Lennon Ono Quotes

Make your own dream. That's the Beatles' story, isn't it? That's Yoko's story, that's what I'm saying now. Produce your own dream. If you want to save Peru, go save Peru. It's quite possible to do anything, but not to put it on the leaders and the parking meters. Don't expect Jimmy Carter or Ronald Reagan or John Lennon or Yoko Ono or Bob Dylan or Jesus Christ to come and do it for you. You have to do it yourself. That's what the great masters and mistresses have been saying ever since time began. They can point the way, leave signposts and little instructions in various books that are now called holy and worshipped for the cover of the book and not for what it says, but the instructions are all there for all to see, have always been and always will be. There's nothing new under the sun. All the roads lead to Rome. And people cannot provide it for you. I can't wake you up. You can wake you up. I can't cure you. You can cure you.

Produce your own dream. If you want to save Peru, go save Peru. It’s quite possible to do anything, but not if you put it on the leaders and the parking meters. Don’t expect Carter or Reagan or John Lennon or Yoko Ono or Bob Dylan or Jesus Christ to come and do it for you. You have to do it yourself.

There is an alternative to war. It's staying in bed and growing your hair.

Yoko Ono, quite simply, did things that John Lennon did not dare.

The problem with Double Fantasy was the arrangement whereby they alternated John Lennon tracks with Yoko Ono tracks. You couldn’t escape Yoko for more than four minutes at a time.

spring passes and one remembers one's innocence summer passes and one remembers one's exuberance autumn passes and one remembers one's reverence winter passes and one remembers one's perseverance there is a season that never passes and that is the season of glass -- Season of Glass, 1981

Lako je živjeti zatvorenih očiju, ne shvaćajući ono što vidiš...

We live in a country where John Lennon takes eight bullets, Yoko Ono is walking right beside him and not one hits her. Explain that to me!

The last song recorded for Abbey Road was Lennon’s BECAUSE - a three-part harmony in C sharp minor inspired by hearing Yoko Ono play the Adagio sostenuto of Beethoven’s Piano Sonata No. 14, Op. 27 No. 2 (Moonlight).

Whereas John and Yoko might have comfortably lounged around in holiday mode on palatial country estates...the Lennons had this extraordinary urge and need to put something back. To stand up for reason in an unreasonable world, to take advantage of their extraordinary media profile to refocus public attitude and outlook on the murdering of other humans. (Ritchie Yorke)

They'd retreated to the country with two passports only. From the outside it looked like death. People could pound the walls all they wanted, but they'd never find the door. Nobody could guess at the gardens inside.

None of would've made it alone" John once explained, "because Paul wasn't strong enough, I didn't have enough girl-appeal, George was too quiet, and Ringo was the drummer. But we thought everyone would be able to dig at least one of us, and that's how it turned out.

He felt extremely responsible for his fans. That's why, instead of showing the best side of himself to them, he went the other way. He said, 'No, I have to be honest -let them know what I am made of. I'm not all that perfect or anything and they have to know that.' (Larry Kane quoting Yoko Ono about John)

On the cover that leaned against the dirty couch, John and Yoko pressed together for a kiss they would never finish. People were always trashing Yoko Ono, blaming her for breaking up the Beatles, but Josie knew they were just jealous that John preferred Yoko to some bloated megaband. Nobody ever loved a lover. Because love was a private party, and nobody got on the guest list.

We should welcome artists to our shores because this is a haven, isn't it? It's got a big iron lady out there in the sea there saying welcome to the shore and they were trying to kick me out: it's ridiculous when you look back on it, because the most I could have done was gather a big gang of demonstrators together which the police could have shot, so what were they complaining about?

Ono had already met Paul McCartney. During an early gambit to secure rock-star patronage, she knocked on his Cavendish Avenue front door and asked him if he’d contribute an original manuscript to celebrate Cage’s birthday. Ono’s strategy combined two purposes: to flatter McCartney with her artistic credentials and introduce herself to a wealthy rocker who might invest in her work. McCartney declined but did refer Ono to his partner, Lennon, as “the artist in the group.”26

In early December 1971, he signed a rather flat defense of Bob Dylan, who had suffered months of harassment from a “fan” named A. J. Weberman: “A.J. claims everything Dylan writes is either about Weberman or about heroin. What bullshit,” the letter read. “It is time we defended and loved each other—and saved our anger for the true enemy, whose ignorance and greed destroys our planet.” The letter was signed: “The Rock Liberation Front, David Peel, Jerry Rubin, Yoko Ono, John Lennon.

The four solo careers unveiled previously hidden internal politics as each man packed and moved out from the cozy Beatle mansion. Lennon seemed closest to Ringo, and then George; neither Harrison nor Lennon ever appeared on a McCartney solo album or vice-versa, whereas Ringo played for all three. Of course, Lennon’s solo “career” had begun as early as 1968 with numbers like “What’s the New Mary Jane” and “Revolution 9” during the White Album sessions, and then his avant-garde projects with Ono. Casual jams reflected these affinities as well: John and Yoko appeared onstage with George Harrison, Eric Clapton, and the Bonnie and Delaney band in London in December of 1969. Harrison was slumming with the band after sitting in for a night and having rather too much fun; he appeared onstage anonymously until it got reported in the music press. Mostly they got away with two weeks of touring, with Clapton and Harrison sharing lead guitars almost before most audiences figured this out.

Imported narcotics on CIA planes and otherwise serve three purposes important to the federal government. It is good business, exceeding war profits. Drug dealers work with the intelligence and military sectors. Profits gained from drug traffic help support covert projects, including assassinations. Second, provocateurs and police agents purposely push narcotics into the ghettos to control minorities. According to Louis Tackwood, the LAPD distributed drugs, as do other police agencies. Third, the necessary violence and crime in the streets caused by supporting drug habits requires more police, local helicopters, surveillance, arrests without warrants, framing selected patsies by planting evidence, and makes the law enforcement agent the protector of our life and property. Planted marijuana in the binoculars of John Lennon was the excuse to deport him. In spite of the cultural advancements that he and Yoko Ono have made, their outspoken criticism of war, genocide and political imprisonment make them eligible for the “enemies list.

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One morning at breakfast he pointed out an article in the newspaper to me. It was about a Japanese artist, Yoko Ono, who had made a film that consisted of close-up shots of people’s bottoms. ‘Cyn, you’ve got to look at this. It must be a joke. Christ, what next? She can’t be serious!’ We laughed and shook our heads. ‘Mad,’ John said. ‘She must be off her rocker.’ I had to agree. We had no understanding at all of avant-garde art or conceptualism at that point and the newspaper went into the bin. We didn’t discuss Yoko Ono again until one night when we were lying in bed, reading, I asked John what his book was. It was called Grapefruit and looked very short. ‘Oh, something that weird artist woman sent me,’ he said.

Two days later I was watching television when a newsreader announced that John Lennon and Yoko Ono had been in a car crash in Scotland, with their children Julian and Kyoko. No one was badly hurt and they were all in hospital. I was horrified. What on earth was John doing taking Julian to Scotland without telling me?

The influence of the mid-to-late-Sixties English counterculture is clearer in The Beatles’ music than in that of any of their rivals. This arose from a conflux of links, beginning with their introduction by Brian Epstein to the film director Richard Lester, continuing with McCartney’s friendships with Miles and John Dunbar, and culminating in the meeting of Lennon and Yoko Ono. Through Lester and his associates - who included The Beatles’ comedy heroes Spike Milligan and Peter Sellers - the group’s consciousness around the time of Sgt. Pepper was permeated by the anarchic English fringe theatre, with its penchant for Empire burlesque (e.g., The Alberts, Ivor Cutler, Milligan and Antrobus’s The Bed Sitting Room). This atmosphere mingled with contemporary strains from English Pop Art and Beat poetry; the ‘happenings’ and experimental drama of The People Show, Peter Brook’s company, and Julian Beck’s Living Theatre; the improvised performances of AMM and what later became the Scratch Orchestra; the avant-garde Euro-cinema of Fellini and Antonioni; and the satire at Peter Cook’s Establishment club and in his TV show with Dudley Moore, Not Only . . . But Also (in which Lennon twice appeared). From the cultural watershed of 1965-6 onwards, The Beatles’ American heroes of the rock-and-roll Fifties gave way to a kaleidoscopic mélange of local influences from the English fringe arts and the Anglo-European counterculture as well as from English folk music and music-hall.

Yoko Ono: One Woman Show, 1960-1971,” opening on May 17 in one of MoMA’s prestigious sixth-floor galleries, is a major event of the museum’s summer season. On display will be more than 100 vintage works — and in a few cases, as with the burned canvas, facsimiles — that represent the heyday of Ms. Ono’s first career in art, long overshadowed by her better-known image as pop-culture icon and widow of John Lennon. A great deal is riding on the event — for

The reason why kids are crazy is because nobody can face the responsibility of bringing them up. Everybody’s too scared to deal with children all the time, so we reject them and send them away and torture them. The ones who survive are the conformists—their bodies are cut to the size of the suits—the ones we label good. The ones who don’t fit the suits either are put in mental homes or become artists.

Lennon-kah yang datang selarut ini? Padahal cinta sudah ditembak mati, mungkin tadi, pagi-pagi sekali. Ono menangis: telah kusaksikan segala perih, kakak.

None of us would have made it alone" John once explained, "because Paul wasn't strong enough, I didn't have enough girl-appeal, George was too quiet, and Ringo was the drummer. But we thought everyone would be able to dig at least one of us, and that's how it turned out.

Se você fica sabendo de uma coisa — e isso é uma lei natural —, não pode mais não saber.

Wenner’s unabashed idol worship had so often embarrassed them—starfucker, they grumbled behind his back—but now here he was with an actual Beatle. And Yoko! Who could deny this? The hirsute supercouple were smaller than anybody imagined, but John Lennon still towered over Jann Wenner, who at five six so often found himself gazing up at his heroes like a boy vampire.

We live in a country where John Lennon takes eight bullets, Yoko Ono is walking right beside him and not one hits her. Explain that to me!

The death of their manager Brian Epstein was the beginning of the end for The Beatles. While Yoko Ono did try to fill the power vacuum and exacerbate the cracks created by Epstein's loss, she was not solely responsible for The Fab Four's demise. As with every big event, there are many actors, factors and complexities at play and no one simple explanation for everything.

On 14 January Lennon and Ono were interviewed at Twickenham by a reporter from Canada’s CBC-TV. Lasting 30 minutes, it became known as the ‘Two Junkies’ interview.

have been unthinkable in previous years. The bed became a divisive symbol among studio staff and the musicians, and was emblematic of Lennon and Ono’s often inward and obstinate behaviour.

There are few studio photographs of the making of Abbey Road, but a number of outtakes from the cover shoot exist. In each of the zebra crossing pictures Lennon walks hunched, expressionless, with his hands in his trouser pockets. However, pictures taken beforehand of the group waiting on the studio steps are even more revealing. Lennon appears pale, furrowed, haggard and at least a decade older than his 28 years. Ono was once again pregnant at the time of the car crash; it ended in miscarriage in October. Lennon arranged for Harrods to deliver a double bed to EMI Studios, allowing her to be near him while he worked and she recuperated. She slept, read and knitted, and a microphone was suspended above the bed for her to add her thoughts during the Beatles’ recording sessions, a development which would

Lennon’s vituperative Rolling Stone interview was conducted in New York City in December 1970, shortly after the completion of his debut solo album John Lennon/Plastic Ono Band and his involvement with primal therapy. The album, Lennon’s masterpiece, showed the artist stripped bare: in turns paranoid, wounded and angry, railing against targets including fame, the Beatles, religion, drugs, his family and the media. In the interview he was similarly irascible, detailing the many grievances he felt at the disintegration of the Beatles and Apple, and reshaping the band’s historical narrative in the wake of the split. He later

Woman” is the grownup version of “Girl.

People are always judging or criticizing you, or focusing on what you’re trying to say on one little album, on one little song, but to me it’s a lifetime’s work.

the artist’s job is not to get locked into any period,