She had come home for the summer. Her mother had told my mother that she was all aflutter about a band that only sang, “Yeah, Yeah, and Yeah”. I remember hearing my mother’s laughter. 

I had promptly forgotten about it until, a few days later, at the club.

I was in the club’s main hall doing I-don’t-know-what, when Anne came running from the pool tables area where the short wave radio sat and called out, “Ricky! Come! You’ve got to hear The Beatles!”

Now, to give some context, no one in El Pao had a television set in that era; we saw our TV when we either visited Caracas or the USA. To give an idea of our sliver of acquaintance with American pop music back then, consider the club jukebox. It was built into the south wall, poolside, and enclosed by a sheer, transparent glass door through which its many records could be plainly seen as the gentle mechanism pulled one disc to replace it with another. As I learned to appreciate later in life, our jukebox fare was most unusual in my early childhood. You could hear Debussy’s Clair de Lune and other such classical or easy listening pieces, not to mention Christmas hymns and songs during the joyous season. By the mid-1960’s or shortly thereafter, the jukebox contents had been replaced by more of a Venezuelan, interspersed with American, pop fare.

My point is that I heard American pop music only when I visited Miami or New York or when my cousins would come down to Venezuela to visit us and happened to bring “The Bristol Stomp” or “The Twist”. For example, when I was about 6 or 7, I was in a New York City restaurant with my parents. The violinist who was playing from table to table, came to ours and asked me what I would like to hear. I said, “Three Coins in A Fountain.” He was floored. Nevertheless, after he made the other patrons laugh by saying he expected me to have asked for “Pop Goes the Weasel” or some contemporary pop, he played my request beautifully. He was a very jovial character.

It wasn’t that I had any hankering for that Sammy Cahn song. It’s that I was not expecting to be asked for a song and so just thought of one of the records we would hear in El Pao.

So, at that time, to me, The Beatles was nothing more than a bunch of bugs. Misspelled.

I must not have been very much engrossed in whatever I was doing because, like a sheep led to the slaughter, I nodded and let Anne swoosh me to the radio.

The sound of whatever the song was (“I Want To Hold Your Hand”? “Can’t Buy Me Love”? “She Loves You”? I just don’t remember or don’t know) rooted me in front of that radio. Not wanting to let on that some silly rock group could grab me in any way, I said, nonchalantly, “What’s the big deal?” But she saw right through me, “You like them! Everybody does!”

If you are interested in the 20th century and have not read The Gospel According to the Beatles, by Steve Turner, look it up. In my opinion, Mr. Turner brilliantly captures the “why” of that band. Their incarnation, or personification, of the reigning existentialism of the mid-20th century West — putting Jean Paul Sartre into music and antics, if you would — goes a long way to explaining the explosive impact they had on pre-teens, teens, and young adults of that era and up to today.

The book gives context to John Lennon’s “The Beatles are more popular than Jesus” (in the same series of interviews, Paul McCartney’s comments were even more explosive but he was shielded by the press). The church, especially in the Philippines, was outraged and gave the statement more publicity than it would otherwise have garnered. However, the real question that should have been asked was this: Why? Why, in the West, is a rock group more popular than Jesus?

Because they were, at the time. And that said very much, not only about the then state of the church, but also about the grip existentialism had on our generation. And still has on many.

In the late 70s, a few years before his murder, John Lennon wrote Oral Roberts, asking him about life. He told Roberts that he had fame, girls, drugs — but was trying to make sense of it all. Towards the end of the book, the author tells of his own personal encounter with Mr. Lennon. Mr. Turner felt he was not a good witness to him about Christ. I disagree; he, a young man at the time, was willing to engage Mr. Lennon about eternal truths and about the One Who said, “I am the Truth.” He did well.

Years later, long after The Beatles had broken up, I was seated on the window seat on a flight to Chicago, reading,  when I felt a tap on my shoulder. It was Anne. She became my seat mate for the flight and we immediately caught up and went on to talk about culture, economics, and Beethoven. It was Anne who piqued my interest into buying and then listening to the 9 Beethoven symphonies back to back. She was right: it’s quite an experience. 

Ludwig Von Beethoven (1770-1827) is one of Western Civilization’s most famous and prolific composers. His symphonies go from the First and Second, which most consider to be hat tips to Mozart, on to the explosive Third (“Eroica”), the somewhat melancholy Fourth, and the most popular Fifth with perhaps the most memorable 8 notes in music history. But what a treat to go beyond the 8 notes, all the way to the end of the fourth movement! Going therefrom to the Sixth (“Pastoral”) is like going from rapids to a wider but still exciting river. Then the dance-like Seventh and the deceptively powerful Eighth await you. 

It all culminates with the phenomenally glorious Ninth whose fourth movement, almost in exasperation, declares that musical instruments are not enough for the sentiment. The human voice must now be heard.

So voices are lifted up to sing Friedrich Schiller’s (1759-1805) “Ode to Joy”, whose last stanza reads: 

Brothers, above the starry canopy 
There must dwell a loving father.
Do you fall in worship, you millions?
Seek Him in the heavens;
Above the stars must He dwell.

In 1907, Henry van Dyke composed “Joyful, Joyful We Adore Thee,” set to Beethoven’s “Ode to Joy” melody and this hymn is found in many church hymnals to this day.

Beethoven’s nine symphonies, which he composed with progressive loss of hearing (he was totally deaf by the time he composed the ninth), do reflect much that a life can relate to and are worth careful consideration by all. 

However, to consider his first two symphonies to be acknowledgments to Mozart, sounds a bit condescending, at least to me. Mozart composed 41 symphonies and the last three — the 39th, 40th, and 41st — are as much a “transition” to the Romantic era as anything Beethoven composed. At least they are to me.

We talked non stop till we landed at O’Hare and said goodbye. That was the last time we met.

Anne passed away some years ago, but if she were here today, I would tell her that she was right on both counts:  that Beatles sound had indeed stunned me, as it had captivated her. And, as we matured and returned to our mutual heritage, I too agree with her in that Beethoven’s nine symphonies are a wonder to experience.

In October, 1964, a few months after my childhood encounter with Anne, I was back in front of that radio, along with a crowd of other boys and men, listening, cheering, groaning, hollering. But it wasn’t over The Beatles. Oh, no! It was something far more important. 

It was the World Series between the St. Louis Cardinals and the New York Yankees. As it turns out, this was to be the last hurrah of the famed Yankees.

This team had played in 14 of 16 World Series since 1949. Their appearance in 1964 was to be their last until 1976. By the end of the 1964 season, the Yankees would have won 29 American League championships in the 44-year span since 1921. 

They’ve never been the same since.

This series highlighted the grace and power of many baseball stars, including two who have died very recently: Bob Gibson and Whitey Ford.

We’ll conclude this in the next post.