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9.36am
18 April 2013
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The book says Julian was flunking school and spending all his money on getting drunk and John was planning to start giving him more when he turned 21.
"If you're ever in the shit, grab my tit.” —Paul McCartney
4.33pm
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18 March 2013
Offline Teenagers getting drunk? My, my.
INTROVERTS UNITE! Separately....in your own homes!
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Make Love, Not Wardrobes!
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"Stop throwing jelly beans at me"- George Harrison
5.54pm
18 April 2013
Offline Apparently Julian wasn’t lacking money.
"If you're ever in the shit, grab my tit.” —Paul McCartney
5.56pm
18 April 2013
Offline John was trying to get him to graduate school.
"If you're ever in the shit, grab my tit.” —Paul McCartney
8.46pm
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17 December 2012
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Julian certainly had a wild period immediately following John’s death, and it was probably a heightened version of what was happening before John’s death, and what was worrying him. I remember pictures of him in the papers, underage, stumbling out of nightclubs, often with Cynthia a few steps behind. There was a dreadful picture of him at Stringfellows, essentially a strip club then, in 1981, very drunk, with him or a friend holding a gun to his head.
Easy access to money, along with access to places most 17-year-olds couldn’t get into just because he was John’s son, saw Julian as a very out-of-control young man for a period between around the ages of 16 and 19. It’s a dark period he admits to himself.
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The Beatles Bible 2020 non-Canon Poll Part One: 1958-1963 and Part Two: 1964-August 1966
2.01am
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20 August 2013
Offline This story is a sucker punch in the stomach. The slow passing of an era.
Yoko is moving out of the Dakota.
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2.15pm
11 June 2023
Offline Just a newer, year-long Beatles fan’s opinion: I listened to some of Yoko’s experimental work and find it impressive when I take it for what it is. Same with Revolution #9. It’s not readily listenable and may never be. But listening in the moment to her consistent, intentional screaming is a pretty interesting experience. I liken it to Harrison’s Electronic Sound in that regard. It’s certainly an easier listen than Lou Reed’s Metal Machine Music, even on the ears.
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Sea Belt, vonbontee, Beatlebug, Von Bontee7.34pm
7 November 2022
Offline quackman said
Just a newer, year-long Beatles fan’s opinion: I listened to some of Yoko’s experimental work and find it impressive when I take it for what it is. Same with Revolution #9. It’s not readily listenable and may never be. But listening in the moment to her consistent, intentional screaming is a pretty interesting experience. I liken it to Harrison’s Electronic Sound in that regard. It’s certainly an easier listen than Lou Reed’s Metal Machine Music, even on the ears.
I agree. I call such efforts “a worthy experiment”. And the point may well not include sounding pleasing or digestible, but on a different wavelength.
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10.03pm
14 December 2009
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Sea Belt said
quackman said
Just a newer, year-long Beatles fan’s opinion: I listened to some of Yoko’s experimental work and find it impressive when I take it for what it is. Same with Revolution #9. It’s not readily listenable and may never be. But listening in the moment to her consistent, intentional screaming is a pretty interesting experience. I liken it to Harrison’s Electronic Sound in that regard. It’s certainly an easier listen than Lou Reed’s Metal Machine Music, even on the ears.
I agree. I call such efforts “a worthy experiment”. And the point may well not include sounding pleasing or digestible, but on a different wavelength.
Haha, I like MMM, but I’ve probably played it no more than 50 times total since ’89 – and always with headphones, that’s the best way to listen to it, both for the strict stereo separation, and also because nobody else nearby needs to hear such racket!
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8.49pm
1 December 2009
Offline As for Yoko, my gateway to appreciation of her music was 1997’s CD reissue of her long-scarce (and long personally coveted) YO/POB debut, putting the disc in the player, and being suddenly blasted in the face mid-jam with the glorious avant-Rock ‘N’ Roll racket of “Why”, the foursome of Ono/Lennon/Starr/Voormann firing on all cylinders on the raucous “Why”…and then following that up with the much longer, slower semi-blues shuffle of “Why Not”. Yoko dissolving entirely the idea of the necessity of a voice conveying ‘lyrics’ or ‘melody’, favouring instead pure free-expression and deployment of the voice as a primarily sound-making instrument. 
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