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In this thread I rank my favorite post-Beatles Beatles songs: 291-1. (3 Viewers)

Until recently I only knew ELO’s hits, but last year I listened to their output up to 1981 on YouTube.

Face the Music and A New World Record are just fantastic from start to finish. I would put them up there with any other mainstream rock product of the mid 70s. Lynne had tightened up the excesses of the earlier records and crafted immensely tuneful songs that had tons of interesting stuff going on in the background. Just like the Beatles used to do. 
 

These were followed by the double Out of the Blue, which returned to excess in a different way. There are some songs as good as those of the prior 2 records but the Beatles touches are most obvious on this record to the point that some tracks sound like parody.  Let’s put it this way. This album has Mr Blue Sky, the most obvious Beatles pastiche of their hit singles. That is not even the most Beatles sounding song on this record!

Subsequent albums are inconsistent and guilty of trend hopping. For example, the 1979 album Discovery is mostly their attempt at disco.

But seriously, check out A New World Record and Face the Music if you haven’t already.

 
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Jeff Lynne was definitely influenced by the Beatles, but he is very talented in his own right. You can hear Beatles in some of his music, but more than anything you can hear Jeff Lynne, and that is without him even singing. He musically has his own sound. He can write, arrange, and produce. One of my favorite albums he produced is Tom Petty's Full Moon Fever.

 
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Jeff Lynne was definitely influenced by the Beatles, but he is very talented in his own right. You can hear Beatles in some of his music, but more than anything you can hear Jeff Lynne, and that is without him even singing. He musically has his own sound. He can write, arrange, and produce. One of my favorite albums he produced is Tom Petty's Full Moon Fever.
Those he produced for others are a different story, as I think he was smart enough to use their native talent/sound & boost it. He's a talented dude and I admit to being wrong about him for about 25 years.

I'm not ready to get off of my "ELO straight ripped off the Beatles" stance, though.

 
Those he produced for others are a different story, as I think he was smart enough to use their native talent/sound & boost it. He's a talented dude and I admit to being wrong about him for about 25 years.

I'm not ready to get off of my "ELO straight ripped off the Beatles" stance, though.
I think for the most part Jeff sounds like Jeff. Everybody has borrowed from somebody and was influenced by others. Paul McCartney once said about The Beatles,  “We were the biggest nickers in town – plagiarists extraordinaire.”

 
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---INTERLUDE – Double Fantasy (1980) and Milk And Honey (1984)---

After five years playing house-husband and daddy and avoiding the spotlight, John had determined that, with his 40th birthday approaching, he wanted an adventure, and this one away from Yoko.  He’d been spending a lot of time sailing in the Long Island Sound and decided he wanted a longer, more challenging boat trip.  After consulting with one of his many psychics, he determined that Bermuda was the place to go, and embarked on a trip that was a lot more adventure that he expected! 

At first, in calm waters, John acted as the main cook on the ship, preparing vegetarian meals and developing a close friendship with the three members of the crew.  But then came a significant change in weather, with 65 mph winds causing 20-foot waves, quite a lot for a small yacht to handle.  Only the captain, Hank, and John ended up being to manage without seasickness – John credited his experience having given up heroin with his ability to prevent himself from throwing up.  After 48 hours awake trying to weather the storm, Hank taught John how to helm the boat and then went for some rest, leaving John in charge.  John’s initial fear of having everyone’s fate in his hands gave way as the excitement-seeking part of him became thrilled with his part in the ride.  When Hank re-emerged six hours later, he found John whooping it up and belting out the most obscene sea shanties he could remember from hanging around the Liverpool docks.  By the time they reached Bermuda, John was reinvigorated and feeling strong in a way he hadn’t in years.

It was with this change in outlook that John arrived to meet his assistant Fred Seaman (teehee) and Sean (who’d flown down) for their holiday in Bermuda.  John described himself having arrived “so centered after the experience at sea, that I was tuned into the cosmos.”  He, Seaman (teehee), and Sean would walk down the beach, taping songs as John composed one after the other on his acoustic guitar.  After five years without inspiration or inclination to write more songs, suddenly they were coming to him fast and furious – with inspiration and ideas coming everywhere he went in what he called “a diarrhea of creativity” – and he resolved to make another album.  At the same time, he also encouraged Yoko to write again, after hearing “Rock Lobster” at a bar and believing that the public was finally ready for her.  He would call her in NY and sing his new songs to her, and she would do the same in turn, inspiring each other back and forth.

The songs that came to pass during these two months in Bermuda were largely autobiographical (it’s John, duh) musings about what he’d been doing the past five years and where his life stood now.  They offered insights into his contentment being off the grid (as in “Watching The Wheels” and “Beautiful Boy”) but also represented the emotional conflicts he had at the time, for instance simultaneously praising Yoko in “Woman” and expressing hope that they were “(Just Like) Starting Over,” while also acknowledging his fear that they were drifting apart in “I’m Losing You.”  

Within a week of John’s return, on August 4, 1980, John and Yoko began recording his first new material in five years.  In about six weeks, they’d recorded enough material for at least three albums, and then went about finding a record company, since John was unsigned after not releasing a record for so long.  John made it clear that anyone who did not immediately treat Yoko as an equal and sign her as part of the package would not even be considered.  The brand-new Geffen Records won the battle against all the major labels when David Geffen met with Yoko first (shrewd!) and offered them the contract without even hearing demos. 

The idea of Double Fantasy – the name of which was taken from a large yellow freesia variety John had seen at the Botanical Gardens in Bermuda and thought was a perfect description of his marriage to Yoko – was to be alternating songs between John and Yoko, as if they were having a conversation.   Anticipation for the album (and the announced tour in the spring) was immense, as was simply the prospect of the public seeing John again.  There were rumors he’d lost all his hair or destroyed his nose with cocaine use.  When he appeared to publicize the album, he was physically not much different but seemingly more mature and much calmer.  In interviews preceding the album’s release, he described how the five years taking care of Sean had left him refreshed and back in the spirit of creativity, but with a different outlook:  “I’m going to be forty… Isn’t it great?  We survived.  I am going to be forty and life begins at forty, so they promise.  Oh, I believe it, too.  Because I feel fine.”  :(  

“(Just Like) Starting Over” was the first single from Double Fantasy, released in advance of the album, and was successful, reaching the top 10 on the US charts.  The album followed, receiving generally negative reviews and stalling at #11 in the US.  The album was often considered too personal and a bit of a snooze, with reviewers indicating they didn’t care about John’s allegedly perfect life with Yoko.  Then, everything changed on December 8, 1980.  After John’s murder, several negative reviews of the record were pulled, and later reviews were overwhelmingly more positive.  The public interest heightened as well, with both the album and the single reaching #1, and later singles “Woman” and “Watching The Wheels” also hitting the top 10.  The album also won the Grammy for Album of the Year and was rated #29 on Rolling Stone’s list of the greatest albums of the 1980s.

With many songs still left over from these August 1980 sessions, Milk And Honey became a posthumous album from John, finished and released by Yoko four years after his murder.  Yoko chose this title for the record based on her and John’s having discussed the US as being “the land of milk and honey,” and she believed that the Biblical reference seemed a sign from God regarding her choice of this title.  I don’t really follow all that either.  The album reached #11 in the US, with single “Nobody Told Me” hitting #5 on the charts, but it received mixed reviews from critics.

Having been recorded at the same time and with John still actively excited about being back in the music business, this record had been intended as a quick follow-up to Double Fantasy, maintaining the same themes and feel, in advance of a planned tour by John in spring 1981.  The cover photo on this was also from the same photo shoot as the Double Fantasy cover.  After John’s death, Yoko shelved the recordings for a few years before revisiting and completing the album in 1984. 

The problem with reviewing or discussing Milk And Honey is that most of the John songs feel unfinished (since they were!), and most or all of the Yoko songs were put together after John’s death.  For this reason, I did not include any Yoko songs from this record on my ranking, since it’s not clear which, if any, John participated in.

Cover art on both is beautiful pictures of the couple:  Double Fantasy  Milk And Honey

Track listing – Double Fantasy

  1. (Just Like) Starting Over
  2. Kiss Kiss Kiss
  3. Cleanup Time
  4. Give Me Something
  5. I’m Losing You
  6. I’m Moving On
  7. Beautiful Boy (Darling Boy)
  8. Watching The Wheels
  9. Yes, I’m Your Angel
  10. Woman
  11. Beautiful Boys
  12. Dear Yoko
  13. Every Man Has A Woman Who Loves Him
  14. Hard Times Are Over
Track listing – Milk And Honey:

  1. I’m Stepping Out
  2. Sleepless Night
  3. I Don’t Wanna Face It
  4. Nobody Told Me
  5. O’ Sanity
  6. Borrowed Time
  7. Your Hands
  8. (Forgive Me) My Little Flower Princess
  9. Let Me Count The Ways
  10. Grow Old With Me
  11. You’re The One
 
I wonder where Leroy Hoard is. He was in krista's original Beatles thread often. He hasn't been on FBG since August 6th. Maybe he got suspended for a month while visiting the political forum. I hope he is ok.  Where are you @Leroy Hoard   :stalker:

 
---INTERLUDE – John Winston Ono Lennon (October 9, 1940 – December 8, 1980)---

Along with his return to the music industry, in late 1980 John had been eyeing another return – his first trip to the UK since 1975.  He told his Aunt Mimi would watch the ships leaving NY and longingly wonder if any were heading to Liverpool.  John fantasized about boarding the QE2 and sailing home, and during the Double Fantasy recording sessions he even enlisted a friend to see about chartering the boat and see if it were able to fit up the Mersey.  A trip, whether or not on the QE2, was scheduled for early 1981, with a very happy John having called Aunt Mimi both the day before and the day of his murder to confirm it. 

His mellowing had led not only to nostalgia for his homeland, but also for the Beatles, and John was actively re-connecting with his old bandmates.  In late November 1980, he met with Ringo, who already had songs from both George and Paul on the album he was recording, and John agreed likewise to help Ringo by giving him a song or two.  John gave Ringo the demos for “Nobody Told Me” and another song, and the two booked a studio to record them together on January 14, 1981.  John also expected to connect with all of his old bandmates, at least socially if not professionally, at Ringo’s wedding to Barbara that was planned for the spring.

On December 3, 1980, John was interviewed for Rolling Stone magazine, with an accompanying photo shoot by Annie Leibovitz.  He expressed his continuing belief in the power of love and peace:  “You know…give peace a chance, not shoot people people for peace.  All we need is love.  I believe it.  It’s damned hard but I absolutely believe it.”  He also showed a new maturity is his perspective:  “I used to think the world was doing it to me and that the world owed me something…when you’re a teeny-bopper, that’s what you think.  I’m 40 now.  I don’t think that any more…”  A second photo shoot for the article was scheduled for December 8.

John spent the weekend of December 6-7 in recording sessions that were by all accounts happy and positive, with a sense of hope for the future.  John was described as having “discovered he could be grounded with his family and sober, and still put out a message people could relate to,” and to have gained an understanding of what it was to be a leader.  John shared his vision of going back out on the road and touring after the new year.  He even planned to being revisiting the Beatles songs in his performances, specifically mentioning “I Want To Hold Your Hand” as one he wanted to perform.

On December 6, John gave an interview to BBC Radio and was asked about the dangers of living in NYC; he responded by describing how great the city was, including that people came up for autographs but didn’t bug them and were just friendly.  John had taken to calling the people who hung out by the Dakota the “Dakota groupies,” but not in a negative way.  John often stopped to talk and sign autographs with the folks gathered there, and that weekend (December 6-7), a new face had joined the Dakota groupies, Mark David Chapman.

Chapman (whose background I’m not going to detail because #### him) had flown from Honolulu to NY on December 5, carrying 14 hours’ worth of Beatles music on cassette.  It was his third trip to NY to try to meet John, having not lucked into seeing him the first two times.  Chapman had loved the Beatles since his childhood, when he took solace in their music to hide from the mocking and bullying he was subjected to as a fat kid.  But he’d recently turned on John, whom he believed had betrayed the ideals of the Beatles (and Chapman personally) by acquiring wealth and becoming a hypocrite, one of the “phonies” described by Holden Caulfield’s character in The Catcher In The Rye.  Long saddled with psychiatric problems, he’d also begun to think of himself as being able to step into the shoes of and become Caulfield, but only gaining this reward if he were to kill John.

Upon arrival in NY, Chapman checked into first a YMCA and then a hotel, and bought a copy of Double Fantasy as well as the Playboy magazine containing a recent interview with John.  He hung out at the Dakota all weekend and finally saw John on Sunday, December 7.  Unlike the usually polite Dakota groupies, Chapman came aggressively close to John and starting taking pictures.  John became angry and tried to take Chapman’s camera, only retreating when Yoko shouted to him not to do it.

On Monday, December 8, after breakfast and a haircut, John gave another interview to promote Double Fantasy, followed by the follow-up photo shoot with Leibovitz.  Getting into the car on his way to the recording studio to work on a Yoko song for Milk And Honey, he noticed a Dakota groupie clutching a copy of Double Fantasy and offered to autograph it for him, a meeting that was captured in a photo by Paul Goresh.  Chapman had intended to shoot John then, but was taken aback by how nice John had been to him.  Chapman had also met Sean earlier in the afternoon outside the Dakota, reaching to shake his hand and tell him he was a “beautiful boy.”  After six hours of recording, John and Yoko left the studio around 10:30 pm, with Yoko suggesting they go out to dinner, but John eager to get home and see Sean before the boy went into dreamland.

Instead of driving into the interior courtyard, the driver dropped John and Yoko at the curb, since it was too late for the usual gatherings of Dakota groupies that they might wish to avoid.  As John emerged from the car, Chapman – still holding his autographed album – called to him, “Mr. Lennon…” and then shot John four times (a fifth shot having missed).  A doorman at the Dakota immediately called police and tried to apply first aid.  Police were on the scene quickly, finding a discarded gun on the sidewalk and Chapman leaning against the building reading The Catcher In The Rye.  Realizing there was no time for an ambulance, police loaded John into one of their cars and rushed him to the emergency room, but it was too late; he was dead upon arrival at the hospital.  As unsuccessful attempts were made to revive him and John was declared dead, “All My Loving” was playing on the hospital’s Muzak system. 

 
As a reminder, tomorrow the thread is a memorial for John.  I'll be posting about his last two albums, Double Fantasy and Milk and Honey, and then talking about his last days and murder.  I'll follow that with just one song for the day, as it doesn't feel right to do anything more than that one John song.

I wrote all of this up a few days ago, and I'm still somewhat emotional about it.  As I mentioned at the beginning of the Beatles thread, I came to the Beatles very late - well after John's death.  Maybe I haven't worked through his death as fully as someone who's loved him for the duration.  It's still raw every time I think about it.  These were very hard to write.

I'm taking solace that the one song I'll post is an exuberant, happy reflection of his last months on Earth.
Interesting that you came to the Beatles after John's death. I would not have guessed that. John's death was a very emotional time and one of those moments I will always remember where I was and what I was doing when i heard the announcement. At the time it was crushing, especially the violence of it. It was a definite WTF moment of my life. 

 
At the same time, he also encouraged Yoko to write again, after hearing “Rock Lobster” at a bar and believing that the public was finally ready for her.  He would call her in NY and sing his new songs to her, and she would do the same in turn, inspiring each other back and forth.
Butthead: "hehehe - he's the walrus, but she's like...a narwal - hehehe"

Beavis: "yeah..yeah..a narwalrus....sounds like a dolphin...aiaiaiaiaiai, watch out for that bikini whale!" 

 
I'd wondered if anyone here had been watching at that moment.  
I was watching the game in a bar (shocking, I know), but was a long way from the TV. No surround sound in those days. The only people listening to the sound were those close enough to the TV to hear it - old dudes gambling. The rest of us were only able to hear the jukebox. I didn't hear the announcement, but I do remember someone else saying they just said on television that Lennon was dead. I don't recall my reaction, but I probably assumed OD (while I was slamming lines up both nostrils). I didn't know he had been shot until the next day. 

 
235.  John Lennon and Yoko Ono - I’m Stepping Out (Milk And Honey, 1984)  Spotify  YouTube

(John #44)

“I’m Stepping Out” was the third single released from Milk And Honey and reached #55 on the US charts. 

This was the first song John recorded for the Double Fantasy/Milk And Honey sessions and was written while he was in Bermuda with his assistant, Fred Seaman (teehee), after a night out at a club.  John, who was at this point a lightweight when it came to drinking, woke up hungover, but with a sense of exhilaration from re-discovering his independence in a night on the town where he genuinely had a good time.  The lyrics evidence someone who is older and realizes that he is entitled to go out and have fun after taking care of his family responsibilities at home. 

I love hearing John sound so comfortable with himself and his life.  The spoken-word intro, which I expect would have been changed in a finished version, is great fun.  John’s vocal is fantastic, really hit those upper registers beautifully.  His delivery of that vocal is just…did I already say fun?  He sounds like he’s smiling and laughing throughout, delighted with what he’s putting together.  I swear he even declares “Boogie!” around 2:43?!  (Could also be "ooo yeah," I like the other interpretation better.)  And I love the “I’ll be in before 1…or 2…or 3…” as the song fades.  John is given solid support by the band, especially Hugh McCracken's chugging guitar part, but I suspect that would all have been fleshed out more in the end.  Which brings me to the reason this delightful concoction isn’t ranked higher:  it’s not finished.  More than the other songs from Milk and Honey that I’ll have on this list, it suffers from the absence of the fully formed idea and the finishing touches John would have given it.  I’m surprised, in fact, that this one was released as a single, but I guess someone else loved it, too.  It’s still a nice and heartwarming look at John’s state of mind during the last months of his life.

 
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I love hearing John sound so comfortable with himself and his life.  The spoken-word intro, which I expect would have been changed in a finished version, is great fun.  John’s vocal is fantastic, really hit those upper registers beautifully.  His delivery of that vocal is just…did I already say fun?  He sounds like he’s smiling and laughing throughout, delighted with what he’s putting together.  I swear he even declares “Boogie!” around 2:43?!  
It sounds like boogie to me too.  I've always loved his voice, and he does sound like he is having a good time with the song.

 
I'd wondered if anyone here had been watching at that moment.  
My parents did not let me stay up too late (I was in 7th grade) so I did not find out until the next morning. I begged my mom to stay home from school when I heard, but she of course said no.

I remember my German Teacher almost breaking down in tears talking about it. 
 

My favorite Beatles song is “Here Comes the Sun” partially because I remember hearing some one call into the radio and dedicate it to Yoko (more for the message I guess since it’s a George song) on the way to school - I missed the bus arguing with my mom about going.

I lashed out any time the news mentioned anything about Mark David Chapman’s life because like you said #### that guy. Don’t give him the attention he craves!!

Devastating.

 
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It sounds like boogie to me too.  I've always loved his voice, and he does sound like he is having a good time with the song.
:clap:  Boogie!

I love John's singing voice and also his speaking voice.  His speaking voice is my favorite of the Beatles, followed by George.

My parents did not let me stay up too late (I was in 7th grade) so I did not find out until the next morning. I begged my mom to stay home from school when I heard, but she of course said no.

I remember my German Teacher almost breaking down in tears talking about it. 
 

My favorite Beatles song is “Here Comes the Sun” partially because I remember hearing some one call into the radio and dedicate it to Yoko (more for the message I guess since it’s a George song) on the way to school - I missed the bus arguing with my mom about going.

I lashed out any time the news mentioned anything about Mark David Chapman’s life because like you said #### that guy. Don’t give him the attention he craves!!

Devastating.
Love the story of why "Here Comes The Sun" is your favorite.  Or love/hate it, I guess.

I hesitated to link the picture with Chapman in it because #### that guy, but I thought it was worth it because of John.

 
:clap:  Boogie!

I love John's singing voice and also his speaking voice.  His speaking voice is my favorite of the Beatles, followed by George.

Love the story of why "Here Comes The Sun" is your favorite.  Or love/hate it, I guess.

I hesitated to link the picture with Chapman in it because #### that guy, but I thought it was worth it because of John.
It’s part of the reason but the song just has so much hope and George was the best. 

 
One more thing about “Here Comes the Sun” and then we’ll go back solo Fabs. When early spring comes its heaven walking around with that on the headphones.

 
One more thing about “Here Comes the Sun” and then we’ll go back solo Fabs. When early spring comes its heaven walking around with that on the headphones.
All Beatle-related chat, solo or Beatle-y, welcome here.  Hell, I'm even OK with Slim Whitman chat.

I'll try this next spring; it sounds glorious.  :)  

 
---INTERLUDE – John Winston Ono Lennon (October 9, 1940 – December 8, 1980)---
I'll be thought of as an uninformed yokel, but I did not know much of this.  Thanks for writing it.  You're really good at this stuff; I'm learning, enjoying, and I appreciate John more for having read this.

 
235.  John Lennon and Yoko Ono - I’m Stepping Out (Milk And Honey, 1984)  Spotify  YouTube

(John #44)

“I’m Stepping Out” was the third single released from Milk And Honey and reached #55 on the US charts. 

This was the first song John recorded for the Double Fantasy/Milk And Honey sessions and was written while he was in Bermuda with his assistant, Fred Seaman (teehee), after a night out at a club.  John, who was at this point a lightweight when it came to drinking, woke up hungover, but with a sense of exhilaration from re-discovering his independence in a night on the town where he genuinely had a good time.  The lyrics evidence someone who is older and realizes that he is entitled to go out and have fun after taking care of his family responsibilities at home. 

I love hearing John sound so comfortable with himself and his life.  The spoken-word intro, which I expect would have been changed in a finished version, is great fun.  John’s vocal is fantastic, really hit those upper registers beautifully.  His delivery of that vocal is just…did I already say fun?  He sounds like he’s smiling and laughing throughout, delighted with what he’s putting together.  I swear he even declares “Boogie!” around 2:43?!  (Could also be "ooo yeah," I like the other interpretation better.)  And I love the “I’ll be in before 1…or 2…or 3…” as the song fades.  John is given solid support by the band, especially Hugh McCracken's chugging guitar part, but I suspect that would all have been fleshed out more in the end.  Which brings me to the reason this delightful concoction isn’t ranked higher:  it’s not finished.  More than the other songs from Milk and Honey that I’ll have on this list, it suffers from the absence of the fully formed idea and the finishing touches John would have given it.  I’m surprised, in fact, that this one was released as a single, but I guess someone else loved it, too.  It’s still a nice and heartwarming look at John’s state of mind during the last months of his life.
Love it.  Brand new to me.

 
My parents did not let me stay up too late (I was in 7th grade) so I did not find out until the next morning. I begged my mom to stay home from school when I heard, but she of course said no.

I remember my German Teacher almost breaking down in tears talking about it. 

... 
My experience was nearly identical, but I was in the 6th grade. 

At school that day, we already had scheduled a "celebration fair" as a reward for something or other - I can't remember what. 

Well, it turned into a mourning for John. But, the games and booths didn't feel exactly right - to even a young me. 

Watching the Wheels was the John song that touched me the most in my young life. I've got tons of fuzzy near-memories, just out of clarity's reach, that feature this song. 

 
One more thing about “Here Comes the Sun” and then we’ll go back solo Fabs. When early spring comes its heaven walking around with that on the headphones.
I used to work a hot air balloon festival. They used to play this at sunrise every day. I think that will be my memory of this song forever.

 
I'll be thought of as an uninformed yokel, but I did not know much of this.  Thanks for writing it.  You're really good at this stuff; I'm learning, enjoying, and I appreciate John more for having read this.
:lmao:   No way, GB.  I'm hoping to put some info in these write-ups that many people won't already know.  I'm excited that you are learning and enjoying!

 
Don't know if this belongs here, but stumbled across The Kids Are Alright on TCM and Ringo is interviewing Keith Moon and they are both fabulously smashed and it made my day

 
I was too young for John having been shot to have an impact on me. I think I was seven at the time, given the date listed, not a care in the world. I don't even remember hearing about it, except in the abstract. That is the world construction of a young mind, not given to abstraction but impulse, immortal for a fall or two. I think I assumed I would see or hear from him again because wasn't he the man that came through the record player? And even at that, he looked so different than his pictures!

I didn't process the import of his death until much later. Even then, not given to celebrity, I don't think I ever have adequately assessed the import of his death. I once had a teacher say a rude thing about his death (I thought we were not supposed to speak ill of the dead) and his importance to the world, but that was really it. I don't think until I got much older and knew how the Beatles still mattered to people did I ever really get why it was such a big deal. I'm still not sure what to make of him. I know what to make of Jerry Garcia, another guitar/singer stalwart that passed, probably because Garcia was so American at heart. Lennon was aloof, continental almost. A dirty English hippie last I could recall. Apparently clean and sober in the end. That is sad, to have cleaned up and sobered up, found new purpose, and somebody decides your time for you. Unjust, to say the least. Tragic at best. 

RIP.

 
I was a freshman in high school when John Lennon died.  My mom told my siblings and I the morning after the murder. It was quiet on the car ride to school, and we listened to the radio with the disc jockeys talking about it and playing his songs. It was a weird melancholy vibe at school, especially at lunch time in the cafeteria. Usually it was noisy with students chatting, but it was quiet with students talking in low voices. Everyone was talking about John's murder in disbelief, sadness, and anger.  It was hard to understand why something like that would happen. Unfortunately today it isn't that shocking that something like that would happen, but back then it was. 

 
It's odd that you brought Jerry into this, because one of my few clear memories of the school fair the day after the murder, is that I won a Grateful Dead mirror at one of the games. 

It got broken my 1st year of college. 
MOCS ...wait, you're saying you have clear memories and emotions associated with the breaking of a Grateful Dead mirror you won at a HS fair?  

 
It's odd that you brought Jerry into this, because one of my few clear memories of the school fair the day after the murder, is that I won a Grateful Dead mirror at one of the games. 

It got broken my 1st year of college. 
MOCS ...wait, you're saying you have clear memories and emotions associated with the breaking of a Grateful Dead mirror you won at a HS fair?  
Nah. Sorry for the confusion. I won the mirror at a 6th grade fair; the day after John's death - described here:

My parents did not let me stay up too late (I was in 7th grade) so I did not find out until the next morning. I begged my mom to stay home from school when I heard, but she of course said no.

I remember my German Teacher almost breaking down in tears talking about it. 

... 
My experience was nearly identical, but I was in the 6th grade. 

At school that day, we already had scheduled a "celebration fair" as a reward for something or other - I can't remember what. 

Well, it turned into a mourning for John. But, the games and booths didn't feel exactly right - to even a young me. 

Watching the Wheels was the John song that touched me the most in my young life. I've got tons of fuzzy near-memories, just out of clarity's reach, that feature this song. 
I didn't do a good job of explain'n. 

And, my 6th grade years are kinda fuzzy ... but I always associated that mirror with John.

 
I was in 6th grade when John died.  I was just getting into the Beatles (a long story that I will share sometime for those with an appetite for the melo-dramatic and self-involved), but had not yet fully recognized that there were these former Beatles making music in the present day. Anyway, am sure it was probably discussed at the school cafeteria but if so, I was oblivious to it.  I first became aware of his passing in my after school religion (CCD) class when my teacher began the instruction with a 10 minute dissertation on how this "dead rock star was NOT more important than Christ." How the world was worshipping false idols and that Jesus was the path to salvation.  It was only years later that I would understand that this guy was still holding a grudge for something John had said back in 1966.  I really had no idea what he was talking about, but his passion and disgust was palpable.  I had fondness for neither religion generally nor this instructor personally, but I was intrigued at who had died that had so unmoored this previously boring and mild-mannered guy. I went home after religion instruction and got a cliffs notes version of what had happened from my mother.  She was neither a Lennon fan nor a religious zealot so her explanation was right down the middle.

Later that week, on Sunday, I was with my father and brother visiting my grandfather. At 1:55pm I interrupted the adult conversation that was occurring between my father, grandfather, and my step-grandmother to inquire about how/where they were planning to perform the moment of silence for John Lennon that was to take place at 2pm.  I don't remember their precise response, but it was a polite version of "we're talking here and we sure as hell are not gonna stop for some dead rock star."

I was confused by the contradictions I had witnessed over the past 6 days: the endless news coverage, the continuous songs on the radio, the religion instructor's verbal tirade, my family's indifference. I didn't understand at that time that someone could be so polarizing.  Indeed, I didn't understand polarizing as a concept - the world was very black and white to me until John's murder.  I didn't understand it, but I knew I'd need to understand more to make sense of it all...

 
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Later that week, on Sunday, I was with my father and brother visiting my grandfather. At 1:55pm I interrupted the adult conversation that was occurring between my father, grandfather, and my step-grandmother to inquire about how/where they were planning to perform the moment of silence for John Lennon that was to take place at 2pm.  I don't remember their precise response, but it was a polite version of "we're talking here and we sure as he'll are not gonna stop for some dead rock star."

I was confused by the contradictions I had witnessed over the past 6 days: the endless news coverage, the continuous songs on the radio, the religion instructor's verbal tirade, my family's indifference. I didn't understand at that time that someone could be so polarizing.  Indeed, I didn't understand polarizing as a concept - the world was very black and white to me until John's murder.  I didn't understand it, but I knew I'd need to understand more to make sense of it all...
These vivid memories are so interesting to me.  They show your awareness and acuity to a certain extent, and then the "limitations" of not yet understanding the contradictions and conflicts that arise as we become adults.  It's refreshing to read how someone more unspoilt would have seen this at the time.

 
I appreciated reading the experiences from when John died.  I remember nothing of it whatsoever, despite being at a similar age as many of you.  In a weird way, I'm sad to have missed out on feeling the loss at that time.  My first memory of the Beatles at all was when I was in high school, and I started dating a guy a year my junior who was in a band and loved the Beatles.  I knew nothing about them, but for his birthday I bought him a biography of John that had recently come out.  At this point I have no idea which one it was, but he seemed to appreciate it.  I didn't revisit the Beatles again for 10+ years, when I finally started becoming obsessed with them.

 

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