous names that come
here." John Lennon, who wrote 'Dr. Robert ', was one of those famous names. Initially
prescribed as antidepressants, amphetamines soo n became a "recreational" drug for top New
Yorkers.
A former patient of Dr. Robert Freymann quoted in the New York Times in 1973, noted:
"If you wanted to have a great night you were going to Max (Dr. Max Jacobson), then to
Freymann and then to Bishop's ( Dr. John Bishop) was another way to go bars. " Film director
Joel Schumacher, who frequented "speed doctors" in the sixties, agrees: "We thought of them
as vitamin injections but then we became 'crazy about speed'" Administering amphetamines
was not illega l even though regulations warned against the prescription of "excessive amounts"
or of prescribing them when it was not necessary. Dr. Robert lost his enrolment for practicing
medicine for six months in 1968 and in 1975 he was expelled from the New York St ate Medical
Society for malpractice. When the New York Times was asked in March 1973 to defend his
actions, he alleged: "the addicts killed a good drug." He died in 1987.

Sgt. Pepper's Lonely Hearts Club Band

This fruitful period that produced both th e singles "Penny Lane" and "Strawberry Fields
Forever" and the album by Sgt. Pepper, was the moment when the Beatles were dedicated
exclusively to the recording studio. Something unprecedented so far, it took them a total of 105
hours to record both sides of the single and then five more months to complete the album. Sgt.
Pepper was the mental son of Paul, who conceived the record as a show staged by an Edwardian
bronze band of fiction transported through time to the psychedelic era, and of course playing
the electronically equipped Beatles. Launched in June 1967, Sgt. Pepper was the album of what
would later become known as the "Summer of Love," a brief season when the hippie wave
radiating from San Francisco seemed to invade the rest of the Western world.
For anyone who was young at that time, the music automatically evokes the landscape
of headbands, flowered trousers and blouses of bambula, the sound of rattles and the smell of
marijuana camouflaged behind the scent of incense. Despite this, there were only four tracks
on Sgt. Pepper ("Lucy in the Sky with Diamonds", "She's leaving home", "Within you without
you" and "A day in the life") that made specific reference to the social situation caused by the
changing young culture. The rest of the songs were just very typical songs of British pop,
ranging from domestic themes such as "good neighborliness" and being well with their peers
("With a little help from my friends") and self -improvement ("Getting better") going through
rural life ("Good morning, good morning") and interior decoration ("Fixing a hole") to
Victorian entertainment ("For the benefit of Mr Kite"). The language of the songs was often
deliberately outdated (for example "guaranteed to raise a smile", "may I inquire discreetly",
"meeting a man from the motor trade", "a splendid time is guaranteed for all", "indicate
precisely what you mean to say") as if it were truly an Edwardian production staged by the
good Sergeant Pepper and his men from the local band Solitary Hearts. The spirit of 1967
shaped the disc in other significant ways.
It encouraged the belief that the limits of the imagination were culturally imposed and
therefore had to be challenged. Anything that seemed artistically possible should be attempted,
including the frantic orchestra l climax of "A day in the life" and a very special high note that
only the canine ear can pick up in the gibberish of sounds. Almost all the conventions of the
realization of an album were turned around. Sgt. Pepper was one of the first discs to have a
double book -type cover, to contain the printed letters, the inner bag that contained the disc
itself decorated, a free gift and a photograph of the fully elaborated cover. It was also one of
the first albums to be presented as a total concept rather than a si mple collection of songs.

"Basically Sgt. Pepper was McCartney's album, not Lennon's," says Barry Miles, the band's
main contact in London's underground scene at the time. "People make the mistake of thinking
that it must have been Lennon's because he was so smoked, so swallowed up and so on, he was
really taking so much drugs and trying to rid himself of his ego that the album was much more
McCartney's idea than his " Sgt. Pepper was a tremendous commercial and critical success,
reaching No. 1 on the UK an d US charts. Almost thirty years later, it is still considered by
critics polls as the best rock'n'roll album ever made.

Penny Lane
Although Penny Lane is a Liverpool street, it is also the name given to the area
surrounding its intersection with Smithdo wn Road. None of the places mentioned in "Penny
Lane" exist in the street itself. In truth to anyone who has not grown up in this area of Liverpool
this area is, as the musician and art critic George Melly said, "a boring suburban shopping
center." But f or Paul and John, who had spent their first years in the neighborhood, it was a
symbol of childhood's glorious innocence when everything seemed friendly and the sun shone
forever in a clear celestial sky. John had been the first to refer to Penny Lane in a song when
he had tried to incorporate it into "In my life", but it was Paul who eventually picked up the
subject and made it work. He created the scene of a street in Liverpool that could have been
taken from a children's story with a beautiful nurse, a g ood-natured barber, an eccentric banker,
a patriotic fireman and some friendly passers -by.
He admitted: "It's part truth, and part nostalgia." There was a barbershop on Penny
Lane, that of Mr. Bioletti, who claimed to have cut John, Paul, and George's hair as children;
there were two benches, a fire station on Allerton Road and, in the middle of the roundabout,
a shelter. The banker without a pilot and the fireman with a portrait of the queen in his pocket
never really existed: they were Paul's ornaments. " I wrote that the barber had pictures of every
head he had had the pleasure of meeting, he actually had pictures of different haircuts, but all
the people who come and go and say 'hello,'" Paul commented. "Finger pie" is a liverpuliana
sexual reference incl uded in the song to amuse the locals. "It was a little joke for the guys in
Liverpool who like a little bit of pig humor." During the months that followed [the issue was
out], the waitresses who served in the local fries businesses had to bank the fish ord ers. and
finger foot '".

The poet from Liverpool, Rober McGough, who was in the group Scaffold with the
brother of Paul (Mike) in the '60, believes that "Penny Lane" and "Strawberry Fields Forever"
were significant because it was the first time that a place t hat was not Memphis, and that a road
that was not Route 66 or Highway 61 have been ho nored by rock: "The Beatles were starting
to write songs about their place of origin, they started to approach things like the little songs
that we used to sing in streets and old songs that our parents remembered from the days of
music halls, Liverpool did not have a mythology until they created it. " Today, Penny Lane has
become an important point of attraction in any tour of the Beatles by Liverpool and even the
success of the song has made many of his things have changed. All the original posters of the
streets were stolen and that is why those that are left are screwed tight and very loud. The
barbershop became a unisex hairdresser with a photo of the Beatles in the sho p window. The
refuge in the rotunda was renovated and reopened as the "Sgt. Pepper Bistro". The Penny Lane
Wine Bar has the lyrics of the song painted on its windows. Both "Strawberry Fields Forever"
and "Penny Lane" were written for the new album, but Cap itol Records in the US I was pushing
for a single to be released, so it was released as a double -sided A single. He reached the top of
the ranking but in Great Britain he was ranked No. 2 after Engerbert Humperkinck's hit, "Please
Release Me."

Lucy in the sky with diamonds
One afternoon in early 1967, Julian Lennon returned home from kindergarten with a
drawing that he said showed his 4 -year-old classmate Lucy O'Donnell. In explaining her work,
Julian described her as Lucy – "in the sky with diamonds". Th e phrase hit John's mind and
triggered a river of associations that led to the composition of the dreamlike "Lucy in the sky
with diamonds", one of the three themes of Sgt. Pepper that received special attention from the
press under the Suspicion of "deali ng with the drug". Although it is unlikely that John had
written such a fanciful piece without ever experimenting with hallucinogens, this theme was
equally affected by his love of surrealism, puns and the works of Lewis Carroll. The suggestion
that the so ng was a description of a lysergic trip was substantiated in that the initials of the title
spelled L -S-D. (KENNETH WOMACK , TODD F. DAVIS , Reading The Beatles , Cultural
studies, literary criticism and the fab four , 2006 :128)

Anyway, John denied this vehemently, telling in great detail during the interviews he
was given about the drugs he had taken. He always insisted that the title came from what Julian
had said about his drawing. Julian himself remembers, "I do not know why I called him that or
why he excelled from all my other cartoons, but obviously I was fond of Lucy at that time, I
used to show my dad everything he bu ilt or drew at school and it inspired him the idea for a
song about Lucy in the sky with diamonds. " Lucy O'Donnell (currently, in the year 2000, is
37 years old and works as a teacher for special needs children) lived near the Lennon family in
Weybridge, and she and Julian were students at Heath House, a kindergarten for two. Older
ladies installed in an Edwardian building. "I remember Julian at school," says Lucy, who did
not discover that she had been immortalized in a Beatles song until she was 13 years old. "I
remember him very well, I'm very aware of his face … we used to sit together in typical old –
style benches, the building was huge and there were large curtains to divide the classrooms."
Julian and I were a couple of little demons according to me . they said. " John maintained that
the hallucinatory images in the subject were inspired by the chapter "Wool and Water" of the
book "Through the looking glass" (Through the looking glass) of Lewis Carroll, where Alicia
is taken by a river in a rowing boa t for the queen, who suddenly becomes a sheep. "The
Adventures of Alice in Wonderland" and "Through the Looking Glass" were two of John's
favorite books as a child. He said that it was partly through the reading of these works that he
realized that the ima ges in his own mind were not signs of insanity. "For me, surrealism is
reality," he said. "The psychedelic vision is the reality for me, and it always was." For similar
reasons, John was attracted to The Goon Show, the British comedy radio program featurin g
Spike Milligan, Harry Secombe and Peter Sellers that aired on the BBC between June 1952
and January 1960.
The Goon Show, mainly written by Milligan, satirized the figures of the establishment,
attacked the excess of post -war formality and popularized a s urreal and absurd form of humor.
The celebrated "cute madness" of the Beatles was due largely to the Goons, as well as the
poetry and lyrics of John. Even once John told Spike Milligan that "Lucy in the sky with
diamonds" and several other songs had been p artly inspired by his love for The Goon Show
dialogues. "We used to talk about 'plasticine ties' on The Goon Show and this dragged 'Lucy
in the sky with diamonds' as 'plasticine doormen with mirror ties'," said Milligan who, as a
friend of George Martin, w as present in some of the Sgt. Pepper sessions. "I knew Lennon quite
well, he used to talk a lot about comedies, he was a fan of The Goon Show, it all ended when
he married Yoko Ono, it was over, he never asked me again."

Magical Mystery Tour / Yellow Submarine
With Sgt. Pepper behind, the Beatles immediately set out to record soundtracks for two
very different film projects: Yellow Submarine and Magical Mystery Tour. Yellow Submarine,
a cartoon feature film project, was not started by the group but that did not mean that they were
aroused by a great interest in how it was developed. The Beatles liked to be turned into
animated cartoon characters and they began to think scripts while they composed four original
songs for the film. The script was written by a team of libret tists, one of which was none other
than Erich Segal, author of the best -seller Love Story. A psychedelic fantasy, the plot of Yellow
Submarine takes place in a cheerful kingdom called Pepperland that is taken by the villains
Blue Meanies. The Fab Four are going to rescue him from Liverpool in a yellow submarine,
and finally reduce the Blue Meanies thanks to the combined power of Love and Music. Magical
Mystery Tour was a 50 -minute television film, a pioneer in its kind. It started as a project by
Paul but s oon all the Beatles got caught up with the idea and became totally involved with
every aspect of their production. They financed, directed, performed the casting and the scripts
for the film, as well as appearing in it as actors. Including the single "All you need is love" /
"Baby you're a rich man", the themes of this period are the most crazy and psychedelic
collection that the Beatles have combined, although they have not been published together on
a disc. Magical Mystery Tour was released in Great Brita in as a double EP (Extended Play, 2
tracks per side) in December 1967 and as a single disc in the USA. in November of that year.
The soundtrack of Yellow Submarine, which included an orchestral side by George Martin,
was not released until January 1968, ve ry shortly after The Beatles (White Album). If the
Beatles had wanted to release a record after Sgt. Pepper in the so -called Summer of Love, this
eclectic bunch of songs would have been a fitting final fanfare for 1967 – before the most sober
reflections o f the following year . 1968 marked a new period in the compositional style of the
Beatles, when a clean, polished and returned to the origins was the order of the day. Magical
Mystery Tour, which was first seen on British TV on December 26, 1967 was a fail ure
according to critics, and therefore received limited exposure in the US. The music was more
successful: the British EP reached No. 2 in the charts of simple discs and the disc reached No.
1 in the US. The movie Yellow Submarine was released in July 196 8 and was a commercial
success in the US. although it was never given complete importance in the United Kingdom.

The album, which included other guest artists, reached No. 3 in Britain and No. 2 in the United
States.

All you need is love
Early in 1967 the Beatles were contacted by the BBC to invite them to take part in what
would be the first global television broadcast: a 125 -minute program that would be seen in 26
countries with contributions from European, North American, America n channels Central,
North Africa, Japan and Australia. This international television connection for "Our World"
was a pioneer of events such as the "Live Aid" of 1985, where the power of music was directly
linked to the latest in satellite technology. To m ark the occasion, the Beatles were asked to
compose a simple song that would be understood by viewers of all nationalities. They began
composing at the end of May, with John and Paul working on separate jobs, until John's "All
you need is love" emerged as the obvious choice. The song not only had a simple lyrics and an
uncomplicated melody but perfectly captured the aspirations of international youth in the
summer of 1967. At this time the Vietnam War reached its peak and the "generation of love"
manifested its opposition through peaceful protests. "It was a song that conveyed inspiration
and they really wanted to give it a message to the world, "said Brian Epstein." The nice thing
is that it can ’t be misinterpreted. It's a very clear message that love is everything. "In his call
to international love," All you need is love "spread the message that John had tried to bring
through" The Word "in 1965 to an audience He was fascinated by the power of slogans to unite
people and he was determined to write someth ing on his own, something timeless, eternal, like
"We Shall Overcome", a guild song popularized in the sixties by folk singer Pete Seeger *.
John once said "I like slogans, I get propaganda, I love TV".
When asked in 1971 if the themes of "Give Peace a Cha nce" and "Power to the People"
were propagandistic, he replied: "Sure, just like 'All you need is love.' I am a revolutionary
artist. To the change". What viewers saw in "Our World" on June 25, 1967 was actually a
recreation of a recording session of the B eatles: the rhythm tracks had been recorded on June
14 and the live part was added and mixed instantly. for the transmission. A party atmosphere
was created at Studio One of the Abbey Road Studios and celebrities of the likes of Mick
Jagger, Marianne Faith ful, Eric Clapton and Keith Moon, who were sitting around holding
balloons, waving banners and Join the Beatles in the refrains. George Martin helped to

accentuate the message of international unity by opening the theme with the opening bars of
"La Marseil laise", the French national anthem, and closing it with splashes of "In The Mood"
by Glenn Miller (from the golden age of swing), Bach and 'Greensleeves'. The simple one was
edited on July 7 and the background music became, "The" song of "summer of love", a song
of peace, brotherhood, love and understanding. "They told us we would be seen while we were
recording the whole world, so we had a message for the world: Love. We need more love in
the world," Paul summarized.

I am the walrus
The irregular and dislocated nature of "I am the walrus" owes much to the fact that it is
an amalgam of at least three song ideas that John was working on, none of which meant too
much on its own. The first, inspir ed by a distant police siren that he heard while at his home in
Weybridge, began with the words "Mis -ter – ci-ty – police -man" and developed into the
siren rite. The second was a pastoral melody about John in his garden in Weybridge. The third
was a me aningless song about sitting in a pochoclo. John told Hunter Davies, who was still
collecting information for the Beatles' official biography for that time: "I do not know how it's
going to end, they may end up being different parts of the same song." Acco rding to Pete
Shotton, the final catalyst was a letter he received from a pupil of the Quarry Bank School who
mentioned that a teacher was having the Beatles' songs analyzed by his students.
The student's letter from Quarry Bank School was sent to John by Stephen Bayley, who
received a response dated September 1, 1967 (which was later sold at an auction in 1992 at
Christie's in London). This amused John, who decided to confuse those types of people with a
song full of the most incoherent clues to leave them perplexed. He asked Shotton to remind
him of some silly little song of those that are sung in the kindergarten with which the English
boys will be delighted at that moment. John took note: "Yellow matter custard, green foot, all
mixed together with a dead dog's eye Slap it on a butty, have a thick foot, then wash it all down
with a cup of cold sick" ["yellow flan, tart green mud, all mixed with a dead dog's eye, crush it
in an ass, ten feet thick, then rinse it with a cup of cold vomit "].
John continued i nventing some absurd images such as "semolina pilchards, elementary
penguins" and "nonsense words like" texpert, crabalocker "before adding some verses he had

written during a lysergic trip. Then he spun them along with the three unfinished subjects he
had already shown to Hunter Davies. "Let the idiots break their horns deciphering it" seems to
have told Pete Shotton once he had finished. When Playboy asked him, 13 years later, to
explain to "walrus", he pointed out that he thought Dylan got out of the mur der at times and
that he decided that "I can compose writing those crap too".
Apparently, the only serious part of the lyrics is the opening verse with his vision of the
unity behind things. The "elemental penguin" that Hare Krishna hummed was John carryin g
Allen Ginsberg who, at that time, used to chant the Hare Krishna mantra at public events. The
walrus itself came out of Lewis Carroll's poem "The Walrus and the Carpenter" (The Walrus
and the Carpenter). The recording of "I am the walrus" began on Septem ber 5. It developed
with interruptions since George Martin was trying to find a musical equivalent by flowing
images and word games in the lyrics using violins, cellos, horns, clarinet and a choir of 16
voices in addition to the Beatles themselves. On Sept ember 29, even some verses of
Shakespeare (from Act IV, Scene VI of "King Lear") were superimposed on the subject, taken
from a BBC broadcast. The voices of these two men who talk appear and vanish and resurface
again. This is Gloucester and Edgar, who in their parliaments say: – Now good Sir, what are
you? – A most poor man, made tame to Fortune's blows who, by the art of known, and feeling
sorrows, Am pregnant to good pity ( – Now, good Lord, who are you? – A very poor man, who
has been tamed by the blows of Fortune, and who by the art of known and felt afflictions, is
steeped in compassion.).
The music covers the parliaments, and after a while Edgar and Oswald listen to each
other again: Oswald: If ever thou wilt thrive, bury my body, and give the letters which will find
me about Edmund Earl of Gloucester: seek him out upon the English party. Oh, untimely death,
death [dies] Edgar: I know thee well. A serviceable villain, as duteous to the vices of the
mistress, as badness would desire.Gloucester: What, is he dead? Edgar: Sit down, father: rest
you. (Oswald: If you want to thrive, bury my body, and deliver the Let me find you on Edmund,
Earl of Gloucester: look for him in the English camp Oh, premature death … death! [dies]
Edgar: I know you well. A servil e villain, as obsequious of the vices of his beloved as his own
evil could wish it. Gloucester: How? Is he dead? Edgar: Sit down, father: rest.) It could be said
that on this subject the Beatles reached the pinnacle of creativity. They combined surrealism,
wordplay (often only phonetic), and perhaps a tribute to literature through quotations or
references to William Shakespeare, Lewis Carroll and Edgar Al lan Poe.

The Beatles (white album)
The Beatles, or the White Album as it is commonly known, surprised people by being
uneven and simple. It seems that the group had decided to produce the exact opposite of Sgt.
Pepper. A long title for the album? Let's call it The Beatles. Multicolor top? Let's use pure
white. Pipelines mixes and doubles? Let's use acoust ic guitars in many of the themes. Deep
lyrics? let's sing about cowboys, piglets, chocolates and do it on the road.
The most significant ingredient of this album was the influence of the Indian guru, the
Maharishi Mahesh Yogi. Pattie Harrison had attended a Maharishi talk in February 1967, and
it was she who encouraged George and the other Beatles to attend other similar talks at the
Hilton Hotel on Park Lane, London in August '67. As a result of this meeting, they all started
a ten -day Transcendental Medit ation course at the University College in Bangor, Wales. It was
while they were in this course, on Sunday, August 27, 1967, that they learned that Brian Epstein
had been found dead in his apartment in the London suburb of Belgravia *, news that
precipitate d his return to London. The loss of Epstein, who had run his career since the early
'62 and had become something of a father figure to them, may have made the Beatles even
more open to the Maharishi's guide, whom they visited on the India in February 1968.
The trip to India not only brought a period of calm to their busy lives (since for the first
time in a long time they had the opportunity to stop and reflect) but that approached them as
friends of years that now could be put to hunch with their acoustic guitars. Paul Horn, an
American flutist who was there at the same time as them, believes that meditation was a great
stimulus for the Beatles: "You can know more about yourself at deeper levels wh en you
meditate." See how prolific they were in relatively little They were in the Himalayas away from
pressures and the telephone, when one becomes very involved with life, creativity is
suppressed, and when one is willing to be calm, one begins to come. " When they returned
from India, they said they had returned with 30 songs that they would use in the next album.
There were actually 30 songs in The Beatles but not all of them were written in India, and some
of the songs written in India (like George's " Sour Milk Sea" and "Circles") were never recorded
by the Beatles. It is probably accurate to say that approximately half of the album was written
or started while they were out. This meant that, precisely because they did not have access to
electric guitar s or keyboards, many of these themes had an acoustic base. John would later refer

to the White Album as the first non -self-conscious album after the great self -conscious period
that had begun with Rubber Soul and had come to Magical Mystery Tour and Yellow
Submarine. The Beatles was released as a double album in November 1968 and reached No. 1
on both sides of the Atlantic.

Let it be
Committed to making one last film for United Artists, but not wanting to get into
another crazy race to do it, The Beatles fulfilled their contract with "Let It Be", an 80 -minute
documentary in color in which the group was shown rehearsing at the Twickenha m film
studios, recording at the Apple Studios and playing live on the roof of the Apple offices in
London. These three sections were filmed in January 1969, although the film was not released
until May 1970, at which time a book and the album of the same name were released as part of
the "package". You could not get the record until November 1970. The original plan had been
to make an album called "Get Back" and film the recording process for a documentary for
television. There was also the possibility of playing live for the program and a number of places
were shuffled: The Roundhouse in London, Liverpool Cathedral and a Roman amphitheater in
Tunis.
The film and the disc that finally emerged brought with them certain concessions.
Instead of being a documen t of how the group was created, "Let It Be" turned out to be an
album of how the group fell apart. In order for the album to see the light, Paul took over,
pressing and "clicking" when necessary, while John and George sulked and openly showed
their resentm ent. The riffs around the album contributed to the final breakup of the group. The
American Allen Klein, who at the time was acting as his representative, was dissatisfied with
the quality of the tapes that engineer Glyn Johns had edited, so he brought his compatriot Phil
Spector to strengthen the production.
When Paul heard what Spector had done to "The Long and Winding Road," he asked
for it to be returned to its original form. After his request was ignored, Paul announced his
departure from the Beatles. The album "Let It Be" was disjointed, incoherent. For having been
the last album released it is generally thought that it was the last album they recorded. The
surprising fact is that after all the fights and altercations that characterized "Let It Be" the

Beatles followed a little more and recorded "Abbey Road", an album that George Martin still
counts among his favorites. By the time "Let It Be" was released, the Beatles had ceased to
exist. Paul had already released his first solo album, although it was not until December 1970
that their union was officially dissolved after Paul's trial of the others. "Let It Be" reached the
top of the British and American charts after its release in May 1970. The 4 million pre -orders
in the US It was the biggest album in history.

Abbey Road
After the unsuccessful sessions of January of 1969 in the studies of filming of
Twickenham, the project of the album "Get Back" was filed. For a time, the Beatles were
dedicated to their personal lives. On March 12, 69 Paul McCartne y married Linda Eastman in
Marylebone civil registry, in central London and on the 20th of that same month John Lennon
did the same with Yoko Ono, in the British consulate of the Rock of Gibraltar. The Lennon go
on their honeymoon to Paris and then continu e to Holland, where they spend a week in bed in
their room at the Amsterdam Hilton, promoting peace in the world, an event that had great
media coverage.
Meanwhile, the single with the theme "Get Back" reached the first place in the English
ranking in Apri l 69, containing on its B side a blues ballad of John dedicated to his new wife
Yoko and entitled "Do not let me down" (Do not disappoint me). In both songs he accompanied
the Beatles keyboardist Billy Preston. He would not be the only new single of the gr oup that
year, since two months later would come The Ballad of John and Yoko describing the runs of
the famous couple at the time of their recent marriage. In this song only two Beatles play: John
sings and plays electric and acoustic guitars, while Paul b rings bass, drums, piano and maracas
and makes second voice.
The two side of the simple was a George Harrison theme called "Old Brown Shoe" (Old
Brown Shoe) recorded between April 16 and 18, 1969. The lyrics, once again, had to do with
George's spiritual v ision that we should free ourselves from the realities of the material world,
which I saw as illusory. Of those superfluous things we should strip ourselves like someone
who pulls out "an old brown shoe". By mid -1969, the Beatles seemed disenchanted with
themselves, worn out from a group relationship that seemed no longer to stimulate any of its

members. But when it seemed that everything would end there, there was a small miracle.
George Martin recalls that one day Paul McCartney visited him to ask him to produce a Beatles
album as in the old days. The idea was to regenerate the spirit of camaraderie that used to arise
when the five of them were together in the studio. Martin agreed to cooperate if all four agreed
to cooperate. This is how the Beatles retur ned to the emblematic Abbey Road studio that had
been so decisive in their career and it is no coincidence that the resulting album was named
that title. Perhaps aware that this time it would be the last, John, Paul, George and Ringo for a
time they put as ide their differences and devoted themselves to making an album plugged in,
coherent and full of good songs.

Come together
The title means "come together" or "end together", (the meaning is ambiguous), a song
written by John that began his life as a camp aign song for Professor Timothy Leary,
philosopher of the counterculture and LSD apologist, who in 1969 he wanted to run as governor
of California to compete against Ronald Reagan. Leary and his wife were Lennon friends and
even participated in the chorus that accompanied the recording of "Give Peace A Chance," the
simple debut of the Lennon Plastic Ono Band, recorded at the Queen Elizabeth Hotel in
Montreal, where John and Yoko made another move for world peace from the bed in her room
on the 19th floor. L eary's slogan was "Come together, join the party" (Come together, join the
party, or the party, because the term "party" it is also ambiguous in English), so John took his
guitar and began to build the refrain of the theme and later build the semi -surreal images that
adorn the stanzas. Leary's campaign came to nothing when the candidate was arrested for
possession of marijuana, but "Come Together" was transformed into the opening theme of
Abbey Road.

Her majesty
There was a small coda on Abbey Road, "Her Majesty", a subject that had been written
by Paul in Scotland and intended to join "Mean Mr. Mustard" with "Polythene Pam". When
listening to the union, however, McCartney asked to be removed. The recording engineer, then,

took out the theme segment f rom that place and put it at the end of the tape so it would not be
destroyed, something that was common practice at the time. It is seen that at some point
someone let the tape run until the end and "Her Majesty" made its appearance as an early "secret
topic", that custom that became so famous in the 90s. Obviously the group liked it and stayed
in the album .

British invasion

The British Invasion is used in 20th -century music history to designate British rock and
roll, beat and pop musicians who have had tremendous commercial success in English (and not
only there) in the 1960s and 1970s, but especially in the United States of America in the mid –
1960s and especially between 1964 and 1966.
Some well -known British bands, such as Led Zeppelin and Queen, whose critical
critical and commercial success was achieved in the 1970s and 1980s, are not considered to be
part of the original British invasion, having a status apart.
There is also a second British invasion, according to The Second British Invasion,
which refers to various aspects of the promotion of British music through MTV's exclusive
television station in the 1980s. (Philip Norman , Shout!: The Beatles in Their
Generation ,2005: 110)

The term British Invasion is used in a much wider sense at the beginning of the 21st
century to designate the cri tical, commercial and popular success of many British actors, but
mostly British actresses, respectively, to report any British artistic and cultural acts that have a
strong international resonance, but especially in English -speaking countries and, in part icular,
in the United States.

The Origin of the British Invasion
The rock and roll and blues' rebellious image and tone became popular with young
British at the end of the 50's. Even though the first commercial attempts to replicate American
rock have fai led, jazz, with do -it-yourself attitude was the starting point of some British
Billboard singles.
British youth groups have begun to combine British and American styles in some parts
of the UK, such as Merseybeat's "beat boom" in Liverpool in 1962. In the same year, three
instrumental songs, each belonging to an act with British roots reached the Hot 100's. These
include the instrumental "Telstar" from Tornados, written and produced by Joe Meek, making
it the first song of a British group to get to the top of the US Hot 100. It was followed by the
British jazz musician Kenny Ball with the instrumental "Midnight in Moscow" on the second
place on March 17, 1962.
Some observers noted that American teenagers were bored with solo pop singers like
Fabian. Mods a nd Rockers, two British "gangs" of the mid -60's had an impact on the British
invasion music. Modes with aesthetic style have become the most popular, though bands that
were balancing both, like the Beatles, have also been successful.

The Beatles in Ameri ca
On Feb. 7, 1964, the Beatles passed for the first time on American soil. The boys in
Liverpool, who had already conquered the world with their songs, came to the new continent
rather by chance than by a predetermined program.

The aircraft slides smoothly on J.F. Kennedy of New York. When the airplane door
opened, the loud crowd held a breath for a moment, then burst into frenetic cheers. In the
doorway, four boys with blond, smiley and exuberant appearance appeared. The world's most
success ful band is starting its tournament in the United States.
The most popular TV sho w writer in the US at the time, Ed Sullivan, had accidentally
witnessed the arrival of the Beatles in a London tour at the airport in London. Impressed by the
reception made b y British fans, Sullivan thought it would be a good business if he invited artists
to his show. In his turn, Brian Epstein, the band's manager, could not miss the opportunity to
conquer the world's most important musical market.
Seven years had passed sin ce John Lennon (1940 -1980) had set up his own band, The
Quarrymen. The providential encounter between Lennon and Paul McCartney (1942) was in
the same year, 1957.
George Harrison (1943 -2001): Paul met him on his bus going to school and invited him
to join his band and Lennon. In 1960, the band changed their name to The Beatles. John
Lennon, Paul McCartney, George Harrison and Pete Best, who in 1962 were replaced by Ringo
Starr (1940).
Beatlemania," a phenomenon created artificially?
The target group chosen by American psychologists and sociologists in the early 1960s
was the youth. The "vehicle" chosen to produce artificial social change – that is, manipu lation
of the human group – was the drug whose effects on human manipulation had been tested by
the CIA in the early 1950s successively in three ultra -secret projects: Bluebird , Artichoke and
MK-Ultra .
The latter allowed th e CIA experts to set up a special program to form the so -called
"Manchurian candidates" (politicians, businessmen, spies or professional assassins, mentally
controlled) and subsequently disseminate in society as true " sleeping books, "until they are"
reactivated "for a particular mission. This time, through the "Aquarius" of the 1960s, more
ambitious goals were pursued: imposing, through social manipulation, a new culture on a
distinct whole social group; the emergence of new patterns of behavio ur and think ing,
completely different from traditional ones; the use of a new language, focused on key words,

with a hijacked sense. (André Millard , Beatlemania: Technology, Business, and Teen Culture
in Cold War America , 2012 : 55)
Because the drug was part of the system -banned elements, the psychologists and
sociologists at the Tavistok Institute and the Stanford Research Center turned their attention to
a "vehicle" by which it -as a manipulating element -to be rapidly disseminated and discreetly
within the target group of the "Aquarius" experiment: pop music, which gathers at the concerts
larger groups of youngsters , still "mentally non -homogenized" from a mental and behavioral
point of view. An obscure pop band in Liverpool, which was beginning to have some success
among British youngsters – "The Beatles" – was the first to be propelled worldwide through the
media t o promote new values and social behaviors. "Beatles" and "beatlemania" – then other
pop-rock bands – have been imposed worldwide, promoting a language whose words and
phrases hide new talcs, known only to the drug -consuming young hippie communities.
Brea king from the rest of society and setting up specific hippie communities with values,
language, and mentality radically opposed to traditional ones began in the US, more precisely
in California, to spread like a social virus across the globe . Including, d espite the censorship
barriers, in the Communist states where pop music ("Beatles", "Rolling Stones", "Animals",
etc.) succeeded in the amazing performance of crossing the Berlin Wall raised by the Cold
War, it is necessary, clandestine, among the youth. T o date, one can say that the experiment
"Aquarius" continues to remain one of the best kept secrets of the US: "Beatles", "beatlemania",
"hippie" conspiratively consisted of a vast experiment of "social engineering" yet another
successful one through which , for several years, a distinct social group (youth) could be
manipulated in the most subtle and "natural" way, giving it the impression of "total freedom"
when, in reality , he was subject to total manipulation. Many of the young people who went
through t he hippie experience in the 1960s and early 1970s can no longer understand their own
behavior since then. As for pop music, it gradually turned into a real industry, a profitable trade
of tens and hundreds of millions of dollars in play.

The "Committee of the 300", the initiator of the "Aquarius Project"
The promotion of a "new culture" or a "parallel culture" of global dimensions, and as
the target group of youth, was a project of the "Committee of the 300", a group that claimed to
be the descendant of the "Loyal Illuminati" initially in Bavaria by Adam Weishaupt in 1776.

Considered vanished since the last century, the lodge seems to have in fact been restructured
on several occasions, managing to penetrate into the well -known structures of the well -know n
globalist organizations of the twentieth century. Regarding the "Committee of the 300", the
best introduction to this field is Dr. John Coleman's book, which appeared in the early 1980s
and whose "prophets" came true in the 1990s.
The links of the "Commi ttee of the 300" with the "Tavistok Institute" have as a common
ground, on the one hand, the Committee's concerns to create a "global culture" within the "new
world order", on the other hand, the interest in "social engineering" manifested by the "Tavistok
Institute" in the direction of manipulating social groups in the sense of social change. In this
context, the "Beatles" and "beatlemania" constituted those subversive currents through which
the "Tavistok Institute", and the "Stanford Research Institute", introduced new standards of
thinking and behavior to youth. The "Beatles" phenomenon was not spontaneous, but a
thoroughly directed psychologist and shadow sociologist grouped at "Tavistok Institute ",
inspired by the texts and philosophy of Theodor Adorno , a phenomenon amplified by Ed
Sullivan's media. The Beatles, a modest group from Liverpool, gained the glory and brilliance
only after the band was brought The United States, and the "social engineering" experts at
Tavistok and Stanford turned it into the "guinea -pig" project "Aquarius."
The music system of The Beatles did not even belong to them. and repetitive, had been
discovered by Adorno at the ceremonies of the Dionysus god's cult in the Greeks, and in the
enchantments of the monks in Baal Island, In donesia. The system was later elaborated by the
Beatles, which under the influence of Adorno and the Tavistok Institute, they have focused
their attention on values and practices as well as on Buddhist music and instruments, being
trained for weeks in In dia. The texts of the Beatles have included new words and phrases with
a sense hijacked and encoded, known only to the young "hippie". For example, the words
"teenagers," meaning teens loving rock -pop music, and junkies, did not mean much in the
United Sta tes before the "beatlemania" with the hulled sense shown above. Other terms
commonly used by "Beatles" and other pop groups such as "cool" (to signify the state of the
drugs) or "discovered" (meaning the colo urful, compensatory dreams of young "junkies" ),
were "manufactured" by "Tavistok Institute" and "Stanford Center". Like others: "beatnik",
"hippies", "flower children", who came almost instantly into the vocabulary of America,
marking a new type of language and a new type of subculture opposite the trad itional one of
the "establishment". The young revolution – also called the "hippie revolution" – was conceived

and set on stage by the two globalist tendencies through the atonal music of the Beatles group,
with texts full of words and phrases coded or div erted from their meaning.
Behavio ur and, in particular, "hippie clothing" have perfected distinct groups. As fast
as Atonal Music "Beatles", "dirty jeans" fashion, "long and soft longs" fashion, "gitan" fashion,
wide and blooming, fashion " ("Woodstock" typ e) conquered the American youth, then the
Western European, including the youth from the communist space, beyond the Berlin Wall and
the Iron Curtain, thus proving to the experts from Tavistock and "Stanford Center" as the
penetrating force – and manipulat ion – of large groups of young people through "Beatles" music
and drug use can be expanded to planetary scale. The media coverage of the phenomenon (in
fact, the experiment) had a decisive character. Like some robots, the four "Beatles", the true
"guinea p igs" of the "Tavistock Institute", launched hit after hit – all transformed into "universal
media events" – using texts with those coded words to stimulate drug and state use "cool". The
whole process was defined by Wilis Harmon – director of the Aquarius project – as a form of
"fragmentary mishap". The experimentation of "insecurity" and the creation of "turbulence" –
for mass psychological manipulation – materialized both in the "drunk" music and the
phenomenon generated by it: "hippie bands" caravans "of motorcycles that crossed America
from one coast to another. Either in "hippie camps", great sources of attraction and curiosity
for other young people. Drug pills, which sneakily and discreetly sneak in the big pop
gatherings, could then be promptly disse minated by moto caravans and "consumed" in hippie
camps, attracting others. Dr. John Coleman remarks, in this context, the changed meaning of
the word "lover" (loved, lover), from the classic meaning of the dictionary to the coded sense
of homosexuality.
In the mid -1960s, the "hippie" – nonviolence movement launched by the Tavistock
Institute and the Stanford Research Center, through drunk and drug -based music, entered the
second phase, also commissioned by the "Committee of the 300". It is the phase of "so cial
change" in America, a phase marked by violence and anarchism of "revolted" youth groups
and where the key word, "revolution," is insinuated or suggested with skill.

Allen Ginsberg and the LSD manufactured by Sandoz, the "arms" of the "Aquarius"
conspiracy
The new "lifestyle" induced by the "Tavistock Institute" and "Stanford Center" youth
through drunk music and drugs quickly created a real cult among young American and then
European. A key character from th is point of view was Al len Ginsberg, the man who has
extensively advertised drug practice – primarily LSD – by advertising clips that would normally
cost millions of dollars but which Ginsberg did not cost him even a cent. And this because the
"paycheck" of advertising made by Al len Ginsberg LSD was paid by others: "Tavistock
Institute" and "Committee of the 300". (Martin A. Lee, Bruce Shlain , Acid Dreams The
Complete Social History of LSD: The CIA, The Sixties, and Beyond , 1985:54)
Allen Ginsberg, the alleged poet, had the role of "Tavistock Institute," to popularize the
"new pop subculture" and to force her acceptance of "mass " American and American
"teenagers" . In this respect, Ginsberg has collaborated with novelist Norman Mailer, who is
known to have spent much of his life in various psychiatric hospitals, a major favorite of the
"Hollywood Communist," an individual willing to sit at full nights at television, in talk shows,
with Al len Ginsberg on topics like sex, drugs, revolution, etc. Under the pressure of the "300
Committee," many of the "moguls" of the US TV channels have, for the most part, granted
huge programs of drun k music and bands like this, while Al len Ginsberg and Norman Mailer
wrote mileage articles on " pop, drug or revolution. It is not known in the history of advertising
in the American media a campaign to promote such an extent, to be provided free of charge, at
least for Ginsberg and Mailer.
An essential element of the "hippie culture" – drug use – separating the so -called
"hippie" generation from the establishment and a definition of LSD, the lysergic acid. This type
of drug was developed by Swiss company "S andoz" and was the invention of Albert Hoffman,
one of the company's chemists, who had actually tried to synthesize ergotamine, a drug with
powerful effects on the brain. The project was funded by the "Committee of the 300" through
one of its banks, "SC Wa rburg". Introduced in the US by writer and philosopher Aldous
Huxley, the "LSD" has begun to be distributed in small envelopes at pop concerts, student
camps, and hippie camps.
Despite the public warnings from doctors, priests and other critics of "pop cul ture," the
Drug Enforcement Agency (DEA), the main US anti -drug agency – which was required to

intervene, did not show any intention to repress consumption or drug distribution networks
among young people, which in the eyes of some proved that DEA had actu ally received the
order not to intervene. The fashion of drug use, as well as the "drunk" music, took national
proportions in the US, then international, thanks to the free advertising provided by the media.
An example is worth mentioning.
Kenny Love, one of Al len Ginsberg's friends, has published in the New York Times a
full five -page report, a true praise to Al len Ginsberg and LSD. Normally, publishing this article
promoting a product and advertising a "poet" would have cost Kenny Love $ 50,000. In fact,
it did not cost him even a cent. Further, because the article was entitled to free publication, the
UPI (United Press International) agency immediately reproduced it and telexed it to hundreds
of daily newspapers, magazines and magazines across the US. Thus, Allen Ginsberg and LSD
consumption have become themes popularized even in "Harper Bazaar" or "Time". Without
the free advertising provided by the media, "drunk" music, drug cult and other phenomena
assimilated to the new pop subculture, the experiment launched by the Tavistock Institute
would not have reache d the proportions of manipulation of young people known on the world
scale, , a chapter of cultural and social history .

"Pop culture" and "shocks of the future"
The "Aquarius" conspiracy, by which the "Tavistock Institute" induced a new type of
culture to American youth in the "social engineering" experiment, was subsequently the subject
of an interesting study by the Science Policy Research Unit research in political science) at
Sussex University.
SPRU is a well -known study center for the so -called "shock s of the future," which is
the research of futuristic psychological orientations that aim to manipulate groups to introduce
"sudden and aggressive changes." Experts describe the "shocks of the future" as those events
that occur so quickly that the human br ain can not assimilate them on the informational and
behavioral plane. In this context, "informational shocks" (serial killings, rapes, kidnappings
and bloody street gangs) create a state of "apathy" and "indifference," through which sudden
and sudden chan ges aggressive people no longer endure the mental or psychological resistance
of the individual, thus becoming fit for "manipulation".

The study of a human group indicates that, in such a context, it is easier to control the
individuals, who will then foll ow, docile and without contradiction, the ordered orders. The
drug releases the enormous pressure exerted on the individual forced to choose from a
multitude of decisions imposed by the "shocks of the future". Research into this issue dates
back to the 192 0s, John Rawling Reese being a well -known name for his experiments. "What
began with the Beatles and the LSD package turned into a" giant wave "that crossed America,"
says SPRU. Drug trafficking is secretly monitored by the "Committee of the 300" since the
British East India Company (BEIC) and the Dutch East India Company (DEIC) have been
conducting business in Asia. Both companies were under the secret control of the "Committee
of the 300".
A character such as Debretts Peerage, from the BEIC board of direc tors, later founded
China Inland Mission just to clandestine the Chinese peasant drug, creating a huge Asian drug
market. Similarly, the "Committee of the 300" and "Tavistock Institute" used the Beatles group
to popularize the "social drug" – the LSD – in this time the American youth, creating a new "
market "for drug use, which then allowed manipulation to annihilate the effects of" the shocks
of the future. " Without an Ed Sullivan, who brought "Beatles" to the US, or coverage in the
media, "beatlemania" would never have been a form of subculture on a world scale. A unique
model of "social engineering" and human manipulation. The role of "Beatles" and "pop culture"
has been the "vehicle" of other values and concepts, of another way of behavior – guided b y
the shadow – through which the LSD, the manipulator, can be induced apparently it can be
natural.
Thus, a whole new "class" was formed in the US in the 1960s by the "social
engineering" experiment led by the "Committee of the 300" – the globalist organis m – and the
two institutes, Tavistock and Stanford Center. Perhaps not by chance Queen Elizabeth II of
Great Britain embellished the four Beatles for "important services". Interestingly, the
experiment initiated by the conspiracy "Aquarius" continued later on, politically. Several
characters, trained by "Tavistock Instiute" in the 1970s, played an important role on the
chessboard of international politics of the 1980s and 1990s. Their names? Khomeini, Karadzic,
Milosevic. According to some experts, in a way , the conspiracy "Aquarius" – the best -kept
secret of America – continues even today. Clinton, Blair, Putin are a few of the "children" of
the "Committee of the 300".

The legendary Beatles continues to bring money to Liverpool, about 82 million pounds
a year. Estimates show that the amount will increase in the future.
A recent study by the Liverpool and John Moores universities shows that the mere
existence of this troop in the history of the city sustains 2,335 jobs annually, informs
ContactMusic. Even if the band broke down 46 years ago, with only two of its members alive,
Paul McCartney and Ringo Starr, the local economy continues to grow from the Beatles as its
hits become more and more popular in countries like Brazil and China.
In addition, th ere are many fan clubs in Europe and the US, organizing regular
excursions to the Beatles' home town. The Fr. Barnabas, for example, is a place where the four
were going to repeat, is one of the many goals visited by the fans of the band.
The impact of t he band on the city is also denied by Liverpool ’s Mayor Joe Anderson.
"Everyone knows the Beatles has had a big impact on the city's past, but now we know exactly
what it is," he said, giving assurances that Liverpool will not forget the four in the future. There
are even plans to link certain areas of the city and even stronger to the band's name by re –
tapping some areas.

References

1. André Millard , Beatlemania: Technology, Business, and Teen Culture in Cold War
America , June 4 th 2012 , Johns Hopkins University Press
2. Jörg Baberowski ,Der Sinn der Geschichte: Geschichtstheorien von Hegel bis
Foucault , February 14th 2005, C.H.Beck; Auflage
3. Botez, Aspecte din Civiliza ția Engleză , 1912
4. Hunter Davies, The Beatles: The Authorized Biography , February 17th 2004 , W.W.
Norton & Company
5. KENNETH WOMACK , TODD F. DAVIS , Reading The Beatles , Cultural studies,
literary criticism and the fab four , 2006 , State University of New York
6. Mark Lewisohn , The Complete Beatles Recording Sessions , October 1 st, 2013 ,
Sterling; Reprint edition
7. Martin A. Lee, Bruce Shlain , Acid Dreams The Complete Social History of LSD: The
CIA, The Sixties, and Beyond , 1985, Grove Press
8. Michael Braun , Love Me Do!: "Beatles" Progress , November 30 th 1995 , Penguin
Books Ltd
9. Peter Brown, Steven Gaines, Anthony DeCurtis , The Love You Make: An Insider's
Story of the Beatles , November 5th 2002 , NAL
10. Philip Norman , Shout!: The Beatles in Their Generation , February 15 th,
2005 Touchstone; Revised, Updated, Subsequent edition