Los que se fueron en 2001

Isaac Stern

NEW YORK (AP) -- Tchaikovsky. Dvorak. Mahler. Gershwin. Horowitz. Bernstein. Marian Anderson. Bennie Goodman. Judy Garland. These are only some of the musical geniuses who have performed at Carnegie Hall. Then there was Isaac Stern, the fiddler who saved it from the demolition crews. But his legacy extends far beyond. Stern, who died Saturday at age 81 of complications from heart surgery, was one of the foremost violinists of the 20th century. He was among the most recorded classical musicians in history, making well over 100 recordings, including some that are considered THE definitive interpretations. He had a knack for discovering and cultivating the talents of succeeding generations. Among them: the violinists Itzhak Perlman and Pinchas Zukerman and cellist Yo-Yo Ma. And he had the astuteness, commitment and gift of gab to raise millions of dollars for the many causes he deemed worthy. "He would get on the elevator, and between my floor and the street floor, he'd get me to agree to do two benefits and make donations to charities," soprano Beverly Sills told The Associated Press on Sunday as she recalled neighbor. "It's such a major loss to the musical world because he was larger than life," said pianist Joseph Kalichstein, who performed with Stern last May in Japan in one of the violinist's last concerts. "He dared to think big and challenged us to soar -- to dream the impossible, take risks, embrace new ideas and to enjoy our success," said Sanford I. Weill, chairman of Citigroup Inc. and of Carnegie Hall's board, in a statement. Ma recalled that it was Stern who introduced the then-9-year-old cellist to his teacher, Leonard Rose, some four decades ago. "He had an incredible impact on impressionable young musicians, ... just to be able to listen to his accumulated wisdom on life," Ma told the AP on Sunday in a telephone conversation from Boston. "He had such an incredible love for life. ... It's such a joy to remember the way he would make music, with such love, with such passion." Born July 21, 1920, in the fledgling Soviet Union, Stern and his parents moved to San Francisco when he was 10 months old. Believing that music was an essential ingredient to education, they started him on the piano when he was 6. Two years later, he picked up the violin, inspired by a friend's fiddling. At 16, Stern attracted his first national attention, performing the Brahms Violin Concerto with Pierre Monteux conducting the San Francisco Symphony in a nationally broadcast radio concert. The following year, he made his New York debut at Town Hall to mixed reviews. Afterward, Stern recalled in his memoir "My First 79 Years," he rode a bus to nowhere for six hours. "I had hoped that my Town Hall debut would be the moment of breakthrough," he said. "Instead, the New York critics were telling me to go home and practice some more. ... And, riding that bus, I was asking myself repeatedly: Should I keep on trying?" He decided to practice. Six years later, on Jan. 8, 1943, he made his Carnegie Hall debut in a recital produced by the impresario Sol Hurok. "I played almost defiantly, to demonstrate my skills, to show them all what I was capable of doing with the fiddle," Stern recalled. The performance attracted the attention of composer-critic Virgil Thomson, who in the New York Herald Tribune proclaimed him "one of the world's master fiddle players." He later played in countless places around the world: Iceland, Greenland and the South Pacific for Allied troops during World War II; Moscow after Stalin's death; Jerusalem's Mount Scopus immediately after Israeli soldiers recaptured it in 1967. During the 1991 Gulf War, a concert in Jerusalem was interrupted by a siren warning of an Iraqi Scud missile attack. After the audience put on gas masks, Stern returned to the stage and played the Sarabande from Bach's D minor Partita for solo violin. Because of the Holocaust, he boycotted Germany until 1999, when he decided to go there to teach but not perform. He said he felt the need to hear young German musicians and pass along lessons about music -- and humanity. "It isn't very human not to give people a chance to change," he said. "I want to teach them that they, as musicians, must live and play at the same time. ... Our responsibility is to continue the search for beauty and humanity. That is what survives." In the late 1950s, as New York City was planning Lincoln Center, a developer proposed razing Carnegie Hall, renowned for its fabled acoustics. Stern mobilized his fellow artists and benefactors, eventually securing legislation that enabled the city to acquire the building in 1960 for $5 million. "I talked a lot," Stern said in a 1997 interview with CNN's Larry King. "It's something I do very well. When you believe in something, you can move mountains." "To me, Carnegie Hall is nothing less than an affirmation of the human spirit," Stern once said. "That, I think, is why it is necessary. Because Carnegie Hall is not just a building, it is a centrality of ideas, of imaginative experiments, of some failures and vaulting successes -- but most of all it is a place of people, of human beings. Carnegie Hall is the 'house that music built.' It is the ultimate symbol of the highest human achievement: great artistry." Survivors include his wife, Linda Reynolds Stern, whom he married in 1996; three children from a previous marriage: daughter Shira, a rabbi, and sons Michael and David, both conductors; and five grandchildren.

Marvin Harris

Profesión: Antropólogo

Nacido: 18 de agosto de 1927. Brooklyn (Nueva York, EEUU)

Fallecido: 25 de octubre de 2001. Gainesville (Folrida, EEUU)

Antropólogo norteamericano, nacido en Nueva York en 1927, principal adalid del «materialismo cultural». Obtuvo el título de Bachelor of Arts en el Columbia College en 1948. Estudió en la Universidad de Columbia, donde fue alumno de Julian Steward y Alfred Kroeber. A través de Steward conoce las teorías de Karl Wittfogel, Leslie White y Gordon Childe. En esta época recibe también lecciones de los alumnos de Skinner que serán determinantes en su metodología del materialismo cultural. En 1953 obtiene el título de doctor en la Universidad de Columbia con un trabajo de investigación de campo acerca de la comunidad de Minas Velhas, un pequeño pueblo en las montañas de Brasil oriental. Durante el periodo de 1953 a 1959 es assistant professor en el Departamento de Antropología de la Universidad de Columbia. Posteriormente será associate professor en el mismo departamento en el periodo 1959-63. En el año 1963 pasa a ser professor de dicho departamento a la vez que su director (desde 1963 a 1966). Como professor estará en Columbia hasta el año 1980 en que marcha a la Universidad de Florida (Gainesville) como graduate research professor. Ha sido secretario ejecutivo del programa de estudios de verano de Columbia-Cornell-Harward-Illinois en el periodo 1965-66, y posteriormente su director (1965-66). Durante los años 1965-67 ha sido lecturer del Instituto de exteriores del Departamento de Estado de los E.U.A. Profesor visitante distinguido en el Central Washington State College en los años 1968-69. Visiting lecturer de la Universidad de Colorado en 1973. Ha impartido numerosas conferencias en universidades americanas y europeas y ha participado en multitud de programas de radio y televisión. Realizó estudios de campo en Bahía (Brasil) durante los años 1950-51. En los años 1953-54 estuvo en Río de Janeiro como asesor de investigación del National Institute of Pedagogical Studies. Llevó a cabo investigaciones empíricas sobre los Thonga de Mozambique en los años 1956-57. Investigaciones de campo en Chimborazo (Ecuador) en 1960 y nuevamente en Brasil, en el estado de Bahía en 1962 y 1965. Bajo los auspicios de la National Safety Foundation realizó estudios de campo en la India en 1976 sobre la utilización de recursos proteínicos.

The research and theoretical concerns of the anthropologist Marvin Harris, who has died aged 74, focused on race, evolution and culture - and primarily on Brazil. Harris's The Rise Of Anthropological Theory (1968 and 2001) put forth his paradigm of cultural materialism, in which social and cultural patterns are understood as deriving from practical concerns of survival. Harris's theory of cultural materialism posits that socio-cultural systems consist of an "infrastructure" of production and reproduction, a culture-based "structure" for economics and politics, and a "superstructure" of mental and behavioural expressions. His other books include Culture, People And Nature (1971), works on race and minorities, and several books written for a popular audience, including Cows, Pigs, Wars And Witches (1974). He railed against the problems of American culture in Why Nothing Works: The Anthropology Of Daily Life (1981), which looked at bureaucracies, appliances that don't work, and other irritations. Born in Brooklyn, Harris gained his PhD from Columbia university, where he began teaching in 1953; he moved to the University of Florida in 1981 as graduate research professor, where he stayed until his retirement in 2000. Students found his critical style invigorating, and even when colleagues opposed him in print or in faculty meetings, they knew that he had a serious and sincere commitment to the department and to the discipline. He is survived by his wife, Madeline, and his daughter, Susan.

3 de noviembre de 2001

Ernst Gombrich

Sir Ernst Gombrich, who has died aged 92, was the most eminent art historian of the last half-century, both for specialist scholars and for a wider public. The Story of Art (1950, 16th edition 1995) has been the introduction to the visual arts for innumerable people for more than 50 years, while his major theoretical books, Art and Illusion (1960), the papers gathered in Meditations on a Hobby Horse (1963) and other volumes, have been pivotal for professional art historians. The sheer scope of his reading, the way he coordinated his knowledge and the accuracy of his memory were - as another historian described it - "awesome". Gombrich was born into an extremely sophisticated family in Vienna, originally Jewish but converted at the turn of the 20th century to a rather mystical protestantism in an ambience close to that of Gustav Mahler. Throughout his life, he was anti-sectarian and unreligious. But it was impossible, in the wake of Austria's enthusiastic adoption of Nazism, to dissociate himself from Judaism, and he insisted on describing himself as born not as an Austrian, but as an Austrian Jew. Educated at the Theresianum secondary school in Vienna and at Vienna University, he came to Britain in 1936 and joined the Warburg Institute, which had escaped from Hamburg two years previously with most of its library, as a research assistant. His second world war service was spent with the BBC Monitoring Service at Evesham from 1939-45. On returning to the Warburg in 1946 as a senior research fellow, he held various research and teaching posts until becoming its director, combining the post with being London University's professor of the history of the classical tradition (1959-76); previously he had been professor of the history of art at the university (1956-59). The fact that he became one of the country's most honoured scholars, a knight and a member of the Order of Merit, having held all the most prestigious chairs - at Oxford, Cambridge, Harvard and Cornell universities, and at the Royal College of Art - and received so many international awards (the Goethe, Hegel and Erasmus prizes), may lead one to forget that his first 15 years in Britain were fraught with difficulty: for several years, as a restricted alien, he struggled to look after his young family and his parents. The flight from Austria and the war years checked his professional career, but the scope and originality of his work in 1945-60 make one aware of his pent-up intellectual energy and the sustained thinking and reading that must have preceded it. His family was highly musical: his mother was a pianist whose teacher was only two generations away from pupils of Beethoven. His wife, Ilse, whom he married in 1936, was also a pianist, a pupil of Rudolf Serkin, giving up her concert career when she married, though continuing to teach; they had one son, Richard, who has been professor of Sanskrit at Oxford since 1976. Ernst Gombrich's sister was a pupil of the violinist Bronislav Huberman, and had been leader of the Palestine Philharmonic Orchestra. Gombrich himself was a fine cellist, and in Vienna, the Gombrich and Busch families played chamber music together (the violinist Adolf Busch and his brothers were among the great musicians of the age). The serious understanding of music formed a crucial factor in the development of Gombrich's thought. The pursuit of a rational study of painting - however different from music - seems one of the goals of his work in Art and Illusion. Gombrich - although it was not a view he expressed in so many words - sought in the optical and psychological basis of painting some equivalence to the rationality of musical structures. It was not that he believed the expressive power of music was reducible to principles of harmony, or that of painting to the psychology of illusion, but that these formed the framework for understanding artistic achievement. In turning to psychology he was taking up an enterprise of the late 19th and early 20th century by such historians as Heinrich Woelfflin and Alois Riegl, while at the same time distancing himself from them on two grounds. First, because he saw their notions of visual style as being too narrow and formalistic - they had isolated the aesthetic interest of visual properties from their more complex human and historical context; and second, because they had treated changes in that visual style as reflecting changes in the spirit of the age or people. Gombrich engaged for 50 years in a polemic against invoking the collective mind - whether of an age or a nation or a class - as explanatory of changes in art or politics. He did so because he saw such explanations as not only circular but as failing to recognise the essentially rational nature of the way artists experimented and learned from each other. The work in which he set out to replace the formalisms of the turn of the century was Art and Illusion, first published in 1960 and based on his Mellon lectures given in Washington in 1956. It presented an account of the psychological factors which made it possible for us to see a three-dimensional moving subject - such as people in action - on a flat, still surface. The painter learned to do this by trial and error, checking whether his marks elicited recognition of his subject. This led Gombrich to argue that the major factors in changes in pictorial style were the result of rational activities rather than mysteriously changing expressions of the age. He was deeply opposed to any account of artistic creativeness which was couched in terms of a collective psyche rather than by reference to individual invention and discoveries which others could then adopt. A third line of argument (manifesting his close intellectual relation to his friend from Vienna, the philosopher Karl Popper) was that the history of western painting shared with science the self-critical urgency to overcome its own previous formulas so as to become more coherent and compendious in representing natural appearances. The book has remained, for 40 years, central to the discussion of the visual arts by philosophers, art historians and critics. It retained this position despite radical criticisms of parts of his argument because at its core it focused, as no art historian before had done, on the role of illusion, on the fact that in depiction, without our being deluded, we are caught up by the represented subject that we recognise within it - the expression of a face, the gesture of a figure, the spaces of a landscape. Instead of taking the fact for granted, he turned it into a focus of inquiry. Earlier writers had treated the fact in three ways: as merely an unproblematic extension of ordinary perception, as opposed to our interest in aesthetic or expressive properties, or as something modern painting had to overcome. Gombrich changed all that. He challenged aesthetic exclusiveness and its snobberies while at the same time being a great defender of high culture. In one of his finest essays, on Raphael's Madonna della Sedia, he followed the implications of the painting's circular format for the intricacies of its drawing and its expressive composure. But on the way, he used an advertisement for a rotary electric shaver which also played on circular forms to illuminate the nature of the painting's visual wit. His writing was always vivid and accessible. When he was a research student in Mantua writing a thesis on Giulio Romano at the Palazzo del Tè, a 10-year-old daughter of some family friends wrote to ask him what he was doing. In his correspondence with her he described how, once upon a time, there was a prince, and in his court he had an artist who delighted in surprising people by his paintings. A little later he wrote a world history for children (Weltgeschichte für Kinder, 1936, revised and enlarged 1985, though not translated into English) and famously - at the prompting of his publisher Bela Horovitz of the Phaidon Press - he wrote The Story of Art (1950). Among his most accessible and seminal papers dating from the same decade as Art and Illusion are those in the volume Meditations on a Hobby Horse. Here the fundamental questions of aesthetics are explored: how the imagination functions in painting, how it elicits or transforms our psychological urgencies and how aesthetic and moral awareness are related to each other. These essays combine a conversational ease of expression with a depth of thought which makes them perhaps the finest introduction to the subject. Several volumes followed, mostly on Renaissance art, the most important being Norm and Form (1966), which includes the paper on Raphael's circular Madonna. Gombrich was legendary as the recipient of honours: it often seemed as if the ceremonies prompted a certain melancholy, as if they distracted him from his own deeper purposes, or as if the ceremonies might well be compromising or absurd, despite his belief in the importance and dignity of public institutions. He would turn an acceptance speech - always beautifully crafted, witty and courteous - into a serious argument. A masterly lecturer, he transfixed an audience with visual demonstrations so that he made his arguments seem inescapable. In one public debate he became irritated at objections to his account of an optical effect, and with the slide on the screen he invited the audience to walk round the room to check that the ingenious object displayed would seem to point to them wherever they were. The chairman, Stuart Hampshire, was trying to bring the meeting to a decorous conclusion and had gracefully to acknowledge that Gombrich had concluded it for him. He has been represented as the conservative opponent of modernism on the grounds of his interest in illusion and his ironic treatment - in the Atlantic Monthly in 1958 - of The Vogue of Abstract Art (his title, which was changed by the editor to The Tyranny of Abstract Art; the piece was reprinted in Meditations on a Hobby Horse). Though he had written eloquently about Picasso and other artists of the first half of the century, they were not central to his sensibility. He was critical of various modernisms: he was, for instance, sceptical about Schoenberg's 12-tone system as musically disabling - I remember him saying once that you couldn't hear whether you had got something right or not - and he was unimpressed by art which seemed to depend on making a rhetorical gesture (as opposed to art in which there was visible internal structure), however interesting the psychology of such gesturing might be. Those of us fortunate enough to have been his students were always aware of his huge inward energy, which could manifest itself not only in his thought, his recall of obscure references or his suggestion of historical analogies, but also in his welcoming warmth - as when one met him in the library of the Warburg Institute. However, his energy could also appear in his formidable irritation at what he saw as one's travesties of scholarship. Many will remember him most vividly at home with Ilse in Hampstead's Briardale Gardens: Ilse's wry humour when they disagreed about the translation of a musical term or the fair assessment of someone's behaviour, her unceasing care of him even when she herself was in serious discomfort. Through the illness of his last years he never stopped working, and they both maintained social life with humour and stoicism. He is survived by her and their son Richard. · Ernst Hans Josef Gombrich, art historian, born March 30 1909; died November 3 2001

22 de noviembre de 2001

Luis Santaló

(Gerona, 9/10/1911- Buenos Aires, 22/11/2001)

A los 90 años ha fallecido el Dr. Luis A. Santaló, matemático de nombradía internacional cuya actividad científica y docente se desarrolló casi totalmente en la Argentina. Llegó a nuestro país en 1939 para trabajar inicialmente en nuestra Facultad, por entonces llamada Facultad de Ciencias Matemáticas, Físico-Químicas y Naturales Aplicadas a la Industria, dependiente de la Universidad Nacional del Litoral. Pero Luis Antonio Santaló Sors había demostrado sobradamente su capacidad desde mucho antes de arribar a nuestro país. A comienzos de los años 30, este jovencito catalán ya estaba conceptuado como brillante estudiante de la Universidad de Madrid, en la que obtuvo su grado de Doctor en Matemáticas en 1935. Por esos años escuchó de boca de uno de sus Profesores, Don Julio Rey Pastor, frecuentes relatos acerca de la Argentina. Recordemos que Rey Pastor vino por primera vez a nuestro país en 1917, y que es indudablemente el padre de la Matemática argentina, al menos como actividad de investigación. Proveniente de una familia de educadores, Santaló en un principio deseaba ser docente e ingeniero. Así hizo primero el magisterio en Gerona, su ciudad natal, y luego se trasladó a Madrid para estudiar Ingeniería. El contacto con la Matemática, en particular con la Geometría, lo llevaron rápidamente a cambiar la carrera elegida. Por gestión directa de Rey Pastor, que había detectado sus condiciones, en 1934-35 estuvo becado en Hamburgo trabajando con Wilhelm Blaschke, cuando éste y sus discípulos (entre ellos obviamente Santaló) fundaban una nueva rama de la Matemática: la Geometría Integral. Si bien alcanzó a ser nombrado Profesor en la universidad española, muy pronto debió abandonar esa actividad. Durante la Guerra Civil Española integró la aeronáutica republicana. De esta época data un estudio suyo sobre la historia de la aviación, que fuera publicado luego en nuestro país. Tras la derrota de las fuerzas leales a la república debió huir a Francia. Nuevamente aparece en escena Rey Pastor, quien influye para que Santaló se radique en la Argentina. Por entonces Cortés Plá y otros visionarios estaban gestando en nuestra Facultad la creación del Instituto de Matemática de la Universidad Nacional del Litoral, y se esperaba la llegada de Beppo Levi, eminente matemático italiano perseguido por el fascismo. Santaló, a la sazón de 28 años, fue nombrado vicedirector del Instituto. Ejerció tal cargo por casi 10 años (1939-48), y entre otras tareas hizo investigación, docencia y ayudó a Levi a crear y sostener las Publicaciones del Instituto, en particular el Mathematicae Notae que actualmente continúa apareciendo. La nómina de matemáticos argentinos, y también extranjeros, que publicaron por aquellos años en Mathematicae Notae muestra a las claras que buena parte de la creación matemática, y de la formación de investigadores en esta ciencia en la Argentina, pasaba en esos años por las páginas de esta revista y por el centro de estudios que tenía en Levi y Santaló a sus columnas más fuertes. Cabe consignar que durante este período Santaló, además de adoptar la ciudadanía argentina, se casó con una rosarina y acá nacieron sus tres hijas. Por eso, aunque vivió mucho más tiempo en Buenos Aires, solía decir que era rosarino. De hecho, la distancia física no le impidió seguir colaborando con Levi. Después del lamentado fallecimiento, en 1961, del ilustre matemático italiano, Santaló mantuvo su contacto con Rosario de diversas formas: fue miembro del Comité de Redacción de Matematicae Notae, y en los últimos años integró el Comité Científico del Instituto, actualmente denominado Instituto de Matemática "Beppo Levi" de la Universidad Nacional de Rosario. Después de estar en 1948 como profesor visitante en Chicago y Princeton, trabaja desde 1949 en las Universidades de La Plata y Buenos Aires, pero a partir de 1956 tiene dedicación exclusiva en esta última, de la cual llega luego a ser Profesor Emérito. En los más diversos ambientes logró reconocimiento unánime por la solidez y la amplitud de su formación, pero fundamentalmente por sus condiciones docentes, casi legendarias. De hecho, su predicamento en todo el país sobrepasó largamente los ámbitos académicos. Santaló era un extraordinario y ameno conferencista y un profesor universitario brillante, cuyas lecciones son recordadas por sus ex-alumnos por la claridad en la presentación y en las explicaciones conceptuales, amén de su impecable técnica matemática. Mención especial merecen sus "famosas" manos, las que explicaban casi tanto como sus palabras. Además de dirigir varias tesis doctorales, como investigador publicó aproximadamente 150 trabajos. Debe destacarse que muchos de sus resultados fueron incorporados luego a importantes tratados, y ello ocurrió en las varias ramas de la Matemática en las que hizo contribuciones. Como ya se ha dicho, fue uno de los fundadores de la Geometría Integral, lo que por sí solo ya le da un lugar en la Historia de las Ciencias, pero también merecen mencionarse sus aportes a otros campos: Probabilidades Geométricas; Geometría Diferencial; Geometría de Cuerpos Convexos; Teoría del Campo Unificado; y Teoría Geométrica de Números. Su amplia obra, notoria no sólo por su extensión sino sobre todo por los resultados originales obtenidos, le valió la obtención de diversos premios, entre otros el premio Príncipe de Asturias, otorgado por España, y el Bernardo Houssay, conferido por la Organización de Estados Americanos. Perteneció durante algunos años a la Comisión Nacional de Energía Atómica. Desde el Consejo Nacional de Investigaciones Científicas y Técnicas orientó la Matemática argentina durante varias décadas. Desempeñó cargos directivos en la Unión Matemática Argentina. Asimismo fue Vicepresidente y luego Presidente del Comité Interamericano de Educación Matemática. Dejamos para lo último consignar muy especialmente que escribió una veintena de libros. Entre ellos un verdadero clásico: Vectores y Tensores (EUDEBA, 1961). La monumental Encyclopedia of Mathematics and its Applications se inauguró con un libro de Santaló: Integral Geometry and Geometric Probability (Addison-Wesley, Reading, 1976, 404 páginas). Para Rosario y para nuestra Facultad, queda el honor de que uno de los geómetras más destacados del Siglo XX, y desde luego una de las primerísimas figuras de la Geometría Integral, haya trabajado en esta Casa. Y que lo haya hecho justamente en su época de mayor producción, llevando a cabo una tarea de investigación que resultó capital en la formación de una nueva rama de la Ciencia.

George Harrison

Nacido: 25 de febrero de 1943

Fallecido: 30 de noviembre de 2001

George Harrison nació en Penny Lane en 1943, y era el menor de 4 hermanos (3 chicos y una chica). Su padre era el conductor de un autobús municipal, y su madre era una ama de llaves. Estuvo en la misma escuela que John Lennon, la Escuela Primaria de Dovedale, Situada frente a su casa. Más tarde ingresó en el instituto de Liverpool, donde realizó sus estudios de secundaria. Ya de adolescente le encantaba la guitarra, y finalmente le compró una a un compañero de escuela con ayuda de su madre. Cuando conoció a Lennon y a su grupo, su calidad musical era muy inferior a la de ellos, así que tuvo que esperar un tiempo para que le aceptaran Durante la grabación de "A Hard Day´s Night", conoció a Pattie Boyd, exmodelo de Mary Quan, con quien posteriormente de unos años de convivencia se casaría. Cuando se disuelven los Beatles, George Harrison graba su primer disco en solitario, el triple "All Things Must Pass". Su simple "My Sweet Lord" fue número uno en Estados Unidos y Reino Unido. Más tarde realiza un concierto a beneficio del pueblo de Bangladesh junto a Ringo Starr, Eric Clapton, Bob Dylan, y otros músicos. Finalmente crea su propio sello discográfico, Dark Horse, con el que publica "33 1/3" (1976), "George Harrison" (1979), "Somewhere In England" (1981) y "Gonne Troppo" (1982), todos generalmente con un mediano éxito. En 1997 se le diagnosticó un cáncer de garganta, del que estuvo tratándose en una clínica suiza. En 1999 un desequilibrado mental intentó asesinarle en su residencia de Londres. Finalmente, George Harrison falleció el 30 de noviembre de 2001 en Los Angeles, tras reproducírsele el tumor maligno.