Beatles vs. Stones (36 page)

Mick at a 1968 antiwar rally outside the US Embassy in Grosvenor Square, London. About fifty people were injured when demonstrators clashed with the police. Mick left the rally after being recognized by too many fans.
Afterward, he wrote the lyrics to “Street Fighting Man.”

Michael Cooper/Raj Prem Collection

Mick on stage at Madison Square Garden, November 28, 1969. The Omega symbol on the front of Mick’s shirt was the symbol of Resistance, an American antidraft group.

Micheal Ochs/Getty Images

John and Paul at a press conference to announce Apple Corps. “We’re in the happy position of not really needing any more money,” Paul said, “and so for the first time the bosses aren’t in it for the profit.”

Elliott Landy/ Getty Images

The Apple Boutique, 94 Baker Street. According to Paul, the Beatles envisioned this retail store as “a beautiful place where beautiful people can buy beautiful things,” but it quickly went out of business.

Redfersn/Getty Images

On the set of
The Rolling Stones Rock and Roll Circus
. From left to right: John, Yoko, Keith, Mick, Brian, and Bill Wyman.

Mirrorpix

The Dirty Mac: Eric Clapton, John, Mitch Mitchell (of the Jimi Hendrix Experience), and Keith. They performed two songs for
The Rolling Stones Rock and Roll Circus
. The show was filmed in December 1968, but it wasn’t released until 1996.

Getty Images

John and Yoko in a recording studio. The rest of the Beatles hated it when John insisted on bringing Yoko to Abbey Road. Here, they are likely listening to a playback of their debut album together,
Unfinished Music No. 1: Two Virgins.

Time & Life Pictures/Getty Images

Allen Klein, manager of the Beatles and the Rolling Stones. “Klein is essential in the Great Novel as the Demon King,” quipped Derek Taylor, the Beatles’ publicist. “Just as you think everything’s going to be alright, here he is. I helped bring him to Apple but I did give the Beatles certain solemn warnings.”

Getty Images

SHOUT OUTS

So many people helped out
with this book, whether by reading parts of the manuscript, answering questions, pointing me toward sources, or talking with me at length about the Beatles and the Stones. They include Willie Marquis, Allan Kozinn, David McBride, Dave Rick, Bill Higgins, Steven Stark, Alex Cummings, Joe Perry, Larry Grubbs, Michael Castellini, Jeff Toeppner, Bill Mahoney, Griff, Juan Carlos, Ingrid Schorr, Rebecca O’Brien, Michael Lydon, Christine Ohlman, Steve Biel, Gary Shaprio, Naomi Weisstein, Lizzie Simon, Laurie Charnigo, Anastasia Pappas, Kate Taylor Battle, Andrew Loog Oldham, Todd Prusin, Brendan O’Malley, Eddie Stern, Aaron Buchner and Stef Haller, Brandon Tilley, and J. D. Buhl. Dave Brolan kindly let me reprint a couple of rare Michael Cooper photos at a reasonable price, and Phil Metcalf meticulously copyedited the manuscript.

As always, my three best friends in this profession, Jeremy Varon, Mike Foley, and Tim McCarthy, were tremendously helpful. So too was Whitney Hoke. Special thanks are also due to my old pal Jason Appelman, Heretics of the North Productions, and to to some of my newer Atlanta friends: John Bayne, Stephen Currie and Teresa Burke, and Paul Herrgesell and his lovely family.

I began this book while teaching at Harvard, where Lee and Deb
Gehrke gave me with a charming little office at Quincy House, and the Division of Continuing Education supplied an outstanding research assistant, Arwen Downs. I finished it while teaching at Georgia State University, where the department of history supplied me with summer funding and yet another talented and diligent research assistant: Zac Peterson. At the last minute, I received some crucial proofreading assistance from GSU grad student Katie Campbell, and from Lela Urquhart. This book grew out of an essay I wrote for
The Believer
magazine way back in 2007, where editors Heidi Julavitz and Andrew Leland were both exceedingly helpful.

Special shout outs are owed to Gustavo Turner, Geoff Trodd, and Nick Meunier, all of whom took a special interest in this project and provided feedback on almost the entire manuscript. I deeply appreciate their generosity and kindness. I’m likewise grateful to Peter Doggett for his insightful in-house review of the manuscript and for saving me from several howling errors.

I was fortunate to work with three editors. Amber Qureshi enthusiastically signed this book up, Alessandra Bastagli helped me to finish the first draft, and Jofie Ferrari-Adler saw the project to completion. Jofie has been an outstanding editor: friendly, reliable, flexible, supportive, and smart. Thank you, Jofie! It has likewise been a pleasure working with Jofie’s kind and efficient editorial assistant, Sarah Nalle, and with S&S’s associate publicist, Erin Reback. My amazing agent, Chris Paris-Lamb, first planted the idea that I should write this book, and then he took me on as a client at just the right time. He’s served me remarkably well, and I remain grateful for his friendship, advocacy, and advice.

This book is dedicated, with much love, to my wonderful parents, Harlon and Judy McMillian.

ABOUT THE AUTHOR

© LENNY W. DOOLAN V

John McMillian is Assistant Professor of History at Georgia State University. He is author of the critically acclaimed
Smoking Typewriters: The Sixties Underground Press and the Rise of Alternative Media in America
, coeditor of
The Radical Reader: A Documentary History of an American Radical Tradition
,
The New Left Revisited, Protest Nation: The Radical Roots of Modern America,
and
The Sixties: A Journal of History, Politics, and Culture.
His writing has appeared in scholarly journals, magazines, and major newspapers. He lives in Atlanta, Georgia.