John Lennon & Yoko Ono on The Eamonn Andrews Show (April 3, 1969)

John Lennon and Yoko Ono's appearance on The Eamonn Andrews Show on April 3, 1969, was a notable television moment marked by both tension and wit. Hosted at the Café Royal restaurant in London and broadcast live by Thames Television, the show featured an eclectic mix of guests including singer Rolf Harrison, comedian Jack Benny, violinist Yehudi Menuhin, and singer Gaynor Jones.

The atmosphere was charged with curiosity and criticism regarding Lennon and Ono's unconventional peace activism, particularly their recent "bed-in" protest. Jack Benny's humorous quip about not wanting to get involved in the controversy set the tone for a lively exchange. Yehudi Menuhin added a touch of irony by pointing out the absence of Jesus's commentary on staying in bed in the New Testament.

The interview itself was confrontational, with Lennon and Ono defending their actions against audience hostility. Lennon emphasized their commitment to peace and their use of media attention to promote activism. However, audience members expressed skepticism and disapproval, accusing Lennon of being out of touch with reality and criticizing his influence on youth.

Despite the tension, Lennon and Ono maintained their composure, engaging in witty banter with the audience. Lennon's playful comparison of acorns to symbols of growth elicited both laughter and further criticism. The exchange encapsulated the complexity of public perception surrounding Lennon and Ono's activism, showcasing their resilience in the face of adversity.

 

John Lennon: Declassified (2007)

John Lennon's activism and outspokenness against the Vietnam War and other political issues during the 1960s and 1970s drew the attention of the FBI, particularly under the leadership of J. Edgar Hoover. Lennon's anti-war activities, involvement with left-wing groups, and popularity made him a target for surveillance by the Nixon administration.

The FBI's surveillance of Lennon primarily focused on monitoring his activities, associations, and travels. This included wiretaps, physical surveillance, and compiling extensive files on him and his acquaintances. The FBI was particularly concerned about Lennon's potential influence on public opinion, especially among young people.

The surveillance of Lennon became public knowledge through the Freedom of Information Act (FOIA) requests and legal actions. In 1972, journalist Jon Wiener filed a FOIA request for Lennon's FBI files, which initiated a legal battle to obtain the documents. After years of litigation, Wiener finally succeeded in obtaining a significant portion of the FBI's Lennon files, revealing the extent of the government's surveillance of the former Beatle.

The FBI's surveillance of John Lennon underscores the agency's historical tendency to monitor and sometimes target individuals perceived as threats to the political status quo, regardless of their fame or influence.

 

24 Hours: The World of John and Yoko (December 1969)

24 Hours: The World Of John And Yoko offers an intimate glimpse into the lives of John Lennon and Yoko Ono during a five-day period, captured by the British Broadcasting Corporation (BBC). Filmed at their estate, Tittenhurst Park in Ascot, Berkshire, the documentary provides extensive access to the couple's daily activities and thoughts.

The filming coincided with Lennon and Ono's participation in another documentary titled Man Of The Decade for rival broadcaster ATV. Remarkably, the BBC crew also captured behind-the-scenes moments of this concurrent project, showcasing a unique perspective on the filming process.

Desmond Morris, who selected Lennon for the ATV documentary, is seen walking with the couple around the estate, engaging in conversation and posing thought-provoking questions. Candid moments unfold as Lennon and Ono share their views on politics in the comfort of their mansion's kitchen.

The documentary unfolds over the course of five days, culminating in a 35-minute portrayal of Lennon and Ono's world. First aired on BBC 1 on December 15, 1969, 24 Hours offers viewers an immersive experience into the lives of two iconic figures of the era. Selected excerpts from the documentary later found their way into the 1988 production Imagine: John Lennon, further cementing its significance in documenting Lennon and Ono's legacy.

 

 

John Lennon & Yoko Ono on CBC Weekend (December 20, 1969)

Hosted by Lloyd Robertson, the show delved into the couple's efforts to promote peace, particularly in the context of their recent encounter with Marshall McLuhan at the University of Toronto.

Lennon introduced the episode as "Peace Weekend," setting the tone for a discussion centered around their peace campaign. Joining them on the show was Rabbi Abhraham Feinberg, who had participated in the chorus of "Give Peace A Chance."

Broadcasting live from the CBC Studio in Toronto, the interview touched on various aspects of Lennon and Ono's activism. A notable moment occurred when legislator Russell Doern, linked up from Winnipeg, read a letter from Manitoba's premier inviting Lennon and Ono to promote peace in the province. Lennon's enthusiastic response showcased his genuine commitment to the cause.

During the interview, Lennon explained his choice of Canada for their peace campaign, expressing a desire to avoid being labeled as "Mr. and Mrs. Dead Saint of 1970." Rabbi Feinberg echoed the sentiment, emphasizing the campaign's aim to transcend political boundaries and resonate with people on a grassroots level.

Despite some skepticism, particularly regarding the effectiveness of their efforts, Lennon and Ono remained steadfast in their belief that their campaign had value in fostering dialogue and spreading the message of peace.

John Lennon & George Harrison In Concert at the Lyceum Ballroom, London (December 15, 1969)

The Plastic Ono Band's live performance at the Lyceum Ballroom in London on Monday, December 15, 1969, was a momentous event that pushed boundaries and challenged expectations. The concert was part of a benefit event for the charity UNICEF, titled "Peace For Christmas," and featured an eclectic lineup of acts including the Young Rascals, Desmond Dekker and the Aces, Blue Mink, and Black Velvet, among others.

This particular performance by the Plastic Ono Band, however, stood out as a historic moment in music history. With just 48 hours' notice, the lineup for the Plastic Ono Band's debut European concert included an impressive array of talent: John Lennon, George Harrison, Eric Clapton, Klaus Voormann, Alan White, Billy Preston, Bobby Keys, Jim Price, and others.

The stage was set for an unforgettable night as Lennon, Harrison, Clapton, and the rest of the band took to the stage amidst a backdrop declaring "War Is Over." The atmosphere crackled with anticipation as the audience eagerly awaited what would unfold.

The performance itself was a revelation, with the band launching into a set that included the current single "Cold Turkey" and its B-side, "Don't Worry Kyoko (Mummy's Only Looking For Her Hand In The Snow)." "Cold Turkey" kicked off the set with raw intensity, showcasing Lennon's powerful vocals and the band's tight instrumentation.

However, it was the performance of "Don't Worry Kyoko" that truly captivated the audience. Clocking in at around 40 minutes, the song stretched the boundaries of conventional rock music, with Ono's primal wails soaring over the band's hypnotic grooves. The performance was described as "the most fantastic music" by Lennon himself, pushing the boundaries of what was expected from a live concert.

While some audience members may have been taken aback by the unconventional nature of the performance, those who stayed were treated to an immersive and transformative experience. As drummer Alan White recalled, the performance reached a frenetic climax as the band played faster and faster until they could go on no more.

In hindsight, the concert at the Lyceum Ballroom remains a landmark moment in music history, showcasing the innovative spirit and boundary-pushing ethos of the Plastic Ono Band. It was a night that defied expectations, challenged conventions, and left a lasting impression on all who were lucky enough to witness it.

 

John Lennon on the Death Penalty in Britain (December 15, 1969)

In 1969, John Lennon and Yoko Ono became deeply involved in the case of James Hanratty, a convicted murderer who had been executed seven years prior for a notorious crime in Britain. The case involved the rape of Valerie Storie and the murder of Michael John Gregsten on the A6 highway in Bedfordshire in 1961. Despite Hanratty's execution, doubts persisted about his guilt, with many suspecting another individual, Peter Alphon, as the likely perpetrator.

The trial, marked by extensive media coverage and public interest, resulted in Hanratty's conviction, although the evidence against him was somewhat circumstantial. His family continued to advocate for his innocence, and in late 1969, they met with John Lennon and Yoko Ono through a mutual acquaintance, John Cunningham. Lennon and Ono, in their characteristic style of activism, announced plans to make a film supporting Hanratty's case, aligning it with their broader protest against capital punishment.

The film, titled Did Britain Murder Hanratty?, was released by Apple Films, although Lennon's exact involvement remains unclear. Despite this, the film became associated with Lennon, and its only public screening occurred in 1972. The case sparked discussions about capital punishment and the fairness of the legal system, especially considering Hanratty's criminal record and the later DNA tests that seemingly confirmed his guilt.

 

John Lennon: Man of the Decade (December 2, 1969)

Man Of The Decade presents an insightful and thought-provoking exploration of the life and impact of John Lennon, one of three nominees for the prestigious title. Commissioned by Associated TeleVision (ATV), the documentary features segments dedicated to each nominee, with Lennon's segment culminating the program.

Anthropologist Desmond Morris, Lennon's nominator, offers a compelling perspective on the musician's influence, accompanied by carefully selected archival footage and newsreels that trace Lennon's journey from his early days with The Beatles to his more recent endeavors with Yoko Ono.

The segment delves into Lennon's unconventional approach to education, his views on success and mainstream values, and his optimistic outlook on the future. Lennon reflects on the transformative power of music, from the early days of rock 'n' roll to the psychedelic era and beyond.

Throughout the interview, Lennon candidly discusses his experiences with drugs and meditation, portraying them as coping mechanisms in the face of life's pressures. He also emphasizes the importance of nurturing relationships, particularly his bond with Yoko Ono, as a pathway to achieving harmony in the world.

As the interview concludes, Lennon offers a glimpse into his vision for the future, expressing excitement for the possibilities ahead and reassuring viewers, including the skeptics, that the coming decade holds promise and potential for positive change.

The documentary provides a multifaceted portrait of Lennon's life and legacy, offering viewers a deeper understanding of his beliefs, values, and aspirations. It serves as a testament to Lennon's enduring impact as a cultural icon and a champion of peace and love.

 

John Lennon & Yoko Ono Interviewed by Ugly George at the Copocabana Club, New York City (October 13, 1976)

In October 1976, John Lennon and Yoko Ono made a brief appearance on the TV show "The Ugly George Hour Of Truth, Sex & Violence" hosted by Manhattan Cable TV Host "Ugly George." The interview took place at Andy Warhol's Copacabana disco reopening in New York. The discussion revolved around the topic of sex on TV. While the complete interview reportedly lasted around 3 minutes, available audio copies are incomplete, lasting around 2:30 minutes.

 

John Lennon Interviewed at the Hit Factory, New York City (October 10, 1980)

In this interview from October 10, 1980, John Lennon discusses his relationship with Paul McCartney and the inevitable comparisons between them. He mentions hearing Paul's record "Coming Up" and preferring the original version Paul made in his barn over the live Glasgow one. John expresses frustration with the record company altering Paul's music and reflects on their competitive dynamic, both in terms of sales and artistically. He emphasizes that their relationship was complex and competitive, comparing it to comparing artists like Magritte and Picasso. Despite this competition, John acknowledges being impressed by Paul's work, which often motivated him to create his own music. However, he states that Paul never surprised him because their bond was akin to that of brothers who had known each other since they were fifteen.

John Lennon and the Plastic Ono Band: Sweet Toronto (September 13, 1969)

On the night of Saturday, September 13, 1969, the Toronto Rock and Roll Revival Festival erupted in a whirlwind of music, mayhem, and unexpected moments. For John Lennon, it began with a sense of reluctance, a nagging regret at having agreed to take the stage at all. But as fate would have it, Lennon found himself swept up in a whirlwind of events, propelled forward by the irrepressible energy of his bandmates and the allure of rock 'n' roll.

As the hastily assembled Plastic Ono Band – featuring Lennon, Eric Clapton, Klaus Voormann, and Alan White – boarded a plane bound for Canada, the air crackled with anticipation. Amidst the hum of engines and the chatter of passengers, the group hastily rehearsed a medley of rock 'n' roll standards, their impromptu jam sessions setting the stage for what was to come.

Arriving at the Varsity Stadium of Toronto University, the band found themselves thrust into a festival atmosphere unlike any other. With 20,000 eager ticket holders unaware of their impending performance, the element of surprise hung thick in the air, adding to the electric atmosphere of the night.

As midnight approached, the Plastic Ono Band's black limousine swept into the backstage area, accompanied by a roaring procession of 80 motorcycles. Amidst a flurry of excitement and flashing cameras, Lennon and his bandmates retreated to the dressing room, nerves and anticipation mingling in equal measure.

But when the moment finally arrived, all doubts melted away in the blaze of lights and the roar of the crowd. Led by Lennon's raw vocals and Clapton's blistering guitar solos, the band tore through a setlist that spanned the spectrum of rock 'n' roll, from the infectious rhythm of 'Blue Suede Shoes' to the raw intensity of 'Cold Turkey'.

Yet, amidst the frenzy of performance, Lennon's candor shone through. Admitting his struggles with addiction and his inability to recall lyrics, he improvised words on stage, weaving a tapestry of spontaneity and emotion that captivated the audience.

John Lennon: Recording "I'm Losing You" at the Hit Factory (August 19, 1980)

The footage captures John Lennon recording "I'm Losing You" at the Hit Factory Studio on August 19, 1980, alongside Yoko Ono. Director Jay Dubin intended to produce music videos to promote their upcoming album "Double Fantasy." The recording sessions for both "I'm Losing You" and Yoko's "I'm Moving On" were filmed using two cameras, and the footage was stored on 1-inch video tapes. Despite Dubin never editing the footage, raw film of the sessions exists.

This footage holds significant historical importance as it marks the last documented time John Lennon was filmed making music before his tragic death. Although unseen by the public for years, snippets were included in the 1985 documentary "Yoko Ono: Then & Now" and later broadcast by NHK-TV of Japan in 1992.

A version of the 1998 "line drawing" video for "I'm Losing You" was uploaded by Revolver Records & Video, featuring footage from the secondary camera showing Lennon playing his Sardonyx guitar. Despite Lennon's reported attempt to destroy the film, the footage survived, showcasing his passionate performance. Despite Lennon's dissatisfaction with his appearance in the video, the clip serves as a poignant reminder of his talent and energy.

The release of this footage has dispelled doubts about its existence, leaving fans hopeful for a complete edited version. However, reports suggest that only twenty minutes of footage from camera two remain. Nonetheless, the emergence of this footage provides a rare glimpse into Lennon's final studio sessions and serves as a testament to his enduring legacy.

 

Why Didn't John Lennon Have Security?

John Lennon famously opted not to have security for a variety of reasons, but primarily because he wanted to maintain a sense of normalcy and freedom in his life. He was known for his belief in peace and love and often expressed a desire to connect with people on a personal level. Additionally, he may have felt that having security would create a barrier between himself and his fans, which went against his desire for openness and accessibility. Unfortunately, this decision left him vulnerable, and tragically, he was fatally shot by a fan outside his apartment building in New York City in 1980.

One afternoon I entered the room while John entertained a guest. My sudden appearance took him by surprise but rather than sending me away, he introduced us.

“Michael, this is Doug MacDougall.”

“Doug, this is Michael . . .” John said. Then he couldn't recall my last name. He gave me a look and blurted, “This is Michael Tree.” My Portuguese family name always got him confused.

The next day, John told me Doug was a retired FBI agent hired to be Sean's bodyguard. He worried that his son could be the target of kidnappers.

-In John Lennon's Garden

According to Fred Seaman: "The bodyguard, an ex-FBI agent named Doug MacDougall, was originally hired in spring 1979 as Sean’s bodyguard. After John and Yoko went public in September 1980 MacDougall urged Yoko to beef up security. He was particularly alarmed by an interview Yoko gave to the Daily News in which she indiscreetly talked about their recording schedule and even the route their limo took. On September 25 Doug had a stormy meeting with Yoko in which he suggested that they have an armed guard ride with John and Yoko in their limo, or that a guard meet their limo at the entrance to the recording studio and Dakota. Yoko rejected both suggestions. Frustrated by Yoko’s lackadaisical attitude regarding security Doug then went on a 'leave of absence.' He was scheduled to meet with Yoko on December 9 to review the security issue, but by then it was too late."

 

John Lennon's BBC Radio 1 Interview with Michael Wale - Rock Speak (September 27, 1974)

Audio interview with Michael Wale on BBC Radio 1's "Rock Speak," aired on September 27, 1974. Lennon delves into the creative process behind his solo albums, including Mind Games and Walls and Bridges, and offers teasers about his upcoming album release, Rock 'n' Roll.

 

Listen To This Album: John Lennon - Menlove Ave.

Menlove Ave. is a posthumous album by John Lennon, released in 1986. It is a compilation of unreleased tracks and alternate versions of songs recorded during Lennon's solo career, spanning from 1973 to 1974. It is the second posthumous release of Lennon's music (after Milk and Honey), having been recorded during the sessions for his albums Walls and Bridges and Rock 'n' Roll. Menlove Ave. was released under the supervision of Yoko Ono.

The first side of the LP comprises session outtakes from the Rock 'n' Roll sessions with Phil Spector in late 1973, apart from "Rock and Roll People", which is from the Mind Games sessions. The remainder features rehearsal recordings in mid-1974 for Walls and Bridges.

The song "Rock and Roll People" was originally recorded and released on Johnny Winter's seventh studio album John Dawson Winter III.

The title refers to Lennon's childhood home, 251 Menlove Avenue, in Liverpool. Menlove Avenue is a long road in South Liverpool, part of the Liverpool ring road. While it is mainly residential, it is also a primary route: the A562. It also passes Woolton Village where Lennon and Paul McCartney first met.

Yoko Ono's liner notes mention that "John's American rock roots – Elvis Presley, Fats Domino and Phil Spector – are evident in these tracks. But what I hear in John's voice are the other roots of the boy who grew up in Liverpool, listening to 'Greensleeves,' BBC Radio and Tessie O'Shea."

The artwork for the release was effected by artist Andy Warhol, just months before Lennon's death in 1980. It was later used as the cover for the 2005 compilation album Working Class Hero: The Definitive Lennon.

Though Menlove Ave. included previously unreleased material of John Lennon, it failed to chart in the United Kingdom. It did manage to reach number 127 in the United States, making it Lennon's least-successful album. Menlove Ave. was issued on CD in 1987, and remains available from Capitol Records in that format.

Side 1, tracks 3–5 appeared as bonus tracks on the 2004 remastered version of Rock 'n' Roll. The song "Here We Go Again" was included on the 2006 soundtrack album The U.S. vs. John Lennon and 2010 box set Gimme Some Truth.

The album is the only one of Lennon's not available on music streaming platforms.

00:09 Here We Go Again  

05:01 Rock and Roll People 

09:26 Angel Baby  

13:11 Since My Baby Left Me  

17:01 To Know Her Is to Love Her  

21:49 Steel and Glass  

26:02 Scared  

30:25 Old Dirt Road  

34:22 Nobody Loves You When You’re Down and Out  

38:55 Bless You

John Lennon on the Meaning of "Strawberry Fields Forever" - Beatles Interview

John Lennon with Michael X - Interview (1970)

John Lennon and Yoko Ono Marriage Interviews (1969)

Paul McCartney/John Lennon Demos: "Abbey Road" Era (1969)

- ?? February 1969
- Goodbye [00:00]

 - 1 June 1969
- Give Peace A Chance (Demos + Basic Track) [04:54]

 - 24 July 1969
- Come and Get It (Demo) [02:24]

 - ?? September 1969
- Cold Turkey [09:40]
- Woman Is the Nigger Of the World [13:09]

Deconstructing "Dear Prudence": Isolated Tracks

Deconstructing "Get Back": Isolated Tracks