Lennon Song Quotes

We all shine on...like the moon and the stars and the sun...we all shine on...come on and on and on...

I get by with a little help from my friends.

Imagine there's no countries It isn't hard to do Nothing to kill or die for And no religion too Imagine all the people Living life in peace You may say that I'm a dreamer But I'm not the only one I hope someday you'll join us And the world will be as one

Remember to let her into your heart.

All you need is love.

There's nothing you can do that can't be done Nothing you can sing that can't be sung. Nothing you can say but you can learn how to play the game. It's easy. Nothing you can make that can't be made. No one you can save that can't be saved. Nothing you can do but you can learn how to be you in time. It's easy. Nothing you can know that isn't known. Nothing you can see that isn't shown. Nowhere you can be that isn't where you're meant to be. It's easy.

Let It Be

In his suicide note, Kurt Cobain wrote, "It's better to burn out than to fade away." He was quoting a Neil Young song about Johnny Rotten of the Sex Pistols. When I was twenty-four, I interviewed John Lennon. I asked him about this sentiment, one that pervades rock and roll. He took strong, outraged exception to it. "It's better to fade away like an old soldier than to burn out, " he said. "I worship people who survive. I'll take the living and the healthy.

When I hold you in my arms and I feel my finger on your trigger I know no one can do me no harm because happiness is a warm gun.

I crumple on my bed. For a second, i believed that what i wanted more than anything in the world had come true. For a second, i believed that my dad was back. but he isn't. He's gone again. he's really truly gone and i know it. i know i'll never see him again no matter how much i want to. The candle in me has blown out and i'm afraid, really, really afraid, because my biggest fear is true. i have to live my life without my dad, my running partner, the guy who taught me amnesty and sang john lennon songs really off key.

People said it was a song about drugs, but John Lennon said the name came from a picture his son painted of a girl at school.

All you need is love...love is all you need.

There is a notion gaining credence that the free market breaks down national barriers, and that corporate globalization's ultimate destination is a hippie paradise where the heart is the only passport and we all live together happily inside a John Lennon song (Imagine there's no country...). This is a canard.

It's a complex song, and it's fascinating to watch the creative process as they went back and forth and finally created it over a few months. Lennon was always my favorite Beatle. [ He laughs as Lennon stops during the first take and makes the band go back and revise a chord.] Did you hear that little detour they took? It didn't work, so they went back and started from where they were. It's so raw in this version. It actually makes the sound like mere mortals. You could actually imagine other people doing this, up to this version. Maybe not writing and conceiving it, but certainly playing it. Yet they just didn't stop. They were such perfectionists they kept it going This made a big impression on me when I was in my thirties. You could just tell how much they worked at this. They did a bundle of work between each of these recording. They kept sending it back to make it closer to perfect.[ As he listens to the third take, he points out how instrumentation has gotten more complex.] The way we build stuff at Apple is often this way. Even the number of models we'd make of a new notebook or iPod. We would start off with a version and then begin refining and refining, doing detailed models of the design, or the buttons, or how a function operates. It's a lot of work, but in the end it just gets better, and soon it's like, " Wow, how did they do that?!? Where are the screws?

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).

critic Robert Ray once said, “What’s interesting about rock & roll is that the truly radical aspect occurs at the level of sound. ‘Tutti Frutti’ is far more radical than Lennon’s ‘Woman Is the Nigger of the World,’ and the sound of Bob Dylan’s voice changed more people’s ideas about the world than his political message did.

BALLROOMS OF MARS" "You gonna look fine Be primed for dancing You're gonna trip and glide All on the trembling plane Your diamond hands Will be stacked with roses And wind and cars And people of the past I'll call you thing Just when the moon sings And place your face in stone Upon the hill of stars And gripped in the arms Of the changeless madman We'll dance our lives away In the Ballrooms of Mars You talk about day I'm talking 'bout night time When the monsters call out The names of men Bob Dylan knows And I bet Alan Freed did There are things in night That are better not to behold You dance With your lizard leather boots on And pull the strings That change the faces of men You diamond browed hag You're a gutter-gaunt gangster John Lennon knows your name And I've seen his

Have you seen interviews with the young John Lennon or Bob Dylan, when the reporter tries to ask about their personal selves? The boys deflect these queries with withering sarcasm. Why? Because Lennon and Dylan know that the part of them that writes the songs is not "them," not the personal self that is of such surpassing fascination to their boneheaded interrogators. Lennon and Dylan also know that the part of themselves that does the writing is too sacred, too precious, too fragile to be redacted into sound bites for the titillation of would-be idolators (who are themselves caught up in their own Resistance).

(Kyler's song about Lennon?) Stop hiding in the darkness, step out into the light. The sky is filled with all these stars, so come and kiss the night. Infinity is waiting, calling you by name. The world is yours for the taking, so take it just the same. Shock and awe, surprise them, those who think you're weak. Look to the sky and chase them, those answers that you seek. The stars will light the sky for us, they'll illuminate the way. They show you how to find me, they'll make you want to stay.

No se necesita una sesión muy larga para comprender que mi vida es un intento incesante de probarle al mundo que valgo algo.

Desmond Morris informs me that John Lennon’s magnificent song is sometimes performed in America with the phrase ‘and no religion too’ expurgated. One version even has the effrontery to change it to ‘and one religion too’.

Of course, I know the answer. I went into teaching as a stepping stone to my writing career, and when that fizzled and died, I was cut adrift and so very resentful. How does that John Lennon song go? “Life is what happens to you while you’re busy making other plans.” That was me. I was so angry and frustrated by my failed writing ambitions, I couldn’t see my life as a teacher being fulfilling in its own right. I missed it—but now I see it.

The world couldn’t have been hungrier for Anthology, with a ten-hour documentary and three huge-selling volumes of outtakes, turning into a joyous global celebration. The Anthology double-CD packages might have been more purchased than played (everybody back then bought more music than they had time to listen to). They included two new songs, Lennon tape fragments that the others finished: “Free as a Bird” and “Real Love.” The flaw was Jeff Lynne’s production—George Martin wasn’t invited, because Harrison flatly refused to work with him. It’s ironic that when you watch Anthology, the only music that sounds dated is from 1995. But no matter how blasphemous the idea seemed, both songs were disarmingly beautiful, as was the documentary, to the point where you could drop in on any random hour (or binge all ten) and enjoy. One of the wisest decisions of Anthology was

(Kyler's song about Lennon?) Stop hiding in the darkness, step out into the light. The sky is filled with all these stars, so come and kiss the night. Infinity is waiting, calling you by name. The world is yours for the taking, so take it just the same. Shock and awe, surprise them, those who think you're weak. Look to the sky and chase them, those answers that you seek. Because it's there you'll find me, talking to the moon. Telling him my secrets, asking about you. The stars will light the sky for us, they'll illuminate the way. They show you how to find me, they'll make you want to stay.

There was a Ringo album coming down the pike, and a reunion, at least by the three of them (Harrison, Lennon, and Starr), that was all planned out. That was going to be Lennon’s next move after the world tour,” Douglas continues. “He talked fondly about McCartney every night, and he always wanted to redo certain Beatles songs, but he really spoke more like he really loved those guys. The only person that he was pissed at was George, because George put out this memoir [I Me Mine] and John was really, really pissed about that. I remember him saying, ‘How do you write about your life and not talk about the guy whose band you were in?

I hate this Christmas song,” Lyle said at last, turning off the radio. “You don’t like John Lennon?” Peg asked, trying to stifle a small laugh. “It’s just that, only John Lennon could write a Christmas song that made you feel like a fool for ever liking Christmas at all. Paul McCartney would never do that. Or George or Ringo, for that matter.

Like I told you, Sam and Patrick love their big song, so I thought I'd read it to have something to discuss with them. In the end, the magazine compared him with John Lennon from the Beatles. I told that to Sam later, and she got really mad. She said he was like Jim Morrison if he was like anybody, but really, he isn't like anybody but himself. We were all at the Big Boy after Rocky Horror, and it started this big discussion. Craig said the problem with things is that everyone is always comparing everyone with everyone and because of that, it discredits people, like in his photography classes. Bob said that it was all about our parents not wanting to let go of their youth and how it kills them when they can't relate to something. Patrick said that the problem was that since everything has happened already, it makes it hard to break new ground. Nobody can be as big as the Beatles because the Beatles already gave it a "context." The reason they were so big is that they had no one to compare themselves with, so the sky was the limit. Sam added that nowadays a band or someone would compare themselves to the Beatles after the second album, and their own personal voice would be less from that moment on.

Harrison brought along a copy of a new record he was obsessed with, The Freewheelin’ Bob Dylan. On only his second album, Dylan turned in an all-original breakout with meteors like “Don’t Think Twice, It’s All Right” and “A Hard Rain’s A-Gonna Fall.” Lennon and McCartney sponged it up as only two songwriters could while they hammered out sound-track songs for their movie, which would begin filming in March.

Originally, Abe explained, the record companies had put the “hit” on the A-side and the lesser track on the B-side. At some point, the record companies started calling 45s double A-sides so that there’d be less conflict in bands. According to Abe, John Lennon and Paul McCartney had been at each other’s throats over which of their songs would be called the A-side. McCartney’s “Hello Goodbye” (A) versus Lennon’s “I Am the Walrus” (B), for example.

The glorious, unending laps players take around refrains in Dylan’s “Like a Rolling Stone” release even more energy than they gather up; the more they hug the song’s corners to make sense of Dylan’s casual threats, the more his disdain hovers over them, tantalizingly out of reach. In such defining moments, a stylistic genie got released from its bottle, and many found new places for themselves just by chasing some of the same riffs atop their own beats.

You know...give peace a chance, not shoot people for peace. All we need is love. I believe it. it's damned hard but I absolutely believe it. We're not the first to say 'Imagine no countries' or 'Give peace a chance' but we're carrying that torch, like the Olympic torch, passing it from hand to hand, to each other, to each country, to each generation. That's our job...I've never claimed divinity. I've never claimed purity of soul. I've never claimed to have the answer to life. I can only put out songs and answer questions as honestly as I can, but only as honestly as I can, no more, no less. "I used to think that the world was doing it to me and that the world owed me something, and that either the conservatives or the socialists or the fascists or the communists or the Christians or the Jews were doing something to me, and when you're a teenybopper that's what you think. I'm 40 now. I don't think that anymore, 'cause I found out it doesn't fucking work. The thing goes on anyway and all you're doing is jacking off and screaming about what your mommy or daddy or society did...I have found out personally...that I am responsible for it as well as them. I am part of them.

The concerts went off as Concert for Bangladesh on August 1 (afternoon and evening shows), with Ringo Starr double-drumming next to Jim Keltner and an all-star band, including Billy Preston, Leon Russell, Klaus Voormann, Badfinger, and Eric Clapton. Reunion rumors evaporated the minute Harrison introduced Bob Dylan, who hadn’t performed widely in America since his motorcycle accident in 1966. Except for the Woody Guthrie memorial concert with the Band in 1968, Dylan hadn’t appeared on a New York stage since 1966, and he quickly upstaged everybody by reworking five songs that signaled a larger return to form. Once again, Harrison trumped expectations by bringing in a ringer.

Light is the in-utterable name of God; the YHWH form. It is the emotional life of a bee and the distance to Icarus, the farthest visible star. It is the finding of compassion amidst tyranny, the networked communication between trees, and the whale song. Light is woven through the gauze of grief and is “the limitless undying love which shines around me like a million suns” (John Lennon). It is what Catholic theologians called “the inexpressible, the incomprehensible, the invisible, the ungraspable, the thing we cannot conceive” (John Chrysostom) . “Tell me, if you have understanding. What is the way to the place where the light is distributed?” (Job 38:4) And unable to answer, in dumb obliviousness, instead, we point at the Sun

In terms of cultural impact, one parallel for “Earth Song” is John Lennon’s classic, “Imagine.” Both songs became global anthems with instantly identifiable piano hooks and choruses. Both ask listeners to try to care for the world we have, rather than simply be placated by the thought of an afterlife. Yet where “Imagine” makes a subdued, elegant statement, “Earth Song” is epic, intense, and visceral. This, indeed, is one reason “Imagine” is more palatable to the average music listener. Its radical ideas can be softened by its ethereal sound. “Earth Song,” in contrast, seeks to shatter indifference, as it demands accountability. Radio can’t do it justice. It is a song that was created to blast out of speakers if it couldn’t be seen in person.

Both the date of Lennon’s murder and the careful selection of this particular victim are very important. Six weeks after Lennon’s death, Ronald Reagan would become President. Reagan and his soon-to-be appointed cabinet were prepared to build up the Pentagon war machine and increase the potential for war against the USSR. The first strike would fall on small countries like El Salvador and Guatemala. Lennon, alone, was the only man (even without his fellow Beatles) who had the ability to draw out one million anti-war protestors in any given city within 24 hours if he opposed those war policies. John Lennon was a spiritual force. He was a giant, like Gandhi, a man who wrote about peace and brotherly love. He taught an entire generation to think for themselves and challenge authority. Lennon and the Beatles’ songs shout out the inequalities of American life and the messages of change. Change is a threat to the longtime status quo that Reagan’s team exemplified. On my weekly radio broadcast of December 7, 1980, I stated, “The old assassination teams are coming back into power.” The very people responsible for covering up the murders of President John F. Kennedy, Senator Robert Kennedy, Reverend Martin Luther King, for Watergate and Koreagate, and the kidnapping and murder of Howard Hughes, and for hundreds of other deaths, had only six weeks before they would again be removing or silencing those voices of opposition to their policies. Lennon was coming out once more. His album was cut. He was preparing to be part of the world, a world which was a worse place since the time he had withdrawn with his family. It was a sure bet Lennon would react and become a social activist again. That was the threat. Lennon realized that there was danger in coming back into public view. He took that dangerous chance and we all lost!

That pain of wanting, the burning desire to possess what you lack, is one of the greatest allies you have. It is a force you can harness to create whatever you want in your life. When you took an honest look at your life back in the previous chapter and rated yourself as being either on the up curve or the down curve in seven different areas, you were painting a picture of where you are now. This diagram shows that as point A. Where you could be tomorrow, your vision of what’s possible for you in your life, is point B. And to the extent that there is a “wanting” gap between points A and B, there is a natural tension between those two poles. It’s like holding a magnet near a piece of iron: you can feel the pull of that magnet tugging at the iron. Wanting is exactly like that; it’s magnetic. You can palpably feel your dreams (B) tugging at your present circumstances (A). Tension is uncomfortable. That’s why it sometimes makes people uncomfortable to hear about how things could be. One of the reasons Dr. Martin Luther King, Jr.’s famous “I have a dream” speech made such a huge impact on the world and carved such a vivid place in our cultural memory is that it made the world of August 1963 very uncomfortable. John Lennon painted his vision of a more harmonious world in the song Imagine. Within the decade, he was shot to death. Gandhi, Jesus, Socrates … our world can be harsh on people who talk about an improved reality. Visions and visionaries make people uncomfortable. These are especially dramatic examples, of course, but the same principle applies to the personal dreams and goals of people we’ve never heard of. The same principle applies to everyone, including you and me. Let’s say you have a brother, or sister, or old friend with whom you had a falling out years ago. You wish you had a better relationship, that you talked more often, that you shared more personal experiences and conversations together. Between where you are today and where you can imagine being, there is a gap. Can you feel it?

I play, though of course you couldn't really call what I'm doing playing, but it clashes with the scurrying of rats, their awful screeching, and in my mind, those rats aren't just rats, they're everything in the world that's broken. They're the things falling apart, and the part of you that wants them to. They're the Athenians burning Hyccara and the Syracusans chucking those Athenians into the quarry. They're the invisible disease that ate away at the insides of little Helios till he couldn't walk or, in the end, even speak, just cry with pain. Those rats are the worst of everything under an indifferent sky, but the sound coming from the aulos, frail as it might be in comparison, well, that's us, I say to myself, that's us giving it a go, it's us building shit, and singing songs, and cooking food, it's kisses, and stories told over a winter fire, it's decency, and all we'll ever have to give, I say to myself, as my lungs burn and my eyes water, 'cause I don't have much left, but I keep blowing away at the aulos, playing my song...

24. The Rutles, “Cheese and Onions” (1978) A legend to last a lunchtime. The Rutles were the perfect Beatle parody, starring Monty Python’s Eric Idle and the Bonzos’ Neil Innes in their classic mock-doc All You Need Is Cash, with scene-stealing turns by George Harrison, Mick Jagger, and Paul Simon. (Interviewer: “Did the Rutles influence you at all?” Simon: “No.” Interviewer: “Did they influence Art Garfunkel?” Simon: “Who?”) “Cheese and Onions” is a psychedelic ersatz Lennon piano ballad so gorgeous, it eventually got bootlegged as a purported Beatle rarity. Innes captures that tone of benignly befuddled pomposity—“I have always thought in the back of my mind / Cheese and onions”—along with the boyish vulnerability that makes it moving. Hell, he even chews gum exactly like John. The Beatles’ psychedelic phase has always been ripe for parody. Witness the 1967 single “The L.S. Bumble Bee,” by the genius Brit comedy duo Peter Cook and Dudley Moore, from Beyond the Fringe and the BBC series Not Only . . . ​But Also, starring John Lennon in a cameo as a men’s room attendant. “The L.S. Bumble Bee” sounds like the ultimate Pepper parody—“Freak out, baby, the Bee is coming!”—but it came out months before Pepper, as if the comedy team was reeling from Pet Sounds and wondering how the Beatles might respond. Cook and Moore are a secret presence in Pepper—when the audience laughs in the theme song, it’s taken from a live recording of Beyond the Fringe, produced by George Martin.

Bridget reckons John Lennon wrote a song about her. I'm guessing it was 'Give Peace a Chance'.

John had just released “Imagine,” the song that would become an international anthem for peace, telling the world to “live as one,” yet he couldn’t pick up the phone, make peace with me and arrange to see his own son. Surely, I reasoned, Julian meant more to him than some foolish agreement with Yoko about dealing with each other’s ex-partner. I was wrong. It was three years before John saw Julian again.

By the time I got to know Paul, he and John had formed a close partnership. They had agreed that any songs they wrote, together or separately, would be by Lennon and McCartney. It was as though, even then, they had a strong sense that their success depended on the connection between them.

Before Julian left, Yoko offered both him and Sean one of John’s guitars. Julian asked for one he had always loved, a black Yamaha inlaid with a pearl dragon. He remembered John playing Sean songs on it. Yoko told him he couldn’t have that one and gave him two others instead, which, sadly, he didn’t recognise and which therefore had no meaning for him. These were the only possessions of John’s Julian was ever given, yet when he returned to the Dakota building on another occasion he saw that Sean had the full use of all John’s musical equipment, including the guitar Julian had wanted.

The only person who came to see me was Paul. He arrived one sunny afternoon, bearing a red rose, and said, ‘I’m so sorry, Cyn, I don’t know what’s come over him. This isn’t right.’ On the way down to see us he had written a song for Julian. It began as ‘Hey Jules’ and later became ‘Hey Jude’, which sounded better. Ironically John thought it was about him when he first heard it. It went on to become one of the Beatles’ most successful singles ever, spending nine weeks at number one in the US and two weeks in the UK.

The music never dies as we do.

Yours is the music that plays in heaven.

But what made John Lennon different from all but a few superstars was not just his willingness, but his insistence on sharing his life with others. He shared the moments of doubt, pain, humiliation, and discovery -in all their glory and pathos- with his fans through his songs.

this guy is so fucked up in the head he believes McCartney wrote better songs than Lennon.

This place has struggles, triumphs, failures, and true joy, because happiness must be earned to be appreciated. This is a world that makes perfect sense. Justice reigns, and compassion is the most gracious virtue. This isn’t the world that Lennon misguidedly envisioned in his beautiful song. His world was without consequences. On the surface, that might seem like the best solution, but if you follow the logic of it, his was an imagined world of pointless apathy. It was a world at peace, but remember, peace can only be valued in light of chaos. Without any defining commotion, without comparison, peace ceases to exist. Lennon dreamed of no greed or hunger. No wants or desires. In his imaginary world, there was nothing to live for or die for. There was nothing to fight for. Every one walked around with frontal lobotomies.

But as a boomer with Beatles music in my DNA and Lennon songs in my head, every so often I stop and think about the music he might have created over the last 35 years. Then I think of that sad, twisted prick in prison and wish that every morning you could queue up outside his cell, and when he stuck his head out to get his breakfast, you could step up and punch him in the face. I’d wait in that line. But, I wouldn’t shoot him, because violence doesn’t solve anything. Though

It's why a song such as John Lennon's "Imagine" continues to resonate—it's lovely to daydream about a world no longer plagued by the threat of famine, violence, war, or death. As long as these visions exist as a distant utopian fantasy, a counterbalance to a good zombie yarn, they don't threaten us—but neither do they really inspire us.

In those days it wasn’t really done to publicly dedicate songs to those you loved, but I know, and John often told me, that many of his songs were for me. He and Paul wrote from their own experience, and I was so much a part of John’s life that I also became part of the fabric of his writing. It was simply understood that his love songs were our songs.

He sang a song from Media's chorus, it was a few bitter scenes later when the kids are dead, and it gives a weird sense of time mergin', and for a moment I have the feeling that the future and the past aren't separate at all, just different snatches of a single song, always sung, giving consequences when aired.

They came back to the studio with him and gave us a song that was on their next album but wasn’t coming out as a single, “I Wanna Be Your Man.” They played it through with us. Brian put on some nice slide guitar; we turned it into an unmistakably Stones rather than Beatles song. It was clear that we had a hit almost before they’d left the studio. They deliberately aimed it at us. They’re songwriters, they’re trying to flog their songs, it’s Tin Pan Alley, and they thought this song would suit us. And also we were a mutual-admiration society. Mick and I admired their harmonies and their songwriting capabilities; they envied us our freedom of movement and our image. And they wanted to join in with us. The thing is, with the Beatles and us, it was a very friendly relationship. It was also very cannily worked out, because in those days singles were coming out every six, eight weeks. And we’d try and time it so that we didn’t clash. I remember John Lennon calling me up and saying, “Well, we’ve not finished mixing yet.” “We’ve got one ready to go.” “OK, you go first.

He sang a song from Media's chorus, it was a few bitter scenes later when the kids are dead, and it gives a weird sense of time mergin', and for a moment I had the feeling that the future and the past aren't separate at all, just different snatches of a single song, always sung, giving consequences when aired.

I said I liked ‘Mull of Kintyre’ by Wings more than ‘A Day in the Life’ by The Beatles. Everybody went mad at me but they are just trying to be cool and I don’t bloody care. I am not saying that ‘A Day in the Life’ is NOT a better song. I’m saying at this time of year in particular I just want Christmassy and not John Lennon being arty...‘A Day in the Life’ is about A BLOODY CAR CRASH. HAPPY CHRISTMAS RINGO! COME ON!!

(Kyler's song about Lennon?) Stop hiding in the darkness, step out into the light. The sky is filled with all these stars, so come and kiss the night. Infinity is waiting, calling you by name. The world is yours for the taking, so take it just the same. Shock and awe, surprise them, those who think you're weak. Look to the sky and chase them, those answers that you seek. The stars will light the sky for us, they'll illuminate the way. They show you how to find me, they'll make you want to stay. ― L.D. Crichton, All Our Broken Pieces

This third album by the group was the first to be entirely written by Lennon-McCartney.

John and Paul, who once made music together with such passion, excitement and brilliance, had found it harder and harder to get on together as the sixties drew to a close. Their musical ideas and tastes were diverging as Paul went on writing ballads, like “Hey Jude,” while John wrote raw and challenging songs like “Hey Jude”’s B side, “Revolution,” commemorating the international student riots of 1968. The Magical Mystery Tour film had been their first project after Brian’s death and Paul had organized it; John had backed off. Although they’d gone on to write several more songs together and even make another film, Let It Be, the pleasure had gone out of it for them and it was clear to me from 1967 that they would eventually go their own ways.

Lennon was – whether by luck, accident or perceptive foresight – at the forefront of the psychedelic era’s passion for rose-tinted introspection, which channelled the likes of children’s literature, Victorian fairgrounds and circuses, and an innocent sense of wonder. McCartney, too, moved with the times when writing his children’s singalong Yellow Submarine. Among the hippie era’s other moments of nostalgia were Pink Floyd’s Bike and The Gnome from their debut album Piper At The Gates Of Dawn, recorded at EMI Studios as the Beatles worked on Sgt Pepper’s Lonely Hearts Club Band; Jefferson Airplane’s White Rabbit, laid down in 1966 but released in the same month as Sgt Pepper, and which drew from Lewis Carroll’s Alice stories just as Lennon did; and many more, from Tiny Tim’s Tiptoe Through The Tulips to Traffic’s psychedelic fantasy Hole In My Shoe. The Beatles continued writing songs evoking childhood to the end of their days. Sgt Pepper – itself a loose concept album harking back to earlier, more innocent times – referenced Lewis Carroll (Lucy In The Sky With Diamonds), youthful anticipation of old age (When I’m Sixty-Four), a stroll down memory lane (Good Morning Good Morning), and the sensory barrage of a circus big top extravaganza (Being For The Benefit Of Mr Kite!). It was followed by Magical Mystery Tour and Yellow Submarine, two films firmly pitched at the widest possible audience. A splendid time was, indeed, guaranteed for all.

opened this segment with lyrics from John Lennon’s song Imagine. These lyrics expose the subtle plan of the shadows. We’re to imagine a world without country, nothing to live or die for, and no religion. That, my friends, is the essence of chaos magic. Imagine. Use your mind to conjure up reality; for nothing is real if we do not think it is real.

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.

By mid-1966, an astounding eighty-eight Lennon-McCartney songs had been recorded in over 2,900 versions. Gershwin finally had competition.

20. Bob Dylan, “4th Time Around” (1966) Right after Rubber Soul dropped, Bob Dylan recorded Blonde on Blonde, where he sang this scorchingly funny parody of “Norwegian Wood.” Dylan unkindly played “4th Time Around” for John in London. As Lennon recalled in 1968, “He said, ‘What do you think?’ I said, ‘I don’t like it.’ ” Yeah, well—talk about the anxiety of influence. All over Blonde on Blonde, you can hear how hard Dylan was feeling Rubber Soul—especially in songs like “I Want You,” “Just Like a Woman,” and “Sad-Eyed Lady of the Lowlands.” So he probably wrote “4th Time Around” as a diversion to keep people from noticing how much “Norwegian Wood” there was in “Visions of Johanna.

It was over 50 years ago that I had the privilege of being the Class Advisor to the class of 1969 at what was then called Henry Abbott Regional Vocational Technical School. It was another era and a time when we as a nation stood tall. It was the year when Buzz Aldrin, Neil Armstrong and Michael Collins lifted off from Cape Kennedy, for the first manned landing on the Moon. “One small step for man, one giant leap for mankind.” It was a time when we felt proud to be Americans! Fifty years ago the 4 Beatles got together in a recording studio for the last time, where they cut “Abbey Road.” In 1969 alone they published 13 songs including “Yellow Submarine.” John Lennon claimed that the best song he ever did was “Come Together” and that was in 1969. Although it wasn’t possible for me to attend the class reunion I did however connect with them by telephone and a speaker system. I had the opportunity to wish them well and share some thoughts with my former students who are now looking forward to their senior years that I always thought of as “The Youth of Old Age.” Having just celebrated my 85th birthday, 69 years old does seem quite youthful in comparison. Earlier in the week Dave Coelho, the class Vice President read to me the list of graduates that are no longer with us. I was stunned by the number, but at the time the United States was at war, regardless of what it was called. In 1968, the year before the class graduated, our country had a peak of 549,000 of our young people serving in Viet Nam. During the year of the Tet Offensive alone, 543 were killed and 2547 were wounded, and that is what the class of 1969 faced upon their graduation! It was a war in which 57,939 of our young people were killed or went missing! It was nice to talk to the class president LaBarbera and I enjoyed the feeling of guilt when one former student told me that he still has a problem with addition. To this I gladly accepted the blame but reminded him that this would not be of much help, if he had to face the IRS when his taxes didn’t compute. Look for part 2, the conclusion

Shiloh’s Recommended Listening Tears for Fears. “Everybody Wants to Rule the World.” By Olzabal, Roland, Stanley, Ian and Hughes, Chris. Somerset, UK: Fontana/Mercury/Phonogram. Songs from the Big Chair. 1985. Joey Ramone. “What a Wonderful World.” By Thiele, Bob and Weiss, George David. Sanctuary Records Group. Don’t Worry About Me. 2002. The Moody Blues. “Question.” By Hayward, Justin. London, UK: Threshold Records. A Question of Balance. 1970. The Church. “Under the Milky Way.” By Kilbey, Steve and Jansson, Karin. Australia: Arista. Starfish. 1988. The Pixies. “Where is My Mind?” By Francis, Black. Boston, MA: 4AD. Surfer Rosa. 1988. The Beatles. “All You Need Is Love.” By Lennon-McCartney. London, UK: Parlophone Capitol. Magical Mystery Tour. 1967. Styx. “The Grand Illusion.” By Dennis DeYoung. Chicago, IL: A&M Records. The Grand Illusion. 1977. The Flaming Lips. “Do You Realize??” By Coyne, Wayne, Drozd, Steven, Ivins, Michael and Fridmann, Dave. New York, NY: Warner Brothers Records. Yoshimi Battles the Pink Robots. 2002. The Beatles. “Across the Universe.” By Lennon-McCartney, London, UK: Regal Starline. No One’s Gonna Change Our World. 1969.

bought a pristine copy of Man on the Run, a biography of Paul McCartney that began not with the Beatles, but with what McCartney did after they broke up. Parker had always preferred McCartney’s work to John Lennon’s, whatever effect it might have had on his standing with the cool kids. Lennon could only ever really write about himself, and Parker felt that he lacked empathy. McCartney, by contrast, was capable of thinking, or feeling, himself into the lives of others. It was the difference between “Strawberry Fields Forever” and “Penny Lane”: although Parker loved both songs, “Penny Lane” was filled with characters, while “Strawberry Fields Forever” really had only one, and his name was John Lennon. Parker might even have taken the view that Lennon needed to get out of his apartment more, but when he did, an idiot shot him. He’d probably been right to spend the best part of a decade locked inside. Ross appeared just as McCartney