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Yoko Ono
20 February 2018
2.38pm
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Ahhh Girl
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I thought we all needed a little confusion in our lives today.

The threads are all in YandT now.

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24 February 2018
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Pineapple Records said

[…@Penny Lane , thanks for that. Yes Max Ernst is a big name in the whole pop art movement.]  

Did you mean modern art movement there Pineapple Records? definitely! and a precursor for the Pop artists too, such as Warhol, he was responsible for the art work on the posthumous album Menlove Ave , supervised by Yoko Ono.  Although,  the photo is by Iain Macmillan (not often enough attributed to him)  the Abbey Road album cover photographer, who became friends with the Lennons and collaborated a lot with Yoko Ono. It’s a beautiful photo, with or without Warhol’s artwork.

 "Menlove Ave" LP front and rear art.Image Enlarger

 

The Warhol photo of Lennon, part of his Polaroid series, was used for the Imagine album. 

Image result for photo of lennon yoko ono and warhol

John LennonImage Enlarger

I think Warhol’s friendship with the Lennons is better known.

 Image result for photo of lennon yoko ono and warholImage Enlarger

 

 

   

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“I know, Jerry, that you are as human as the rest of us, if not more so." 

9 April 2018
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Woman wanted for alleged theft of rock worth over $17K inscribed by Yoko Ono

Toronto police are searching for a middle-aged woman who allegedly stole a rock worth thousands of dollars with the words “Love Yourself” written across it from the Gardiner Museum on Friday.

The alleged theft took place just after 5:30 p.m. at the museum, located at 111 Queen’s Park, just south of Bloor Street West.

Police say the rock had been on display as part of an art exhibit by renowned artist Yoko Ono, also the widow of the late Beatle John Lennon . It’s worth an estimated $17,500 US.

“That’s her handwriting on the rock,” Toronto police media relations officer Gary Long said.

The exhibit is an interactive one, Long explained. Patrons can freely come, pick up the rocks and use them for meditation and reflection before returning them.

The woman was last seen wearing a black coat, red scarf, black hat and carring a black bag.

She is being sought in an investigation for theft over $5,000.

Chick, you don’t steal Yoko’s yoko-ono_01 rocks. Give it back. a-hard-days-night-john-7

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I wish I could pick up a rock, write on it, and turn it into a 17,000$ object. I’m not a Yoko hater, but that’s pretty wack. 

"The pump don't work cause the vandals took the handles!"

-Bob Dylan, Subterranean Homesick Blues

"We could ride and surf together while our love would grow"

-Brian Wilson, Surfer Girl

18 April 2018
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I’m new to the forums so sorry if this is too random to just put in this thread:  I know people have some very strong feelings about Yoko and as a non-expert on the Beatles, I am not aware of all the things that have gone on.  However, I don’t feel any animosity toward her. She was who John wanted and that’s always been enough for me. Their story is complicated, like every relationship, but overall even if people feel she influenced him badly from time to time I believe he willingly ceded that ability to her. He was a popular guy, could have been with many other women, had means and popularity. It was an active choice by a man who had options.

Also, as the years have gone on, I feel a more emotional tie to her as she is a unique window to John who is still with us, was there when the Beatles were still an active band. In some ways, she is this stand-in for John alongside Paul (George doesn’t really have such a surrogate).  She is pretty old now and appears to have some health issues – I have a sense of unease as we may soon not have her around anymore, at least not as a communicating force, and John will be even more ‘gone’ when that happens.  In general, I wonder what the impact will be to the overall fan relationship to the Beatles when all the first person links to them are gone.  

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SunKing said
She was who John wanted and that’s always been enough for me.

I used to be much more angry at Yoko for how she sat in (rather creepily) with the strung out John on the Let It Be and contributed some abysmal aspects to The White Album , but as I’ve grown older, I’ve come to realize that a-hard-days-night-ringo-8this is all you really need to know about the matter. It is certainly enough for me, and since coming to accept that, I’ve also come to appreciate some of her music on Double Fantasy and Milk And Honey

Emphasis on the word “some.” It still doesn’t mean that Kiss Kiss Kiss isn’t the worst song ever, because it is. 

Here is the interview I read with Playboy that really changed my mind. 

 

PLAYBOY: “How do you feel about all the negative press that’s been directed through the years at Yoko, your ‘dragon lady,’ as you put it?”

LENNON: “We are both sensitive people and we were hurt a lot by it. I mean, we couldn’t understand it. When you’re in love, when somebody says something like, ‘How can you be with that woman?’ you say, ‘What do you mean? I am with this goddess of love, the fulfillment of my whole life. Why are you saying this? Why do you want to throw a rock at her or punish me for being in love with her?’ Our love helped us survive it, but some of it was pretty violent. There were a few times when we nearly went under, but we managed to survive and here we are.” (looks upward) “Thank you, thank you, thank you.”

PLAYBOY: “But what about the charge that John Lennon is under Yoko’s spell, under her control?”

LENNON: “Well, that’s rubbish, you know. Nobody controls me. I’m uncontrollable. The only one who controls me is me, and that’s just barely possible.”

PLAYBOY: “Still, many people believe it.”

LENNON: “Listen, if somebody’s gonna impress me, whether it be a Maharishi or a Yoko Ono, there comes a point when the emperor has no clothes. There comes a point when I will see. So for all you folks out there who think that I’m having the wool pulled over my eyes, well, that’s an insult to me. Not that you think less of Yoko, because that’s your problem. What I think of her is what counts! Because … fuck you, brother and sister… you don’t know what’s happening. I’m not here for you. I’m here for me and her and the baby!”

ONO: “Of course, it’s a total insult to me…”

LENNON: “Well, you’re always insulted, my dear wife. It’s natural…”

ONO: “Why should I bother to control anybody?”

LENNON: “She doesn’t need me.”

ONO: “I have my own life, you know.”

LENNON: “She doesn’t need a Beatle. Who needs a Beatle?”

ONO: “Do people think I’m that much of a con? John lasted two months with the Maharishi. Two months. I must be the biggest con in the world, because I’ve been with him 13 years.”

LENNON: “But people do say that.”

PLAYBOY: “That’s our point. Why?”

LENNON: “They want to hold on to something they never had in the first place. Anybody who claims to have some interest in me as an individual artist or even as part of the Beatles has absolutely misunderstood everything I ever said if they can’t see why I’m with Yoko. And if they can’t see that, they don’t see anything. They’re just jacking off to… it could be anybody. Mick Jagger or somebody else. Let them go jack off to Mick Jagger, OK? I don’t need it.”

PLAYBOY: “He’ll appreciate that.”

LENNON: “I absolutely don’t need it. Let them chase Wings. Just forget about me. If that’s what you want, go after Paul or Mick. I ain’t here for that. If that’s not apparent in my past, I’m saying it in black and green, next to all the tits and asses on page 196. Go play with the other boys. Don’t bother me. Go play with the Rolling Wings.”

PLAYBOY: “Do you…”

LENNON: “No, wait a minute. Let’s stay with this a second; sometimes I can’t let go of it.” (He is on his feet, climbing up the refrigerator) “Nobody ever said anything about Paul’s having a spell on me or my having one on Paul! They never thought that was abnormal in those days, two guys together, or four guys together! Why didn’t they ever say, ‘How come those guys don’t split up? I mean, what’s going on backstage? What is this Paul and John business? How can they be together so long?’ We spent more time together in the early days than John and Yoko: the four of us sleeping in the same room, practically in the same bed, in the same truck, living together night and day, eating, shitting and pissing together! All right? Doing everything together! Nobody said a damn thing about being under a spell. Maybe they said we were under the spell of Brian Epstein or George Martin.” (the Beatles’ first manager and producer, respectively) “There’s always somebody who has to be doing something to you. You know, they’re congratulating the Stones on being together 112 years. Whoooopee! At least Charlie and Bill still got their families. In the Eighties, they’ll be asking, ‘Why are those guys still together? Can’t they hack it on their own? Why do they have to be surrounded by a gang? Is the little leader scared somebody’s gonna knife him in the back?’ That’s gonna be the question. That’s-a-gonna be the question! They’re gonna look back at the Beatles and the Stones and all those guys as relics. The days when those bands were just all men will be on the newsreels, you know. They will be showing pictures of the guy with lipstick wriggling his ass and the four guys with the evil black make-up on their eyes trying to look raunchy. That’s gonna be the joke in the future, not a couple singing together or living and working together. It’s all right when you’re 16, 17, 18 to have male companions and idols, OK? It’s tribal and it’s gang and it’s fine. But when it continues and you’re still doing it when you’re 40, that means you’re still 16 in the head.”

PLAYBOY: “Let’s start at the beginning. Tell us the story of how the wondrous mystic prince and the exotic Oriental dragon lady met.”

LENNON: “It was in 1966 in England. I’d been told about this ‘event’… this Japanese avant-garde artist coming from America. I was looking around the gallery and I saw this ladder and climbed up and got a look in this spyglass on the top of the ladder… you feel like a fool… and it just said, ‘Yes.’ Now, at the time, all the avant-garde was smash the piano with a hammer and break the sculpture and anti-, anti-, anti-, anti-, anti. It was all boring negative crap, you know. And just that Yes made me stay in a gallery full of apples and nails. There was a sign that said, Hammer A Nail In, so I said, ‘Can I hammer a nail in?’ But Yoko said no, because the show wasn’t opening until the next day. But the owner came up and whispered to her, ‘Let him hammer a nail in. You know, he’s a millionaire. He might buy it.’ And so there was this little conference, and finally she said, ‘OK, you can hammer a nail in for five shillings.’ So smartass says, ‘Well, I’ll give you an imaginary five shillings and hammer an imaginary nail in.’ And that’s when we really met. That’s when we locked eyes and she got it and I got it and, as they say in all the interviews we do, the rest is history.”

PLAYBOY: “What happened next?”

LENNON: “Of course, I was a Beatle, but things had begun to change. In 1966, just before we met, I went to Almeria, Spain, to make the movie ‘How I Won the War.’ It did me a lot of good to get away. I was there six weeks. I wrote ‘Strawberry Fields Forever ‘ there, by the way. It gave me time to think on my own, away from the others. From then on, I was looking for somewhere to go, but I didn’t have the nerve to really step out on the boat by myself and push it off. But when I fell in love with Yoko, I knew, My God , this is different from anything I’ve ever known. This is something other. This is more than a hit record, more than gold, more than everything. It is indescribable.”

PLAYBOY: “Were falling in love with Yoko and wanting to leave the Beatles connected?”

LENNON: “As I said, I had already begun to want to leave, but when I met Yoko is like when you meet your first woman. You leave the guys at the bar. You don’t go play football anymore. You don’t go play snooker or billiards. Maybe some guys do it on Friday night or something, but once I found the woman, the boys became of no interest whatsoever other than being old school friends. ‘Those wedding bells are breaking up that old gang of mine.’ We got married three years later, in 1969. That was the end of the boys. And it just so happened that the boys were well known and weren’t just local guys at the bar. Everybody got so upset over it. There was a lot of shit thrown at us. A lot of hateful stuff.”

ONO: “Even now, I just read that Paul said, ‘I understand that he wants to be with her, but why does he have to be with her all the time?'”

LENNON: “Yoko, do you still have to carry that cross? That was years ago.”

ONO: “No, no, no. He said it recently. I mean, what happened with John is like, 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.”

LENNON: “I’ve always thought there was this underlying thing in Paul’s ‘Get Back .’ When we were in the studio recording it, every time he sang the line ‘Get back to where you once belonged,’ he’d look at Yoko.”

PLAYBOY: “Are you kidding?”

LENNON: “No. But maybe he’ll say I’m paranoid

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"The pump don't work cause the vandals took the handles!"

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18 April 2018
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I get sad when I think of all the clashing relationships. I refuse to take a side. I’m not mad at Paul, John, Yoko, George, and especially not Ringo. Allen Klein I do not like, but for everybody else, John expressed the way I feel perfectly in 1970. 

“But then again, you’re not to blame. You’re just a human, a victim of the insane”

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18 April 2018
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It’s interesting to me that with the luxury of being in the present and having perspective, it’s completely understandable what John saw in her. He was struck with feelings that he was in a rut, feeling constrained, and here was this artist who was from a very different country with an aesthetic that was a complete challenge to him and who was unafraid.  Sometimes it’s hard to reconcile what they were feeling with their outward appearance together, which was complete fearlessness. Yoko especially seemed always composed and unaffected by it.  

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19 April 2018
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Good post, @SunKing. However, I do have to point out

SunKing said
In some ways, she is this stand-in for John alongside Paul (George doesn’t really have such a surrogate). 

George has Olivia and Dhani to serve to a certain extent (not quite as singularly as John with Yoko), and also Jeff Lynne and Eric Clapton and Ringo and… I think George lives on in a much more dispersed way, little bits in everyone who knew him.

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18 May 2018
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Yoko is in Liverpool to open the John & Yoko exhibit at the Museum of Liverpool. http://www.dailymail.co.uk/new…..rpool.html

While in Liverpool she also went to Mendips and 9 Newcastle Road.

Here she is in John’s bedroom at Mendips.
DdeNubtVQAEd6kL.jpgImage Enlarger

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18 May 2018
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I’d like to go and see this. Might see if I can get a cheap flight down and make a weekend of it 🙂

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Today there’s some news from Yoko that she’s considering listing her influence and contributions to John’s songs.

https://www.nme.com/news/music…..et-2425993

http://ultimateclassicrock.com…..hn-lennon/

 

I’ve no doubt she was John’s muse for many, many songs…… From White Album onwards……And she helped in other ways….Because ….as an example…. John hearing her play Moonlight Sonata asked for the chords played backwards. And Imagine , where she now has a justified credit……However I’m a bit suspicious about how directly the music and words to Jealous Guy can be given to her. Muse is one thing……The craft, the lyrics, the stitching of it all together quite another.

For instance how much credit should we give to the Newspaper writers that inspired John’s efforts in, ‘A Day In The Life ‘ ?

4 January 2019
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I don’t like to hate on Yoko but in my eyes this is a really selfish thing to do. Its pointless. I will not acknowledge anything that comes from this list. 

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4 January 2019
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I agree. I don’t hate Yoko, I don’t blame her for breaking up the Beatles, I really don’t mind her at all, but the mere idea of such a list is ridiculous. Everyone who cares already knows which ones you inspired, Yoko, you don’t need to make an official list. That’s crazy.

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I would be interested to see the list. I think there are probably many songs that we don’t know she inspired or co-wrote. Of course, people will just say she didn’t inspire or co-write them, because they don’t want to believe she has talent.

For instance, John himself said she co-wrote Julia and some people have disputed that claim.

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4 January 2019
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Interesting that John Lennon has been perceived as becoming a feminist under the influence of Yoko Ono. He went straight from seeing women as subservient and useless to them possessed with near amazonian qualities. His song Woman is the n****r of the World is naive. Ten years down the track he hadn’t learnt much. In Woman , he describes himself as the a Little Child inside the man, a lyric many women find uncomfortable. John displayed indebtedness, not ownership, in addressing his past behaviour. John Lennon was no feminist – he just thought he was. The liberated Lennon extolled the virtues of the new woman in his life at the same time dismissing his former wife and the wives and partner of his colleagues – four highly intelligent women – as nothing more than dolly birds hanging off the arms of their men. Such misogyny could be laughable if it weren’t so shameful.

Yoko’s relationship with John appeared to be the one that he wanted, and that was their business not ours. I depise the sexism and rascism that has been directed at Yoko Ono. The absolute trauma she underwent in seeing her beloved husband gunned down in front her is unimaginable. However, her rehabilitation appears to be unable to separate all of these factors from the reality of her relationship with the band – her unannounced and uninvited interference in their joint creative output, causing considerable, and not unreasonable, tensions within them. Logically it has has nothing to do with her sex or race.

John made a rule of no women in the studio. That he turned up one day with Ono to be ensconced for the next few months was rude and disrepectful towards Paul, George and Ringo, with whom he was engaged in a professional working relationship under a contractual agreement. If John wanted this rule changed, he needed only to have asked.

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It’s a bit odd, if she wanted a credit she could have asked John when he was, you know, still alive. I’m sure he would have been willing to give a songwriting credit to the love of his life.

 

*********************

I find it funny how in the few interviews we have of Yoko before she met John, she rarely said “you know” or ” ‘kay” but the second she met him, he influenced the way she talked and now she can’t go a sentence without saying “you know”. The same thing as Sean, everything is “you know, you know, you know”, no I don’t know Sean.

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4 January 2019
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@AppleScruffJunior He did say often after its release that Imagine  should have been co-credited to Yoko and he was just too macho to even consider it.

Also, as I pointed out somewhere, the result when Paul co-credited Linda on several early solo songs, he was sued by ATV/Northern Songs who suggested, since she had no history as a songwriter, co-crediting her was a way to get a higher royalty.

 ********************

@Saltie The first recording session attended by Yoko was the 30 May 1968 Revolution 1  session, and much is made of it breaking some unwritten rule. Nobody ever mentions that Paul turned up to the same session with Francie Schwartz, his then “girlfriend”, in tow. (Francie even provided backing vocals on Revolution 1  as it was released.)

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I’d be interested in seeing what Yoko comes out with……Though I’d make up my own mind about each claim. As I do Paul’s and John’s memories to be fair.

What they said, or didn’t say when all were alive isn’t even always 100% credible. Now John and George have gone…..???

 

Begs an interesting Beatles Bible debate and of course ……..a definitive ‘LIST’….Should Prudence get a writing credit…….?……The family of Eleanor Rigby ?…….The page George turned to to find ‘Gently Weeps” standing out? Or the mystic writings that gave him that idea to open a book and go with the flow?

 

One thing’s sure ….for me…..Yoko inspired John…..a lot. So did Paul. George, Ringo, Chuck Berry…..etc etc

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@Ron Nasty It was an unwritten rule specifically concerning their wives/girlfriends. None of them had any qualms in selecting young female fans from the Abbey Road gates to assist in providing backing vocals. Nor from the numerous female hangers-on constantly in their presence since 1963 from which category Schwarzt belongs. My point being, that unlike the others, Yoko became a fixture in the studio, and that it was she, not John, who took the cop for this.

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