Few women in the history of rock & roll have stirred as much controversy as Yoko Ono. Although her romance with Lennon was hardly the only factor straining the relationships between the Beatles, she became a convenient scapegoat for the group's breakup and was repeatedly raked over the coals in the media for her influence over Lennon, both in his life and his music. Ono's own work as an artist and musician didn't mitigate the public's enmity toward her; to the average man on the street, her avant-garde conceptual art seemed bizarre and ridiculous, and her highly experimental rock & roll (which often spotlighted her primal vocals) was simply too abrasive to tolerate. That view wasn't necessarily universal, and in fact the merits of her work are still hotly debated.
Regardless of individual opinion, Ono has left a lasting legacy; she was an undeniably seminal figure in the history of performance art, and elements of her music prefigured the arty sides of punk and new wave (whether she was a direct influence is still debated, although The B-52's did admit to drawing from her early records). Moreover, between Lennon's assassination and the myriad drubbings she's taken in the press and public opinion, an alternate portrait of Ono as a strong, uncompromising survivor has emerged in more recent years.
Yoko was born into a wealthy family in Tokyo. Her childhood was somewhat lonely and isolated; her father, a banker and onetime classical pianist, was transferred to San Francisco a few weeks before she was born, and her socialite mother was often busy throwing elaborate parties. Yoko didn't meet her father until age two, when the whole family moved to San Francisco. However, they returned to Tokyo three years later to avoid the anti-Japanese backlash that was beginning in the United States in response to Japan's growing military expansionism. Ono was educated at the Gakushuin School, the most exclusive private school in Japan (the Emperor's sons were her classmates). She began classical piano lessons at a very young age, and later received vocal training in opera. In 1945, her mother took the family to the countryside in time to survive the massive Allied bombing of Tokyo. However, rich city dwellers were unwelcome, and the Ono children were often forced to beg for food.
After the war, Ono's father transferred to New York, and she moved to the U.S. in 1952, where she studied music at Sarah Lawrence College. During this time, she became enamored of classical avant-gardists like Schoenberg, Webern and especially Cage. She also began dating Juilliard student Toshi Ichiyanagi, who shared her interests and became her husband (over her family's objections) in 1956. The couple moved to Manhattan, and Ono made ends meet by teaching Japanese art and music in the public school system, among other sporadic jobs (she'd rejected her parents' wealth and the attendant lifestyle). The couple's Chambers Street loft soon became a hot spot in the nascent downtown art scene; Ono frequently staged "happenings" (sometimes in partnership with minimalist composer LaMonte Young) that featured music, poetry and other performance, and John Cage used the loft space to teach classes in experimental composition. During this period, Ono's art was largely conceptual, sometimes existing only in theory or imagination; she created a series of instructional pieces suggesting nonsensical activities, later published in book form as Grapefruit in 1964. Her first solo show was at George Maciunas' gallery in mid-1961; the same year, Ichiyanagi and Ono separated, with the former returning to Japan.
That November, Ono performed at the Carnegie Recital Hall (not the main hall), an event that featured a miked-up toilet flushing at various points throughout the show. It received negative reviews, however. With her parents' encouragement, Ono returned to Japan in March 1962, seeking a resolution to her marriage.
Once in Japan, Ono became lonely and depressed; not only was her marriage effectively over, but she received more negative reviews for her performances in conjunction with Cage. After an overdose of pills, she was committed to a mental institution and kept under extremely heavy sedation. Fortunately, she was rescued by Anthony Cox, a jazz musician, film producer and friend of Young who had traveled to Japan hoping to study calligraphy with her. Cox threatened to publicize the callous treatment Ono had received at the institution (her sedative dosage was abnormally high) and secured her release; the two became romantically involved, and when Ono became pregnant, she made her divorce from Ichiyanagi official and married Cox. Their daughter Kyoko was born in 1963, but Cox's sometime volatility put a strain on the relationship, and they separated in 1964. Cox returned to New York, and Ono followed a few months later, after which the couple reconciled.
Ono resumed her art career to considerable attention from the New York avant-garde community; by this time, George Maciunas had become the leader of an art movement dubbed Fluxus, whose philosophies were compatible with (and even influenced by) Ono's, prizing abstraction and audience interaction. Ono performed at the Carnegie Recital Hall for a second time in early 1965, and debuted her seminal "Cut Piece," in which audience members were invited to cut off pieces of her clothing with scissors. In September 1966, she traveled to England for an art symposium, and "Cut Piece" helped make her a sensation in the London art world. In November, she got her own exhibition at the famed Indica Gallery, which was ardently patronized by John Lennon. Lennon was impressed by her work, particularly a piece where the viewer was required to climb a ladder and hold up a magnifying glass to read a small inscription on the ceiling that said "Yes!" The two read each other's writings, and Lennon financed an exhibition in which Ono painted various everyday objects white and cut them in half. In the meantime, Ono and Cox had begun making experimental films, usually centered on the repetition of simple movements; their fourth effort, Bottoms, consisted of 365 close-ups of nude buttocks (the idea was to fill the screen with motion when the subjects walked). British film censors were scandalized, and Ono became an even more notorious public figure with "Wrapping Event," in which she wrapped the lion statues beneath Nelson's column in Trafalgar Square with white cloth and tied herself to one. She also sang in concert with pioneering free jazz saxophonist Ornette Coleman at the Royal Albert Hall. The avant-garde was becoming increasingly suspicious of her visibility, which only intensified when Ono and Lennon began having an affair that spring.
Fans of Lennon couldn't understand what he saw in Ono, but Lennon was an art student prior to falling in love with rock & roll and had long harbored an interest in avant-garde art. The difficulty with understanding Ono's art was that its impact came largely from her ideas; from putting new contextual frames around everyday objects, or asking her audience to complete an experience with their own imaginations. For example, most of Ono's pieces were white, so that the audience could imagine their own colors; even her so-called "Blue Room" was all-white (viewers were supposed to stay in the room until it turned blue). Her first musical composition, 1955's "Secret Piece," existed only in her mind (she was unable to transcribe the notes of a bird song effectively), and, in 1968, she announced a 13-day dance festival that would take place entirely in the imaginations of anyone who participated. In 1971, she took things a step further by presenting an imaginary art exhibit at New York's Museum of Modern Art, and filmed the spectators as the real works of art. As an artist, Ono dealt in concepts, not craft (i.e., practiced, developed technique and training in a specific medium). Her work wasn't what most people recognized as art, which was why many Beatles fans dismissed her as a talentless charlatan. Lennon, on the other hand, saw someone who could help him find a new direction.
Lennon and Ono's first musical collaboration was on the highly experimental Unfinished Music, No. 1: Two Virgins, which was recorded around the beginning of their affair and released toward the end of 1968. None of Lennon's fans knew what to make of any aspect of the album; not the odd snippets of noise, faint dialogue and sounds from the immediate environment, and not the fully nude photographs of the couple on the record jacket, taken from the front and rear. They were further dismayed with Lennon's participation in Ono's bizarre public events, such as appearing together in black plastic bags as a statement about judging by appearances. (Ono herself long suspected that fans' hostility was due to their discomfort seeing Lennon with a woman who was not only strong-willed, but of a different race.) After Ono's divorce from Cox, the couple married in Gibraltar on March 20, 1969, and took advantage of the publicity surrounding their honeymoon to hold "Bed-Ins for Peace" in Amsterdam and Montreal (the latter of which produced the single "Give Peace a Chance"). Cox was later able to gain custody of Kyoko, pointing to Lennon and Ono's drug intake, and disappeared with the child, whom Ono would not see again for 25 years.
The second Lennon/Ono album, Unfinished Music, No. 2: Life with the Lions, was released not long after their wedding; it spotlighted Ono's cathartic, wailing vocal improvisations, as well as addressing her first of several miscarriages. It was quickly followed by The Wedding Album, one side of which featured more Ono improv, the other of which consisted of nothing but the couple calling each other's names. Over the next few years, Lennon and Ono continued their peace activism and entered primal-scream therapy with Dr. Arthur Janov, which began to inform both of their individual careers. In 1970, they each recorded an album backed by the Plastic Ono Band; predictably, Yoko Ono/Plastic Ono Band was the less structured, more avant-garde of the two. Ono followed it in 1971 with the double-LP Fly, which featured more conventionally structured songs as well as her typical experimentalism. In 1972 the Lennon/Ono protest-song album Sometime in New York City was released, and was roasted for the simplicity of its sentiments.
Ono returned in 1973 with two of her strongest solo statements, the brutally intense, explicitly feminist Feeling the Space and the more varied Approximately Infinite Universe, both of which featured less musical involvement from Lennon. Perhaps that was symptomatic of the problems the couple had been having; they split up for a year and a half toward the end of 1973, exhausted from their constant time together and their battles with U.S. immigration over Lennon's threatened deportation. Ono recorded a more accessible album, A Story, in 1974, but it was shelved and remained unavailable until 1997.
The couple got back together in early 1975, and Ono was finally able to bear a child, Sean Taro Ono Lennon, who was born on John's birthday, October 9. Lennon dropped out of show business for several years to raise his son and effectively become a househusband, while Ono took charge of his business affairs. Although she contributed some of her most accessible songs to his 1980 comeback album, Double Fantasy, she did not return to solo recording until after Lennon's assassination on December 8, 1980. The harrowing, grief-stricken Season of Glass was released the following year to highly complimentary reviews. Ono followed it in 1982 with the more hopeful, pop-oriented It's Alright (I See Rainbows), and had a minor success with the single "Never Say Goodbye." Released in 1985, Starpeace continued that optimistic trend, and teamed Ono with producer Bill Laswell and other downtown New York scenesters, but failed to connect as her previous two efforts had.
Ono gradually returned to visual art, creating installations and also exploring photography. Interest in her previous work led to several retrospectives over the course of the '90s, and in 1992 Rykodisc reissued her complete back catalog on CD, as well as the six-CD box set retrospective Onobox. In 1995, she recorded a new album for Capitol called Rising, which featured son Sean Lennon and recalled the harsh experimentalism of her early recordings. The same year, her musical play New York Rock debuted off-Broadway. In 2001 another new album, Blueprint for a Sunrise, arrived, updating the feminist tone of Feeling the Space while being somewhat more accessible. V2 reissued several of her albums once again in early 2007. Also during this year, she issued Yes, I'm a Witch. For this album, she assembled a number of previously released tracks and collaborated with artists such as Cat Power, The Flaming Lips, DJ Spooky, Jason Pierce, and many others. In 2009, Ono re-formed the Plastic Ono Band with Sean and added collaborators such as Yuka Honda from Cibo Matto and members of Cornelius; she released the album Between My Head and the Sky on Sean's Chimera imprint.
For Your Information :
Yoko Ono was married to Toshi Ichiyanagi (一柳慧) from 1956 to 1963.
'I Learned to Stutter'/Coffin Car
Yoko Ono Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
While john is setting up the amp...
What happened to me was that I was living as an artist and, who had relative freedom
As a woman and was considered the bitch in the society.
Since I met john, I was upgraded into a witch and I was...and I think that thats very flattering.
Anyway, what I learned from being with john is that the society solely treated me as a woman, as a woman who belonged to a man who is one of the most powerful people in our generation, and some of his closest friends told me that probably I should stay in the background, I should shut up, I should give up my work and that way Ill be happy.
And I got those advises, I was luck, I was over thirty and it was too late for me to change,
Youre not alone, i...because the whole society started to attack me and the whole society wished me dead, I started accumulating a tremendous amount of guilt complex and in result of that I started to stutter. and I consider myself a very eloquent woman and also an attractive woman all my life and suddenly, because I was associated to john, that was considered an ugly woman, ugly jap, who took your monument or something away from you.
And thats when I realised how hard it is for woman, if I can start to stutter, being a strong woman and having lived thirty years by then, learn to stutter in three years of being treated as such, it is a very hard road.
Now the next song is called coffin car and this is a song that I observed in myself and also in many sisters who are riding on coffin cars.
Okay
Coffin car, shes riding a coffin car,
She likes to ride a coffin car.
People watching her with tender eyes,
Friends whispering in kindly words,
Children running, waving hands,
Telling each other, how pretty she is.
Coffin car, shes riding a coffin car,
She likes to ride a coffin car.
Friends making ways for the first time,
People throwing kisses for the first time,
Showering flowers, ringing bells,
Telling each other, how nice she is.
Coffin car, she likes to ride a coffin car,
Shes riding a coffin car.
Wives showing tears for the first time,
Husbands taking their hats off for the first time,
Crushing their handkerchiefs, rubbing their nose,
Telling each other, how good she is.
Half the world is dead anyway,
The other half is asleep.
And life is killing her,
Telling her to join the dead.
So evry day, she likes to ride a coffin car,
A flower covered coffin car,
Pretending she was dead.
Coffin car,
A flower covered coffin car,
A flower covered coffin car,
A flower covered coffin car.
The song 'I Learned to Stutter/Coffin Car' by Yoko Ono was recorded live at the first international feminist conference at Harvard University in Cambridge, MA on June 3, 1973. It is a powerful testimony of Yoko's experience as a woman living in a society dominated by men. In the first part of the song, Yoko discusses her role as a woman who was objectified and belittled by society due to her association with John Lennon. She shares her frustration and how it led her to stutter, which was a physical manifestation of the guilt complex she accumulated as a result of society's attacks on her.
The second part of the song 'Coffin Car' is a metaphor for the way society views women. Yoko talks about a woman who likes to ride a coffin car, which represents her desire to escape from the confines of her societal role as a woman. People watch her with tender eyes, whispering in kindly words, and children run and wave their hands, telling each other how pretty she is. But at the same time, half of the world is dead, and the other half is asleep, and life is killing her, telling her to join the dead. The woman riding the coffin car is pretending she was dead because of the oppressive society she lived in.
The song is a powerful commentary on gender roles and the limitations put on women by society. It speaks to the struggles they face, the guilt they feel, and the desire to break free from societal expectations.
Line by Line Meaning
While john is setting up the amp...
As John Lennon sets up the sound equipment, Yoko Ono reflects on her experiences as an artist and a woman who has some degree of freedom but is often marginalized by society.
What happened to me was that I was living as an artist and, who had relative freedom
As a woman and was considered the bitch in the society.
As an artist with some degree of freedom, Yoko Ono was often marginalized by society and was seen as a 'bitch' because of her independent spirit and her gender.
Since I met john, I was upgraded into a witch and I was...and I think that thats very flattering.
Yoko Ono feels that her relationship with John Lennon has given her a kind of power and independence that is often associated with witchcraft, which she considers a positive thing.
Anyway, what I learned from being with john is that the society solely treated me as a woman, as a woman who belonged to a man who is one of the most powerful people in our generation, and some of his closest friends told me that probably I should stay in the background, I should shut up, I should give up my work and that way Ill be happy.
Yoko Ono learned from being with John Lennon that society sees her primarily as a woman who belongs to a powerful man and that some of his friends advised her to give up her own work and stay in the background.
And I got those advises, I was luck, I was over thirty and it was too late for me to change,
But still, still, this is one thing I want to say, sisters, because, with the wish that you know
Youre not alone, i...because the whole society started to attack me and the whole society wished me dead, I started accumulating a tremendous amount of guilt complex and in result of that I started to stutter. and I consider myself a very eloquent woman and also an attractive woman all my life and suddenly, because I was associated to john, that was considered an ugly woman, ugly jap, who took your monument or something away from you.
And thats when I realised how hard it is for woman, if I can start to stutter, being a strong woman and having lived thirty years by then, learn to stutter in three years of being treated as such, it is a very hard road.
Despite taking those advisers, Yoko Ono had accumulated a tremendous amount of guilt complex and as a result, she started to stutter. Being associated with John Lennon put her in the public spotlight, but it also subjected her to a great deal of criticism and even hatred. This experience led her to realize how hard it is for women in society, especially strong women who are marginalized and criticized for their accomplishments and independent spirit.
Now the next song is called coffin car and this is a song that I observed in myself and also in many sisters who are riding on coffin cars.
Yoko Ono introduces her next song, 'Coffin Car,' which is about the feeling of being so marginalized and oppressed that one feels like a passenger on a hearse.
Coffin car, shes riding a coffin car,
She likes to ride a coffin car.
People watching her with tender eyes,
Friends whispering in kindly words,
Children running, waving hands,
Telling each other, how pretty she is.
The lyrics describe a woman who likes to pretend she is dead, riding in a coffin car and being admired by those around her. However, this is a fantasy and a way of coping with the pain of feeling marginalized and oppressed.
Half the world is dead anyway,
The other half is asleep.
And life is killing her,
Telling her to join the dead.
The lyrics express a sense of hopelessness and despair, as Yoko Ono feels that half the world is dead and the other half is asleep, with life itself contributing to her pain and making her feel like death is the only answer.
So evry day, she likes to ride a coffin car,
A flower covered coffin car,
Pretending she was dead.
Coffin car,
A flower covered coffin car,
A flower covered coffin car,
A flower covered coffin car.
The song ends by repeating the image of the 'flower covered coffin car,' which represents the feeling of being marginalized and oppressed to the point of feeling emotionally dead. The woman in the song pretends to be dead by riding in the coffin car, but this is a way of coping with her pain and hoping for change.
Contributed by Michael J. Suggest a correction in the comments below.
Secular Guy
Awesome, love her! Thanks for posting
Mia L. Bergman
Thanks for the very few people who don't hate Yoko. We'll keep supporting her
Topazthecat
Yoko is strong,brilliant and beautiful.And she thankfully turned John into a feminist and a nurturing house husband and father to her and their son Sean.Yoko sang this song very good and her voice sounds pretty.She always had such a sweet sounding voice when she speaks.
Topazthecat
@lali tubino Yes and this is exactly the reasons John definitely did become a feminist thanks to Yoko John Changed A 180% For The Better & Became An Outspoken pro-feminist and Nurturing Feminist House Husband and Father to Yoko and their young son Sean amazingly in just a few years,and when John was a very young guy he was a psychologically messed up (from the many traumas he had as a child and teen), drunk guy often getting into fist fights with men and hitting girlfriends,not wives though.
John still obviously had his Y chromosome,and a lot more testosterone than women,because he became a feminist at only age 29,he became a house husband at age 35 and reversed gender roles with his wife Yoko who worked in their business office,and sadly,he was tragically shot and killed at only age 40 by a crazy horrible one time big Beatles fan just hours after John was kind enough to give him an autograph for his new Double Fantasy album,
John Lennon Became A Feminist Nurturing House Husband & Father Thanks To His Relationship With Yoko Ono
Here is my new blog about this,
John Lennon Became a Feminist & Nurturing House Husband & Father Thanks To His Relationship With Yoko Ono
johnlennonbecameafeminist.wordpress.com
In Part 3 Of John Lennon's Last Radio Interview just hours before he was tragically killed by the crazy horrible fan December 8,1980, He Said That He's more Of a Feminist now than When he sang woman is the N***er Of The World,that he was intellectually a feminist then but now he's at least put his body where his mouth was and really try to live up to his own preaching. He was referring to the fact that he and Yoko reversed gender roles and he became a nurturing house husband and father to Yoko and their son Sean for the first 5 years of Sean's life until he died.
https://www.youtube.com/watch?v=PgRprphFmn4
John Lennon said in his very last radio interview (just hours before he was so cruelly, insanely shot and killed by a crazy,horrible piece of sh*t who used to be a big Beatles fan since he was 11, and John was his favorite Beatle and he said years later that he met and shook John's then 5 year old Sean just two days before he irrationally shot and killed his father right in front of Yoko,that Sean was the cutest little boy he ever saw,and that it never occurred to him that he would never see his father again and and John was nice enough to take the time to autograph his album just hours before he killed him) that like most young men he was more involved with his career than with his children,and he said he regretted not spending enough time with Julian. He also said that he and Julian would have a relationship in the future but sadly they both were deprived of this.
And John didn't do the same horrible thing to Julian that his father did to him. John's father literally totally abandoned him and literally didn't see, or talk to John from the time he was 5,until he was a successful famous 24 year old.John did see Julian sometimes, and spoke with him on the phone and sent him post cards,birthday and Christmas cards and presents and he bought Julian a guitar when he was 11 as a Christmas present. John's father never did any of these things and John said it was like his father was dead.
And Cynthia Lennon said that John only hit her twice before they were married when he was a 19 year old guy,and Cynthia always said that she would always be in love with john and she was married 3 times after him.
lali tubino
Thanks for commenting! I have my doubts about Lennon ever becoming a feminist, but Yoko
was definitely an eye-opening badass influence on him as an artist and on his perception
of white male privilege, women, masculinity and society in general.
Topazthecat
In this 2002 great interview with May Pang who was John Lennon's girl friend during his separation from Yoko she was asked as the last question,what would she most like the world to know about John,and she said the fact that he was a kind sensitive man who was insecure in his personal life.The interviewer also says how John's guitar playing has always been underrated and May talks about this too.
http://articles.absoluteelsewhere.net/Articles/may_pang_int.html
An Interview with May Pang - John Lennon
articles.absoluteelsewhere.net
An Interview with May Pang about the making of Mind Games...and a whole lot more.
Topazthecat
Barbara Graystark of Newsweek interviewed John September 1980 and part of what she said to John is,You've come a long way from the man who wrote at 23,''Women should be obscene rather than heard.'' And she asks John how did this happen? And John said that he was a working-class macho guy who was used to being served and Yoko didn't buy that.
John then said that from the day he met Yoko,she demanded equal time,equal space,equal rights.He said that he said to Yoko then,don't expect him to change in any way and don't impinge on his space.John said that Yoko said to him then she can't be here because there's no space where you are everything revolves around him and that she can't breath in that atmosphere. John then says in this interview that he's thankful to her for the ( meaning feminist) education.
http://www.beatlesinterviews.org/db1980.0929.beatles.html
Topazthecat
Yoko Ono and John Lennon June 1973 radio interview about how feminism has changed John for the better,he says he learned how to cook,and that most men don't do it, and how most women are brought up not to know how to work tape recorders or fix their bikes,most men are brought up not knowing how to cook or take care of themselves.
The interviewer Danny Schechter asked John if besides sharing work,if John had been going through his own changes about his own role,about his relationship to Yoko,to other women,and to other men,and John said,it's completely changed it's been a process of about 4 or 5 years,John said it was like having 1 eye shut and that once you start acknowledging that women are oppressed slaves you can never go back . John was the only man to attend the first international feminist conference when this interview took place. Two years later when he and Yoko's son Sean was born John became a househusband,changed Sean's diapers,cooked & Yoko worked in their business office.
http://wbcnthefilm.weebly.com/uploads/2/8/2/3/2823775/mixdown_3.mp3
http://archive.is/hVghp
Topazthecat
I really didn't want to link to this article because unfortunately it says it appeared in Penthouse, the sexist,woman-hating,degrading and violent pornographic magazine in 1984,but I can't find the full interview anywhere else.This is a great interview with John Lennon and Yoko Ono at The St.Regis Hotel in September 1971. And Yoko was asked if she knew about what really went on during The Beatles tours,and she says she had thought that he's an artist I'm sure he has had a few affairs, and she said she was really shocked and she said Oh God! when John told her the whole story about what he called all of the raving that went on their tours,Yoko said she had never heard the word groupie before.And Yoko was no innocent either,John was her third husband,she had a daughter with her second husband,and she had quite a few affairs and even abortions in the 1960's.
John is also asked if playing 8 hours a night from 1960-1962 as The Beatles did in Hamburg Germany improved their playing and he said oh amazingly because before that they had only played bits and pieces but in hamburg they played for hours and hours and hours together and that's how they developed their rock n roll sound and playing and he said that every song was 20 minutes long and had 20 minute solos in them.He also mentions how they took (meaning speed pills) to stay awake playing so long.
He also said in this interview that he treated Yoko the same as other men, he found himself being a chauvinist pig with her,then I started thinking,well if I said that to Paul or asked Paul to do that or George or Ringo they'd tell me to f*ck off and then you realize you have this attitude toward women that is just insane! Then John said it's beyond belief the way we're brought up to think of women. He said much the same things minus the F word when he and Yoko were co-hosting the Mike Douglas show in January 1972 after Mike Douglas asked Yoko if John's attitude towards her had changed because of the women's movement ,and at first yoko said John's attitude was the same as when they first met but John was honest enough to say,No I was a chauvinist,I was chauvinist,then he said to Yoko can I just say what you taught me?
John then said in this September 1971 interview,And I had to keep saying,well would I tell a guy to do that? Would I say that to a guy? Would a guy take that? He then said,Then I started to get nervous, I thought, f*ck I better treat her right or she's going to go, no friend's going to stick around for this treatment.
John also said,It took me a long time to get used to it,any woman I could shout down,most of my arguments used to be a question of who could shout the loudest. Normally I could win whether I was right or wrong,especially if the argument was with a woman,they'd just give in but she didn't.She'd go on,and on, and on until I understood it,then I had to treat her with respect.
http://www.beatlesinterviews.org/db1971.0905.beatles.html