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Журнал Time - December 22, 1980

Тема: Джон Леннон - декабрь 1980

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Журнал Time - December 22, 1980
Автор: Corvin   Дата: 15.11.08 23:36:27
Re: Журнал Time - December 22, 1980
Автор: Corvin   Дата: 15.11.08 23:42:02   
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Re: Журнал Time - December 22, 1980
Автор: Corvin   Дата: 15.11.08 23:46:31   
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Re: Журнал Time - December 22, 1980
Автор: Corvin   Дата: 15.11.08 23:48:34   
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Re: Журнал Time - December 22, 1980
Автор: Corvin   Дата: 15.11.08 23:51:02   
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Re: Журнал Time - December 22, 1980
Автор: Corvin   Дата: 15.11.08 23:54:03   
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Re: Журнал Time - December 22, 1980
Автор: Corvin   Дата: 15.11.08 23:55:43   
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Re: Журнал Time - December 22, 1980
Автор: Corvin   Дата: 16.11.08 00:00:32   
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Страниц 23 и 24, к сожалению, нет. Стр.25Страниц 23 и 24, к сожалению, нет.
Re: Журнал Time - December 22, 1980
Автор: Corvin   Дата: 16.11.08 00:02:38   
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Re: Журнал Time - December 22, 1980
Автор: Corvin   Дата: 16.11.08 00:08:36   
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Re: Журнал Time - December 22, 1980
Автор: Corvin   Дата: 16.11.08 00:22:17   
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Re: Журнал Time - December 22, 1980
Автор: Corvin   Дата: 16.11.08 00:33:48   
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The Last Day in the Life
Monday, Dec. 22, 1980

John Lennon is shot to death at 40, and a bright dream fades

Just a voice out of the American night. "Mr. Lennon." He started to turn around. There is no knowing whether John Lennon saw, for what would have been the second time that day, the young man in the black raincoat stepping out of the shadows. The first shot hit him that fast, through the chest. There were at least three others.

Not that night, or the next day, but a little later, after the terror ebbed and the grief could be managed, Lennon's wife, Yoko Ono, took their five-year-old son Sean to the spot in the apartment courtyard where she had seen his father murdered. She had already shown Sean a newspaper with his father's picture on the front page. She tried to do what everyone else has done since that Monday night. She tried to explain.

Like everyone else, too, the boy asked simple questions to which there would never be simple or satisfactory answers. If, as was being said, the man liked his father so much, why did he shoot him? His mother explained: "He was probably a confused person." Not good enough. Better to know, Sean Lennon said, if he was confused or really meant to kill. His mother said that was up to the courts to decide, and Sean wanted to know which courts she was talking about: tennis or basketball? Then Sean cried, and he also said, "Now Daddy is part of God. I guess when you die you become much more bigger because you're part of everything."

Sean did not really know or understand about the Beatles, or what his father was to the world. But Sean will surely know, soon enough, that his father did not have to die to become part of everything. Given the special burden and grace of his great gift, he already was. Not just for his wife or son but for more people than anyone could ever begin to number, the killing of John Lennon was a death in the family.

For all the official records, the death would be called murder. For everyone who cherished the sustaining myth of the Beatles—which is to say, for much of an entire generation that is passing, as Lennon was, at age 40, into middle age, and coming suddenly up against its own mortality—the murder was something else. It was an assassination, a ritual slaying of something that could hardly be named. Hope, perhaps; or idealism. Or time. Not only lost, but suddenly dislocated, fractured.

The outpouring of grief, wonder and shared devastation that followed Lennon's death had the same breadth and intensity as the reaction to the killing of a world figure: some bold and popular politician, like John or Robert Kennedy, or a spiritual leader, like Martin Luther King Jr. But Lennon was a creature of poetic political metaphor, and his spiritual consciousness was directed inward, as a way of nurturing and widening his creative force. That was what made the impact, and the difference—the shock of his imagination, the penetrating and pervasive traces of his genius—and it was the loss of all that, in so abrupt and awful a way, that was mourned last week, all over the world. The last Day in the Life, "I read the news today, oh boy ..."
Re: Журнал Time - December 22, 1980
Автор: Corvin   Дата: 16.11.08 00:34:51   
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Sorrow was expressed, sympathies extended by everyone from Presidents and Presidents-elect, Prime Ministers and Governors and mayors to hundreds of fans who gathered at the arched entryway to the Lennons' Manhattan apartment building, the Dakota, crying and praying, singing and decorating the tall iron gates with wreaths and single flowers and memorial banners. CHRISTMAS IN HEAVEN, read one. Another recalled the magical invocation of a childhood memory that became one of his finest songs: Strawberry Fields Forever.

Ringo Starr flew to New York to see Yoko. George Harrison, "shattered and stunned," went into retreat at his home in Oxfordshire, England. Paul McCartney, whom Lennon plainly loved and just as plainly hated like the brother he never had, said, "I can't tell you how much it hurts to lose him. His death is a bitter, cruel blow—I really loved the guy."

Having no wish to contribute to the hysteria that always follows the grief at such public mournings, McCartney, who has hired two bodyguards to protect himself and his family, said he would stay home in Sussex, England, even if there was a funeral. There was not. Lennon's body was cremated in a suburban New York cemetery, and Ono issued a statement inviting everyone "to participate from wherever you are" in a ten-minute silent vigil on Sunday afternoon.

Before that, it had been a week of tributes. Radio stations from New Orleans to Boston cleared the air waves for Lennon and Beatles retrospectives. In Los Angeles, more than 2,000 people joined in a candlelight vigil at Century City; in Washington, D.C., several hundred crowded the steps of the Lincoln Memorial in a "silent tribute" that recalled the sit-ins of the '60s. Record stores all over the country reported sellouts on the new Lennon-Ono album, Double Fantasy, their first record in five years, as well as the back stock of Lennon's previous records.

Some reaction was tragic. A teen-age girl in Florida and a man of 30 in Utah killed themselves, leaving notes that spoke of depression over Lennon's death. On Thursday, Ono said, "This is not the end of an era. The '80s are still going to be a beautiful time, and John believed in it."

All the brutal and finally confounding facts of the killing were examined like runes and held up to the light like talismans, small shards of some awful psychic puzzle. A pudgy Georgia-born ex-security guard from Hawaii named Mark David Chapman fired his shots at Lennon from what the police call "combat stance": in a stiff crouch, one hand wrapped around the butt of his newly purchased revolver, the other around his wrist to steady it. As Lennon took six staggering steps, Chapman, 25, simply stood still, and then went with the arresting officers like a model citizen who had been unfairly rousted on a traffic bust. Chapman's personal history showed, in retrospect, many ominous byways (see following story), but immediately after the shooting, he offered no explanations. And no regrets.

Chapman arrived in New York three days before the killing, checked into a Y.M.C.A. nine blocks from Lennon's apartment, and started hanging out in front of the building, waiting for Lennon like any other fan. There were usually fans at the gates of the Dakota, a grand, gloomy, high-maintenance Gothic fortress overlooking the west side of Central Park, because the building houses several celebrities: Lauren Bacall, Roberta Flack, Leonard Bernstein. Fans of the Beatles and Lennon lovers accounted for conversation with Chapman outside the Dakota. Said one, "He just seemed like a really nice, genuine, honest person who was there because he admired John." Others, like WPLJ Disc Jockey Carol Miller, who lives near the Dakota, had noticed Chapman and thought "he looked strange. He was older than the kids who hung around there." When Miller first heard that Lennon had been shot, Chapman's face flashed in her mind.

On Saturday night, Chapman hailed a cab and told Driver Mark Snyder to take him to Greenwich Village. On the way he boasted that he had just dropped off the tapes of an album John Lennon and Paul McCartney made that day. He said that he was the recording engineer and that they had played for three hours.

On Monday afternoon Chapman spotted Lennon and asked him to autograph an album. Lennon hastily scribbled his name and climbed into a waiting car to take him to a recording studio. Did Chapman feel slighted by Lennon? Possibly. But the night before he had suddenly checked out of the Y and moved into the cushier Sheraton Center hotel and bought himself a big meal. It was as if he were rewarding himself in advance for some proud accomplishment. Now on Monday, only hours after getting Lennon's autograph, Chapman was waiting again, this time in the shadows of the entryway with a gun. When the police grabbed him after the shooting, they found he still had the autographed album with him. He also had a paperback copy of J.D. Salinger's The Catcher in the Rye.

Lennon was no stranger to threats on his life. As early as 1964, at the first Beatles concert in France, Lennon got a note backstage that read, "I am going to shoot you at 9 tonight." He had only lately become accustomed to the freewheeling anarchy of New York street life: "I can go out this door now and go into a restaurant . . . Do you want to know how great that is?" he told the BBC. But friends remember him as being guarded both in public and around the few people he and Ono met during the long years of self-willed isolation that were only ending with the completion of the new album. "John was always wary," says his friend, Actor Peter Boyle. "Maybe partly because he was extraordinarily tuned in. He'd pick up on people, and they'd pick up on him."

Lennon also shared with many other rockers a kind of operational fatalism, a sense that doing your best, whether on record or in concert, required laying yourself open, making yourself vulnerable. It was not only the pressures and excesses of the rock-'n'-roll life that moved the Who's Pete Townshend to remark, "Rock is going to kill me somehow." And it was not just the death of Elvis Presley that Lennon had in mind when he said to friends in 1978, "If you stay in this business long enough, it'll get you."
Re: Журнал Time - December 22, 1980
Автор: Corvin   Дата: 16.11.08 00:36:07   
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Rock, Lennon knew as well as anyone, is the applied art of big risk and big feelings. The songs he and Paul McCartney wrote for the Beatles, separately and together, brought more people up against the joy and boldness of rock music than anything else ever has. It wasn't just that Aaron Copland and Leonard Bernstein were taking the Beatles as seriously—and a good deal more affectionately—than Stockhausen. The worldwide appeal of the Beatles had to do with their perceived innocence, their restless idealism that stayed a step or two ahead of the times and once in a while turned, bowed low, gave the times a razz and dared them to catch up. The slow songs were heart stoppers, the fast ones adrenaline rushes of wit, low-down love and high, fabulous adventure. The songs became, all together, an orchestration of a generation's best hopes and fondest dreams.

The songs Lennon wrote later on his own—Imagine and Whatever Gets You Thru the Night, Instant Karma and Give Peace a Chance and the gentle and unapologetic Watching the Wheels from the new album, or the gorgeous seasonal anthem, Happy Xmas (War Is Over), which he recorded with Ono in 1972—kept the standard high and his conscience fine-tuned. The political songs were all personal, the intimate songs all singular in their fierce insistence on making public all issues of the heart, on working some common moral out of private pain. Rock music is still benefitting from lessons that Lennon fought hard for, then passed along. All his music seemed to be torn from that small, stormy interior where, as Robert Frost once wrote, "work is play for mortal stakes."

Despite the universality of interest in his death, Lennon remained chiefly the property—one might even be tempted to say prisoner—of his own generation. Some —those who regarded the Beatles as a benign cultural curiosity, and Lennon as some overmoneyed songwriter with a penchant for political pronouncements and personal excess—wondered what all the fuss was about and could not quite understand why some of the junior staff at the office would suddenly break into tears in the middle of the day. "A garden-variety Nobel prizewinner would not get this kind of treatment," said a teacher in Oxford, England. Across the Atlantic, in schools and on college campuses, those from other generations showed almost as great a sense of puzzlement, even distance, as of loss. Gretchen Steininger, 16, a junior at Evergreen Park High School in suburban Chicago, said, "I recognize the end of an era—my mom's."

So a little reminder was in order, a small history lesson, and there was no one better to lead the class than Bruce Springsteen. Lennon had lately become warmly admiring of Springsteen, especially his hit single Hungry Heart. Springsteen could probably have let Lennon's death pass unremarked, and few in the audience at his Philadelphia concert last Tuesday would have been troubled. But instead of ripping right into the first song, Springsteen simply said, "If it wasn't for John Lennon, a lot of us would be some place much different tonight. It's a hard world that asks you to live with a lot of things that are unlivable. And it's hard to come out here and play tonight, but there's nothing else to do."

Then Bruce and the E Street Band tore into Springsteen's own anthem, Born to Run, making it clear that playing was the best thing to do. Guitarist Steve Van Zandt let the tears roll down his face, and Organist Danny Federici hit the board so hard he broke a key. By the second verse, the song turned into a challenge the audience was happy to accept: "I wanna know love is wild, I wanna know love is real," Springsteen yelled and they yelled back. By the end, it sounded like redemption John Lennon knew that sound too. He could use it like a chord change because he had been chasing it most of his life. John Lennon grew up on Penny Lane, and after a time he moved to a house outside Liverpool, hard by a boys' reformatory. There was another house in the neighborhood where John and his pals would go to a party and sell lemonade bottles for a penny. The house was called Strawberry Fields. His boyhood was neither as roughly working-class as early Beatles p.r. indicated, nor quite as benign as the magical association of those place names might suggest. But John's adolescence in the suburbs, the garden outside the back door and the warm ministrations of his Auntie Mimi did not diminish either the pain or the sense of separateness that was already stirring.

His father, a seaman named Alfred, left home shortly after John was born, and his mother Julia sent him to her sister Mimi because, it was said, she could not support her child. John was 4½ when he was farmed out to the suburbs All the sorrow, rage and confusion of this early boyhood were taken up again and again in songs like Julia and Mother. These early years were not an unhealed wound for Lennon, but more nearly a root, a deep psychic wellspring from which he could draw reserves of hard truth.

Reserves of another sort gave him trouble even early on. "In one way, I was always hip," Lennon remarked recently in Playboy, during an interview that could stand as lively proof that some of the best Lennon/Ono art was their life. "I was hip in kindergarten. I was different from the others. There was something wrong with me, I thought, because I seemed to see things other people didn't see. I was always seeing things in a hallucinatory way." Lennon's songs made peace with those hallucinations and expanded them —whether with psychedelics, psyschiatry or a sort of domestic mysticism—while keeping them always within reach, as a man might keep a flashlight on a nightstand in case he had to get up in the dark Lennon was already well into his teens, living 15 minutes away from his mother but seldom seeing her, when rock 'n' roll grabbed hold of him and never let loose. All the raw glories of Elvis Presley, Little Richard, Chuck Berry and Jerry Lee Lewis shook him to his shoes. He responded with the rowdiness of spirit and emotional restlessness that already set him apart from his peers and caused their parents concern. Paul McCartney's father warned his son to steer clear of John, which amounted to an open if inadvertent invitation to friendship.

By his 16th year, John had formed his first band, the Quarrymen, and Paul McCartney had enlisted as guitar player. John and Paul began to write songs together almost as soon as they had finished tuning up, and they played any gig the band could get. By the end of 1956, though he had his first group and a best friend, Lennon suffered a lasting wound His mother was killed in an accident while she stood waiting for a bus. As he said, "I lost her twice."
Re: Журнал Time - December 22, 1980
Автор: Corvin   Дата: 16.11.08 00:36:36   
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Two years later, George Harrison had joined the Quarrymen, and the band was actually earning some money They had their own fans, and a growing reputation that took them to club dates in the gritty seaport of Hamburg, West Germany, where they eventually changed their name to the Beatles and got a double dose of the seamier side of rock life Lennon, who like the rest of the boys favored black leather jackets, pegged pants and stomper boots, was sending long and passionate mash notes back home to Cynthia Powell. "Sexiest letters this side of Henry Miller," he observed.

He was also a student at the Liverpool College of Art while the Quarrymen were still gigging around. "I knew John would always be a bohemian," Aunt Mimi recalled. "But I wanted him to have some sort of job. Here he was nearly 21 years old, touting round stupid halls for £3 a night. Where was the point in that?"

Well, the point was the music, a peak-velocity transplant ot American rock, with its original blistering spirit not only restored but exalted. There was some concern for the future, however. A Liverpool record-store owner named Brian Epstein thought he might be able to lend a hand there. He signed on as the group's manager in 1961. By the end of the following year. boys got their first record contract and their first producer, George Martin, who remained aboard for the crazy cruise that came to be called Beatlemania. There was one final change of personnel: Drummer Pete Best was replaced by a gentleman named Richard Starkey, who favored quantities of heavy jewelry, most of it worn on the digits, and who went by the name of Ringo Starr.

It took just a month for the second Beatles single, Please Please Me, to reach the top of the English charts. That was in January of 1963. By the end of that year, they had released She Loves You and appeared live on a BBC variety show in front of thousands of screaming fans in the audience and unverifiable millions of new converts and dazed parents sitting at home in front of the telly. I Want to Hold Your Hand came out in the U.S. in the first week of 1964, and it seemed then for a while that both sides of the Atlantic were up for grabs. Beatles forever.

Some history becomes myth, some myth goes down in history, some statistics boggle the mind: the Beatles have sold, all over the world, upwards of 200 million records. They made history so quickly, and so seismically, that their chronology can be given like a code, or an association game in which words, phrases, snatches of lyrics, names, can stand for whole years. Even the skeptical on either side of the Beatles generation will be startled to see how easily they can play along. Start off with an easy one. Yeah, yeah, yeah. Now you're off . . . Ed Sullivan. Jelly babies. Plaza Hotel. Moptops. Arthur and A Hard Day's Night. The Maharishi and M.B.E.s. Sergeant Pepper. LSD. Apple. "More popular than Jesus." Shea Stadium. White Album. Yesterday. I'd love to turn you on." Jane, Patti, Cynthia. Linda. Yoko. "Paul is dead." Abbey Road. Let It Be.

The history and the resonance of those fragments are so strong that even out of chronological sequence they form their own associations, like a Joseph Cornell collage. Some of the colors may be psychedelic, but the shadings are the pastel of memory, the patina made of remembered melody. Lennon, the only wedded Beatle —he had married Cynthia in 1962 and had a son, Julian—had early been typed as the most restless, outspoken and creative of the group, even though he led, outwardly, the most settled life. There was paradox in this popular portrait, just as there was considerable tension in Lennon's belief that the well-noted contradictions were true. There were both beauty and ambition in his music, and a full measure of turmoil too. He was experimenting with drugs and working up some of the material that would eventually find its way into Sergeant Pepper's Lonely Hearts Club Band, when he walked into a London gallery in 1966 and there, among ladders, spyglasses, nail boards, banners and other props of her art, met Yoko Ono.

The daughter of a well-to-do Japanese banker, Ono, now 47 was born in Tokyo. She had lived in San Francisco before World War II, foraged for food back home during it, and afterward returned to the States, where she attended Sarah Lawrence College and became interested in the far-flung reaches of the avantgarde. Her first husband was a Japanese musician. The marriage so offended Ono's mother that she never reconciled with her daughter. She worked on concerts for John Cage, became associated with other artists such as La Monte Young and Charlotte Moorman, the topless cellist whose staging of and participation in art "events" came a little later to be called happenings. Ono married again, a conceptual artist named Tony Cox, and they had a daughter, Kyoko. Ono once brought the baby onstage during a concert as "an uncontrollable instrument." Eventually, Cox and Kyoko went to Japan, and Ono to England. Her artworks, or happenings, began to show a sense of humor that was both self-mocking and affirmative, and when John Lennon climbed a ladder to look through a telescope at that London gallery, what he saw was no distant landscape but a simple YES.
Re: Журнал Time - December 22, 1980
Автор: Corvin   Дата: 16.11.08 00:37:22   
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The other Beatles were not delighted to have Ono around. Besides whatever personal antagonisms or random jealousies might have existed, one suspects now, Paul, George and Ringo may have considered her dedicated avant-gardism somewhat inimical to the best popular instincts of their music. For her part, she felt she was under heavy surveillance. "I sort of went to bed with this guy that I liked and suddenly the next morning I see these three in-laws standing there," she recalled recently. John, separated from Cynthia, fell in love with Yoko and her ideas. Some of her conceptual art had the same intellectual playfulness as his lyrics, and Lennon became a collaborator in many of her projects. They made films—of flies crawling, of dozens of bare bums. They made records, including the notorious Two Virgins, for which they posed naked, front and back. Shock! Scandal! Grim predictions for the future!

In fact, there was already a fair amount of dissension among the members of the band: McCartney wanted to get out more and play for the folks, Lennon wanted to work in the recording studio, like an artist with a canvas. The ideological pressures and upheavals of the decade made the four Beatles stand out in even sharper contrast to each other. John became much more political, George more spiritual, Paul seemingly more larky, and Ringo more social. In the more than two years between Sergeant Pepper and Abbey Road, Lennon and McCartney wrote, separately and still (but more tenuously) together, some of their greatest songs (Penny Lane, All You Need Is Love, and Strawberry Fields Forever). But if the turmoil had an immediate, productive side, it also took an inevitable toll. In 1969, after the completion of Abbey Road, John told the boys he was leaving.

Next year, McCartney went his own way and that, one would have thought, was that. End of Beatles, end of era. But the Beatles would never go away because their music endured; it became part of a common heritage, a shared gift. No matter how many times they were played in elevators or gas stations, Beatles songs were too vibrant ever to qualify as "standards." That these were Beatles songs, not the single expression of an individual, needs to be remembered amid all the Lennon eulogies, which call him the strong creative force of the group.

In the process of riding out all the massive changes of the 60s and bringing about a few on their own, the Beatles also trashed an elementary law of geometry: this was one whole that was greater than the sum of its parts. Lennon was unfairly used as a means to put McCartney in his place, although Lennon had taken pains lately to redefine details of his collaboration with Paul, and to make sure credit was distributed accurately. The melodic range of the music ran from marching band to rhythm and blues, from tonal stunt flying to atonal acrobatics, once in a while all in the same song. The Beatles sang ballads that could almost be Elizabethan, rockers that still sound as if they come from the distant future, and it was hard to peg all that invention to any single source. Lennon joked about walking into a restaurant and being saluted by the band with a rendition of Yesterday, a pure McCartney effort. Many radio and video memorials to Lennon included Let It Be, another Beatles tune that was all McCartney.

If it was hard to keep the credits straight with all the Beatles, it was harder still for them to keep their friendly equilibrium. McCartney, married to Linda Eastman and staying close to the hearthside, released a series of albums that were roundly drubbed as corny, until he broke through splendidly in 1973 with Band on the Run. Lennon, married to Ono and living in New York, released a great solo record, Plastic Ono Band, then threw himself headlong into uncertainty. He and Ono lived in a series of elaborate post-hippie crash pads, became obsessed not only with artistic experimentation but with radical political flamboyance. Lennon's subsequent albums remained achingly personal, but turned increasingly random, unfocused. They were indignant and assaultive, adrift.
Re: Журнал Time - December 22, 1980
Автор: Corvin   Дата: 16.11.08 00:37:32   
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When he and Ono separated for a time in the early '70s, Lennon went on an 18-month bender of drink, drugs and general looniness. "We were all drinking too much and tearing up houses," recalls one of his cronies at the time, Drummer Jim Keltner. "No one drank like he did. He had broken up with Ono and was with another woman at the time. Suddenly, he just started screaming out Ono's name. That separation from her almost killed him." Being treated as some sort of witchy parasite was no treat for the estranged Mrs. Lennon either, and when they both finally reconciled, they changed their lives in unexpected ways.

Lennon released one more record—a collection of rock oldies—then settled back with Ono in the Dakota to raise their son Sean, who was born on Oct. 9, 1975, the day of his father's birthday. Said Lennon: "We're like twins." Occasionally, John and Ono would go public, often to fight the ultimately unsuccessful attempts of the Nixon Justice Department to deport Lennon on an old marijuana conviction in England. Mostly, however, they stayed at home, rearing Sean, redecorating the 25 rooms in their four Dakota apartments (art deco and artifacts of ancient Egypt, including a sarcophagus in the living room; blue clouds painted on the ceiling of a downstairs office), expanding their financial holdings (Lennon left an estate estimated at $235 million), buying property and Holstein cows.

The Holsteins were selected because they were meant to yield nourishment, not be slaughtered for it. Ono took care of all the details, and Lennon did not know about the sale of one of the cows until he read an item in the paper. He was even more pleased than surprised. "Only Yoko," he said admiringly, "could sell a cow for $250,000."

Ono could do a lot more than that. The banker's daughter set herself to mastering the mysteries of commercial law and deal making just as, earlier, she had wrestled with the exotic exigencies of John Cage. She met the attorneys and the accountants; she supervised the buying up of property in Palm Beach, Fla., Cold Spring Harbor, an exclusive enclave on Long Island, and in upstate New York. When the Lennons decided to make another album earlier this year, it was Ono who called Record Executive David Geffen and worked out the deal.

The Lennons may have been taking a step or two aside from art, living quietly, but they were not hermits. They were collecting themselves, looking for a center, a core. It seemed hard to understand, but shouldn't have been. Ono sat behind the desk and John stayed home with the little boy. Julian, Lennon's other, older son, was now a teen-ager who lived in Britain with his mother, but wore leather jackets and jeans, like his Dad back in the days of the Quarrymen, and talked of becoming a rocker. John did not see Julian often, and said recently, "I don't remember seeing him as a child." But Lennon suggested that he had lately wanted to know Julian better, and one of the most haunted faces in last week's gallery of grief was Julian's, enduring the same pain that had afflicted his father at almost the same age some 25 years before. He, like John, had lost a parent twice.

John gloried in playing parent to Sean, and liked to call himself a househusband. What upset traditionalists was the fact that he obviously reveled in his domestic role. This role reversal was seen by the man raised by an aunt and three of her sisters as no threat at all. He insisted—indeed, proved —that he was putting nothing at risk, not his manhood and not his artistry.

Double Fantasy, the new record, demonstrated that. Ono's contributions are especially accessible and congenial after years of punk and New Wave conditioning. John's songs, simple, direct and melodic, were celebrations of love and domesticity that asked for, and required, no apology. It was not a great record, like Plastic Ono Band, but it might have been the start of another time of greatness.

The subjects of Double Fantasy, released last month, were supposedly not the stuff of rock, but John Lennon never bound himself to tradition. "My life revolves around Sean," he told some radio interviewers from San Francisco on the afternoon of the day he was killed. "Now I have more reason to stay healthy and bright . . . And I want to be with my best friend. My best friend's me wife. If I couldn't have worked with her, I wouldn't have bothered. . . I consider that my work won't be finished until I'm dead and buried, and I hope that's a long, long time." As he spoke those words, Mark David Chapman waited for him out on the street.

Lennon's death was not like Elvis Presley's. Presley seemed at the end, trapped, defeated and hopeless. Lennon could have gone that way too, could have destroyed himself. But he did something harder. He lived. And, for all the fame and finance, that seemed to be what he took the most pride in.

"He beat the rock-'n'-roll life," Steve Van Zandt said the day after Lennon died. "Beat the drugs, beat the fame, beat the damage. He was the only guy who beat it all." That was the victory Mark Chapman took from John Lennon, who had an abundance of what everyone wants and wanted only what so many others have, and take for granted. A home and family. Some still center of love. A life. One minute more.,9171,924600-1,00.html
Re: Журнал Time - December 22, 1980
Автор: Corvin   Дата: 16.11.08 00:39:14   
Цитата | Ссылка
Always a Pun up His Sleeve

Lennon loved language, the sounds and rhymes and elastic elusiveness of words, and, like a dandy with a lace handkerchief, he liked to keep a pun up his sleeve. The early songs, all written in collaboration with Paul McCartney, were playful, ebullient, rich in imagination. On his own, Lennon planed down the richness of the words into a sparseness that matched the immediacy of the music.

Since you left me, I'm so alone.
Now you're coming, you're
coming home . . .
It won't be long, yeh, yeh.

—It Won't Be Long

There are places I'll remember
All my life, though some have changed,
Some forever, not for better, Some have gone and some remain.

—In My Life

He's a real Nowhere Man,
Sitting in his Nowhere Land,
Making all his Nowhere plans for nobody.

—Nowhere Man

And though the holes were rather small,
They had to count them all.
Now they know how many holes it takes to fill the Albert Hall.
I'd love to turn you on.

—A Day in the Life

Nothing is real
And nothing to get hungabout.
Strawberry Fields forever.

—Strawberry Fields Forever

Elementary penguin singing Hare
Krishna man you should have seen them
Kicking Edgar Allan Poe.
lam the eggman, oh, they are the eggmen—
Oh, l am the walrus GOO GOO GOOJOOB.

—I Am the Walrus

Picture yourself on a train in a station,
With plasticine porters with looking-glass ties,
Suddenly someone is there at the turnstile,
The girl with kaleidoscope eyes.

—Lucy in the Sky with Diamonds

Half of what I say is meaningless,
But I say it just to reach you, Julia.


Keep you doped with religion and sex and TV
And you think you're so clever and classless and free.
But you're still f—ing peasants as far as I can see.
A working-class hero is something to be.

—Working-Class Hero

God is a concept
By which we measure
Our pain . . .
You just have to carry on
The dream is over.


Imagine there's no heaven.
It's easy if you try.
No hell below us
And above us only sky.


All we are saying is give peace a chance.

—Give Peace a Chance

People asking questions lost in confusion
Well I tell them there's no problem, only solutions...
I'm just sitting here watching the wheels go round and round.
I really love to watch them roll,
No longer riding on the merry-go-round.
I just had to let it go.

—Watching the Wheels,9171,924601,00.html
Re: Журнал Time - December 22, 1980
Автор: Corvin   Дата: 16.11.08 00:40:58   
Цитата | Ссылка
A Lethal Delusion
Monday, Dec. 22, 1980

The twisted man who wanted to be Lennon

"The presidential assassin establishes with his victim a deadly intimacy, follows his movements, attaches himself to his rising star." Historian Christopher Lasch was writing about political assassins, but he might have been describing Mark David Chapman, 25, the accused murderer of John Lennon. Since he was a child, Chapman had attached himself to his hero's star, first as fan, then as imitator, finally as killer. Indeed, it is possible that in some distorted, Dostoyevskian mirror within his mind, he saw himself as Lennon—and the real Lennon as a threatening impostor.

In Atlanta, where Chapman spent most of his childhood, he joined a high school rock band and, like millions of others, worshiped the Beatles. He wore his hair long, in the distinctive Beatles cut, with strands flopping like a sheepdog's over his forehead. He experimented with drugs, which his idols condoned, and dropped acid when he was only 15. His parents strongly disapproved of the drugs, as well as of the Beatles, and would not let him play their records in the house. They searched his room, and once, when his mother warned him not to lock his bedroom door, he pried it off its hinges, took it downstairs and leaned it against the kitchen wall. He resisted authority, fought with his younger sister, and ran away from home several times. All the while he identified closely with Lennon, the most rebellious of the Beatles.

Still, he was not a delinquent. Most people appeared to like him, and he became a counselor at an Atlanta Y.M.C.A. "He seemed to really want to find a way to serve," says Tony Adams, who was the Y's executive director. "If ever there was a person who had the potential for doing good, it was Mark."

After he shot Lennon, Chapman said, "I've got a good side and a bad side. The bad side is very small, but sometimes it takes over the good side and I do bad things." For most of the '70s, the good side seemed to be in control. After graduating from high school in 1973, he got a full-time job at the Y, going so far as to sign up in 1975 as a missionary in Lebanon. The trip was his dream, but civil war broke out shortly after he arrived in Beirut, and he was forced to return home. Aware of his dedication as well as his disappointment, the organization sent him to help Vietnamese refugees who were awaiting resettlement at Fort Chaffee, Ark. "He was especially drawn to small children," says Gregg Lyman, one of his coworkers. Adds Y.M.C.A. Executive David Moore: "The problems of the people really got into his gut. He cared."

Chapman's other side appears to have begun its ascendancy a year later, after a college romance fizzled. He dropped out of Covenant College, a small Presbyterian school in Tennessee, after one semester, worked as a security guard in Atlanta, then moved to Hawaii. Depressed, however, by the unhappy love affair and the impending divorce of his parents, he tried to kill himself with a car exhaust. Treated at Castle Memorial Hospital outside Honolulu, he stayed on to do odd jobs.
Re: Журнал Time - December 22, 1980
Автор: Corvin   Дата: 16.11.08 00:41:07   
Цитата | Ссылка
For a time he seemed more stable. His father, a loan collector in an Atlanta bank, gave him money for a round-the-world trip. In June 1979, the stocky (5 ft. 11 in., 195 Ibs.) Chapman married Gloria Abe, the attractive Japanese American who planned the itinerary. Though Chapman earned only $4 an hour as a security guard, money seems not to have been a problem: the couple lived in a $400-a-month apartment in a downtown Honolulu highrise, and Chapman was able to indulge his newest passion, art. He bought expensive works and last year purchased a $7,500 lithograph by Norman Rockwell. Like his earlier love of music, art became an obsession, and he would spend hours in Honolulu galleries and contact dealers all over the country for information on works in which he was interested.

Some time in October, Chapman's bad side took over completely. On Oct. 23 he quit his job, signing out in the logbook, John Lennon. Four days later he walked into J and S Sales, a gun shop just a block from the main Honolulu police station. Because he had no arrest record, a salesman sold him a Charter Arms .38-cal. revolver (price: $169). "It's the type used by detectives and plainclothes police because it is easy to conceal," explains Steve Grahovac, the store's owner.

It is also the type Arthur Bremer used to gun down George Wallace in 1972—a grotesque coincidence that prompted Chicago Sun-Times Columnist Mike Royko to write, with biting effect: "Now that Charter Arms Corp. has the unique distinction of having two famous people shot by one of their products, I wonder if they have considered using it in their advertising. Something simple and tasteful like: 'The .38 that got George Wallace and John Lennon. See it at your gun dealer now.'

Chapman flew to the mainland in November and spent two days in Atlanta before returning to Honolulu. Earlier this month he came back to Manhattan with at least 2,000 borrowed dollars for his fateful rendezvous outside the Dakota.

Psychiatrists believe that the best clue to what went wrong in Chapman's head is his signing of Lennon's name in the logbook last October. That act, they say, may indicate that he was losing what little remained of an obviously fragile sense of identity. "He had a superidentification with Lennon, but he was also in competition with him," says Manhattan Psychiatrist David Abrahamsen, who examined David Berkowitz, the "Son of Sam" killer. "His murder of Lennon was a substitution for his own suicide."

To be sure, the parallels that Chapman established between his own life and Lennon's were startling: both loved music as adolescents, both were in rock groups, both loved children, both were devoted to helping others, and both married Asian women who were older than themselves (Lennon's wife by seven years, Chapman's by four). "There's very strong evidence that Chapman very much wanted to be Lennon," says Stuart Berger, a New York forensic psychiatrist. "He slowly became delusional and incorporated Lennon into his sense of self. The only obstacle that stood in the way of his becoming Lennon was Lennon." Now, as he sits in detention at Rikers Island prison complex in the East River, he must face the awful reality of being Mark David Chapman.,9171,924602,00.html
Re: Журнал Time - December 22, 1980
Автор: Corvin   Дата: 16.11.08 00:42:27   
Цитата | Ссылка
A Letter From The Publisher

One night in November 1963, four mop-topped lads from Liverpool strode triumphantly onto the stage of London's Prince of Wales Theater before an audience of upper-crust fans that included the Queen Mother herself. As TIME quoted the group's lanky, irreverent leader: "Those of you in the cheaper seats, clap. The rest of you, rattle your jewelry." With that remark, John Lennon made his first appearance in the pages of TIME. As the years went by, Lennon and his fellow Beatles have turned up countless times in the magazine—and in the lives of a fortunate handful of its writers and correspondents.

When the Beatles made their first visit to the U.S. in 1964, Senior Editor Christopher Porterfield, then a trainee in TIME'S Washington bureau, was assigned to follow them. Porterfield recalls: "All of them were joking and clowning a lot, but John's humor glinted with a fine, hard intelligence and had a mocking, satirical edge. He also had a sharper way with the language." Porterfield next encountered Lennon in 1968, when he and Paul McCartney were in New York to announce the formation of their own record label, Apple Corps., Ltd. Porterfield, who had written a TIME cover story on the group the year before, was again struck by Lennon's patience and courtesy. Three years later, Porterfield sat in Apple's London headquarters listening to Lennon speak with bitterness about the breakup of the Beatles. Says he: "John was thinner than the last time I had seen him and his appearance gave an extra intensity to the harshness of what he was saying. He was understandably preoccupied with pain and frustration, but there was also a great deal of determination and optimism."

Senior Editor Martha Duffy, who edited this week's cover stories on Lennon's tragic death and rich musical legacy, first met him in 1969. Duffy was in Toronto interviewing Novelist Jacqueline Susann, who was there to promote her book The Love Machine. When Susann found out that Lennon and Yoko Ono were staging their memorable "Lie-in for Peace" in her hotel, she insisted on paying her respects. Recalls Duffy: "I was surprised that they were so friendly and welcoming. John was very gentle but not in a soft way. He had a strong sense of himself."

Jay Cocks, who wrote the main story, first met Lennon in 1976 through mutual friends. Over the years Cocks found him to be "extraordinarily smart, witty, angry and basically unknowable."

Sums up Porterfield: "Of all the Beatles, Lennon was the one who showed the greatest depth and complexity. His was the growth I expected the most from, and now that growth has been cut short.",9171,924587,00.html
Re: Журнал Time - December 22, 1980
Автор: Corvin   Дата: 16.11.08 00:44:01   
Цитата | Ссылка
Monday, Dec. 22, 1980

BORN. To Lucie Désirée Arnaz, 29, actress (Broadway's They're Playing Our Song) and daughter of Lucille Ball and Desi Arnaz, and her husband of six months, Actor Laurence Luckinbill, 46: a son, her first, his third; in Los Angeles. Name: Simon Thomas. Weight: 8 Ibs. 6½ oz.

DIVORCED. Erik Estrada, 31, star of the TV show CHIPS; and Joyce Miller Estrada, 40; after one year of marriage (which cost Erik a settlement of $2,740 a month for the next four years), no children; in Los Angeles.

DIED. John Lennon, 40, former Beatle whose singing, songwriting and social activism left a lasting imprint on the culture of the past two decades; of gunshot wounds by an assassin's hand; in New York City (see NATION).

DIED. Michael Halberstam, 48, hard-driving physician, author and editor whose multi-faceted career led from Public Health Service assignments at the northern tip of Alaska and on an Indian reservation in New Mexico to a successful cardiology practice in the nation's capital; of gunshot wounds received when he surprised a burglar in his home; in Washington, D.C. Son of a New York doctor and older brother of Pulitzer-prizewinning Journalist David Halberstam, he edited Modern Medicine magazine, contributed to many magazines and newspapers, wrote books on medical subjects and published a favorably reviewed 1978 novel, The Wanting of Levine (see NATION).

DIED. Kamel Abdel Rahman, 72, Palestinian contractor who headed one of the largest construction firms in the Middle East and was reportedly a top financier of the Palestine Liberation Organization; of complications resulting from a fall; in Cannes, France. Abdel Rahman, whose Consolidated Construction Co. built more than 2,000 km of roads in Oman, Abu Dhabi and Saudi Arabia, left an estimated 75% of his $150 million estate to Palestinian and other charities.

DIED. John J. Bergen, 84, a Pennsylvania mine owner's son who became a top industrialist and investment banker, playing a leading role in the construction of the new $100 million Madison Square Garden in New York City in 1968; in Cuernavaca, Mexico.

DIED. Benedictos I, 91, Greek Orthodox Patriarch of Jerusalem, who in 1964 arranged the first meeting in 500 years between the heads of the Eastern Orthodox and Roman Catholic churches; of a heart attack; in Jerusalem. The Turkish-born Benedictos acted on lifelong ecumenical principles in bringing together the Eastern Orthodox Patriarch of Constantinople, Athenagoras, and Pope Paul VI, whose two great branches of Christianity split in the 11th century.,9171,924623,00.html
Re: Журнал Time - December 22, 1980
Автор: Corvin   Дата: 16.11.08 00:46:08   
Цитата | Ссылка
Time to Reflect on Blah-Blah-Blah
Monday, Dec. 22, 1980

Late in his career, Announcer Bill Stern made an endearing confession about his vocal ways as the Christopher Columbus of television sportscasting. Said he: "I had no idea when to keep my big, fat, flapping mouth shut." The insight dawned too late to be of much use to Stern, but it might have been of value as a guide for his heirs. Unfortunately, nobody in the broadcast booth was listening. The result is the TV sports event as it is today: an entertainment genre in which an athletic game must compete for attention with the convulsive concatenations of blah-blah-blah that passes for commentary.

Television sportscasters, in short, are still a long way from mastering the art of the zipped lip. It is this familiar fact that has legions of sports fans eagerly looking forward to a special telecast of a football game that NBC has promised for Saturday, Dec. 20. The teams and site (Jets vs. Dolphins at Miami) are of little importance compared with the radical innovation that will be the main attraction: the absence of the usual game commentary. Thus the telecast will offer—and here Sports Columnist Red Smith leads the cheers—"no banalities, no pseudo-expert profundities phrased in coachly patois, no giggles, no inside jokes, no second-guessing, no numbing prattle." Just one announcer will be on hand, says NBC, to offer only the sort of essential information (injuries, rulings) that a stadium announcer traditionally provides. The prospect is engaging, even if it may be shocking to see a game presented merely for the sake of the drama on the field.

This blabber-proof telecast looms as far too rare an occasion to waste only in joy over a trial separation from the stream of half-consciousness that usually accompanies athletic endeavors on the tube. While sports fans will surely relish the moment, it should also be seized for grander purposes, for awareness may just be dawning in the Age of Communication that silence is indeed often golden. President-elect Ronald Reagan has so far, often to the chagrin of the press, shown an admirable reluctance to grab all of the many chances he gets to sound off on just about anything. Given the possible alternatives, Yoko Ono's fiat that John Lennon's passing be marked with ten minutes of silence around the world was inspired. In truth, the day of the telecast experiment would be a perfect time for the nation to reflect generally—and silently—on the whole disgruntling phenomenon of superfluous talk.

The American tendency to unchecked garrulity is most conspicuous in the realm of TV sports, but it does not begin or end there by a long shout. The late-evening TV news, for example, is aclutter with immaterial chatter. "Happy talk, keep talkin' happy talk . . ." Rodgers and Hammerstein offered that lyrical advice to young lovers, but a great many TV news staffers have adopted it as an inviolable rule of tongue. Happy talk is not reprehensible, but should it be force-fed to an audience looking for the news? Surely not, no more than a sports fancier tuning in football should be obliged to endure Tom Brookshier and Pat Summerall happily going over their personal travel schedules.

Admittedly, there is not likely to be universal agreement on precisely what talk is superfluous when. The judgment is aesthetic, and tastes vary. Some Americans might regard all sermons, lectures and political speeches as superfluous. Such testiness, however, can be shrugged off as a symptom of hyperactive intelligence. The criteria for talk should be appropriateness and pertinency. The essential question is: Does it subtract from or enhance the moment into which it falls? The deeper reason that sports commentary is annoying is that it so often ruptures the flow of the main event. The effect is easier to see when one imagines it occurring in the middle of a true drama, Othello, say:
Re: Журнал Time - December 22, 1980
Автор: Corvin   Дата: 16.11.08 00:46:17   
Цитата | Ссылка

"Now here's the video tape again with still another angle on lago as he evilly fingers Desdemona's hanky. And look! lago is curling the old lip just a trifle. Nice curl too, eh, Chuck? This chap was learning lip curling when the rest of that cast couldn't find the proscenium arch with both hands. Incidentally, about that hanky —you know, the star himself bought that hanky for 79¢ at Lamston 's just before opening when it turned out the prop man used the real thing as a dustcloth. Now back to the action onstage. . ."

Existence today often means escaping from the latest Oscar award acceptance speech only to be trapped within earshot of a disc jockey who considers it a felony to fall silent for a second. Some 5,000 radio and TV talk shows fill the air with an oceanic surf of gabble, a big fraction of it as disposable as a weather-caster's strained charm. It is easy to snap off and tune out, but it is not so simple to elude real-life blather. Try to get away from it all, and soon a stage-struck airline captain will be monologuing about terrain miles below and half-obscured by the cloud cover. Go to the dentist, and the procedure is all but ordained: thumbs fill the mouth, the drill starts to whine, and a voice begins to express all those unpalatable political opinions.

At the movies, it is usually the couple two rows back who turn out to be practitioners of voice-over chic, tenderly broadcasting all the half-baked thoughts they ever half-understood about Fellini. Dial a phone number and the absent owner's talking machine coughs a set piece of cuteness before granting a moment for you to interject a brief message. As for bridge players, the typical foursome hardly finishes the play of a hand before the air burbles with a redundant rehashing of it all.

Personality, roles and situations all work in the chemistry that induces excessive chatter. And certain subjects pull the stopper on even temperate people. Food, for example, instigates a preposterous quantity of repetitious chat. Sex? It has already provoked such an excess of discussion—functional and gynecological—that it is fair to rule all future comment on the subject may be surplus.

Cabbies and barbers have long been assailed for marathon talking, but it is unjust that they so often wind up at the top of the list of nuisances. Indeed, cabbies are often mute and sullen, and ever since barbers became stylists they have felt sufficiently superior to clients that their urge to talk has diminished.

cacy of universal silence. A rigorous discipline, silence is practiced by certain monks and others who believe that it heightens the soul's capacity to approach God. For ordinary people, a bit of silence may occasionally seem golden, but what they mostly need is the conversation that keeps them close to others. Those who do not get enough talk tend to wither in spirit.

Says Linguistics Scholar Peter Farb in Word Play: "Something happened in evolution to create Man the Talker." And a talker man remains, with speech his most exalting faculty. Talk is the tool, the toy, the comfort and joy of the human species. The pity is that talkers so often blurt so far beyond the line of what is needed and desired that they have to be listened to with a stiff upper lip.,9171,924641,00.html
Re: Журнал Time - December 22, 1980
Автор: JohnWLennon   Дата: 16.11.08 00:48:46   
Цитата | Ссылка

>Страниц 23 и 24, к сожалению, нет.

у вас похоже опечатка в нумерации, так называемый мисспресс...))) в моих экземплярах ваши страницы 25 и 26 это страницы 23 и 24 (там текст продолжается - Она жила в СФ до ВВ2) , а ваша стр. 53 у меня 69-я.
Re: Журнал Time - December 22, 1980
Автор: Corvin   Дата: 16.11.08 00:50:24   
Цитата | Ссылка
Re: Журнал Time - December 22, 1980
Автор: JohnWLennon   Дата: 16.11.08 00:54:04   
Цитата | Ссылка
похоже у вас Тайм который гнали на Европу. похоже у вас Тайм который гнали на Европу.
Re: Журнал Time - December 22, 1980
Автор: Corvin   Дата: 16.11.08 00:56:47   
Цитата | Ссылка

>у вас похоже опечатка в нумерации, так называемый
>мисспресс...))) в моих экземплярах ваши страницы
>25 и 26 это страницы 23 и 24 (там текст продолжается
>- Она жила в СФ до ВВ2) , а ваша стр. 53 у меня

Забавно, страница 23 на вашем фото, это тоже самое, что страница 25 на моем скане (статья "Always a Pun up His Sleeve"). Может быть, на этом месте была рекламная страничка?
Re: Журнал Time - December 22, 1980
Автор: Corvin   Дата: 16.11.08 01:00:53   
Цитата | Ссылка

>похоже у вас Тайм который гнали на Европу.

Ага точно, внутри обнаружил рекламку, для тех, кто хочет подписаться, с адресом подразделения Time в Нидерландах.
Re: Журнал Time - December 22, 1980
Автор: JohnWLennon   Дата: 16.11.08 01:01:59   
Цитата | Ссылка

>>похоже у вас Тайм который гнали на Европу.
>Ага точно, внутри обнаружал рекламку, для тех,
>кто хочет подписаться, с адресом подразделения
>Time в Нидерландах.

да, тоже узрел...))
Re: Журнал Time - December 22, 1980
Автор: Corvin   Дата: 16.11.08 01:02:15   
Цитата | Ссылка
Приятно порадовал сайт Time. В архиве можно посмотреть все статьи из всех номеров журнала с 1923 года по настоящее время.
Re: Журнал Time - December 22, 1980
Автор: JohnWLennon   Дата: 16.11.08 01:08:38   
Цитата | Ссылка

>Приятно порадовал сайт Time. В архиве можно посмотреть
>все статьи из всех номеров журнала с 1923 года
>по настоящее время.

офф - попробую отобрать и посканировать периодику декабря 80-го со статьями, в основном правда там Штаты.
Re: Журнал Time - December 22, 1980
Автор: Corvin   Дата: 16.11.08 01:54:29   
Цитата | Ссылка

>>Приятно порадовал сайт Time. В архиве можно
>>все статьи из всех номеров журнала с 1923 года
>>по настоящее время.
>офф - попробую отобрать и посканировать периодику
>декабря 80-го со статьями, в основном правда там

Было бы интересно посмотреть/почитать.
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