Yoko Ono, born 18 February 1933 in Tokyo, Japan, is an experimental musicia… Read Full Bio ↴Yoko Ono, born 18 February 1933 in Tokyo, Japan, is an experimental musician whose work stretches back more than half a century. Working with art group Fluxus throughout the 1960s, Ono was a pioneer in the burgeoning conceptual art movement which included work in sculpture, performance, filmmaking and music.
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.
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.
heartburn stew
Yoko Ono Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I threw my woman power in a pot of stew
And waited for my love to come
But not a single word did I hear from him
So I tried the stew on my dog but he wouldn't even eat it
I put my light heart on a matching silver plate
And waited for my love to come
But not a single footstep was heard near the door
So I ate the plate myself and got a heartburn
Heartburn, heartburn plate
Heartburn, heartburn cake
I toasted my pride and covered it with apple jam
And waited for my love to come
But not a single sign of a stir or a breeze
So I soaked the bread in my milk and I gave it to the birds
Heartburn, heartburn plate
Heartburn, heartburn cake
I watched the clock ticking, ticking away to my past
Eight years old, birthday and raindrops
Not a single line from my dad or my mom
So I laid the cake on my cat but she wouldn't even touch it
Heartburn, heartburn stew
Heartburn, heartburn blues
What do I want with a heartburn? I ask you
Don't try to give me the word
'Cause I ask a clever question
And I get a silly answer
And waited for my love to come
But not a single word did I hear from him
So I tried the stew on my dog but he wouldn't even eat it
I put my light heart on a matching silver plate
And waited for my love to come
But not a single footstep was heard near the door
Heartburn, heartburn plate
Heartburn, heartburn cake
I toasted my pride and covered it with apple jam
And waited for my love to come
But not a single sign of a stir or a breeze
So I soaked the bread in my milk and I gave it to the birds
Heartburn, heartburn plate
Heartburn, heartburn cake
I watched the clock ticking, ticking away to my past
Eight years old, birthday and raindrops
Not a single line from my dad or my mom
So I laid the cake on my cat but she wouldn't even touch it
Heartburn, heartburn stew
Heartburn, heartburn blues
What do I want with a heartburn? I ask you
Don't try to give me the word
'Cause I ask a clever question
And I get a silly answer
The song "Heartburn Stew" by Yoko Ono is a creative and evocative expression of frustration and disappointment in love. In the first verse, Ono describes throwing her "woman power" into a pot of stew, as if hoping that this metaphorical concoction will somehow bring her lover back to her. However, despite her efforts, she hears nothing from him - not a single word. In a desperate attempt to salvage the stew, she tries giving it to her dog, but even he refuses to eat it. This imagery suggests a sense of helplessness and confusion in the face of a failed relationship.
The second verse sees Ono trying a different approach. She puts her "light heart" on a "matching silver plate" and waits for her lover once again. But, once again, he doesn't show up. Ono's frustration is palpable as she sings of the "heartburn" she gets from eating the plate herself. The third verse follows a similar pattern, with Ono toasting her "pride" and covering it with "apple jam," only to have her lover still not appear. She feeds the soaked bread to the birds, suggesting a sense of resignation and hopelessness.
The final verse is perhaps the most poignant, as Ono reflects on a childhood memory of a disappointing birthday. She lays the cake she made for herself on her cat, but even the cat won't eat it. The repetition of the phrase "heartburn blues" at the end of the song emphasizes the sense of sadness and frustration that permeates the entire piece. Overall, "Heartburn Stew" is a powerful and emotive expression of the complex emotions that come with failed relationships.
Line by Line Meaning
I threw my woman power in a pot of stew
I put all my feminine power and energy into a metaphorical pot and waited for my lover to come back
And waited for my love to come
Expecting my lover's return any moment
But not a single word did I hear from him
He never expresses his feelings or affection to me
So I tried the stew on my dog but he wouldn't even eat it
I sought validation from my dog and when he wouldn't eat it, I realized the futility of my efforts
I put my light heart on a matching silver plate
I offered my pure heart to my lover on a valuable silver plate
But not a single footstep was heard near the door
He didn't show up despite my offering
So I ate the plate myself and got a heartburn
I ended up consuming my own offering and experienced the resulting heartburn
I toasted my pride and covered it with apple jam
I attempted to save myself by disguising my pride, but it ended up being fruitless
But not a single sign of a stir or a breeze
My efforts went unnoticed and unappreciated by my lover
So I soaked the bread in my milk and I gave it to the birds
I gave up and let something else, insignificant to me, take my offering
I watched the clock ticking, ticking away to my past
I'm reminiscing about my past
Eight years old, birthday and raindrops
A specific past memory that comes to mind
Not a single line from my dad or my mom
My parents didn't care enough to offer even a simple wish
So I laid the cake on my cat but she wouldn't even touch it
I attempted to pass on the pain to something else but it didn't work
What do I want with a heartburn? I ask you
The rhetorical question indicating the fruitlessness of my attempts
Don't try to give me the word
Don't give me a simplistic solution
'Cause I ask a clever question
I'm asking a clever, thought-provoking question
And I get a silly answer
I'm getting an answer that doesn't address the complexities of the issue
Lyrics © Sony/ATV Music Publishing LLC
Written by: YOKO ONO
Lyrics Licensed & Provided by LyricFind
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@mmroz1
1. Non-starchy veggies: leafy greens, broccoli, cauliflower, Brussel sprouts
2. Berries: strawberries, blackberries, raspberries, blueberries
3. Grass fed, organic meats, wild caught fish 🐟
4. Eggs 🍳
5. Fats & oils - GF butter, evoo, coconut oil, mct oil, lard, tallow
6. Nuts: macadamia, pecan, walnuts, almonds
7. Seeds: chia, flax, hemp, pumpkin
8. Avocado 🥑
9. Tubers/root vegetables: yams, turnips, carrots, celery root
10. Herbs & spices: garlic, ginger, cinnamon, turmeric, cardamom, cilantro, dill, rosemary
@SofiyatAlabi
1. Non-starchy veggies: spinach, broccoli, cauliflower
2. Berries: strawberry, raspberry, Blackberry, blueberry
3. Meat: beef, lamb, wild, salmon, sardines
4. Egg: pasture raised egg
5. Fat and oil: butter, coconut oil, MCT oils
6. Nuts: walnut, Almonds
7. Seeds: chia seeds, flax seed
8. Avocado
9. Tubers or root vegetables: yam, potatoes, carrot
10. Herb and spices: garlic, ginger, tumeric, cinnamon, cloves, parsley
11. Dark chocolate
@briantravolta
5:54-- Best Berries:
Strawberry, Raspberry, Blackberry, Blueberry
9:49-- Eggs: Pasture-Raised
12:40-- Oils:
Organic Extra Virgin OLIVE OIL
Organic COCONUT OIL
12:49-- MCT OIL
(Medium CHAIN Triglycerides)
Lard, Tallow
14:08-- Nuts
18:24-- Avocado
22:42-- Chocolate (Dark)
@Funkywallot
From top down :
1. Non starchy leafy veg. ( Broccoli, Brusselsprouts,cauliflower)
2. Berries
3. Meat
4.Eggs (Pasture raised)
5. Fats and oils (Butter, tallow,coconut oil,lard, Olive oil)
6. Nuts (Macademia,pecan,walnut,almond) not peanuts
7. Seeds (Chia,Flax,Hemp,pumkin)
8. Avokad0
9. Tubers (sweet potatoe,potatoe,turnips,carrot)
10, Herbs and spices (Too many to mention) Eat lots of them
@deniselovesglitter
Hey Doc 🦋
Because of what I’m learning from you (and a lot of discipline), I’ve dumped 30lb since November.
Your approach is perfect, and I’m so grateful to have found you and your channel. I belong to an IF group in FB, and I post your stuff to the group all the time, and I’m also talking about you in the car as an Uber driver because as soon as someone asks how I’m doing, I say ‘I’ve lost THIRTY POUNDS’ (I tell anyone who’ll listen!), and when they ask how, I say ‘watch this dude, and do IF!’
Nothing but love for you!!
😊
@drekberg
♦ Watch this video next: Top 10 Dangerous Foods For Your Immune System: https://www.youtube.com/watch?v=wSqkl2bJ-tw&list=PLpTTF6wMDLR6uaZ2eT4YgkUDbklpqcijo
♦ Top 10 Foods You Should NEVER Eat Again! https://www.youtube.com/watch?v=UmRH6sv9rnA&list=PLpTTF6wMDLR6uaZ2eT4YgkUDbklpqcijo
@pinksupremacy6076
What about the quite powerful phytates in seeds and nuts?
@frank8278
You are not a doctor.
If you are, toss your degree and pursuit a different career.
@ChantYip
@@frank8278 He is a holistic doctor not MD but better than MD in that he teaches how one can understand and look after oneself. . He teaches how to eat and exercise right, all the things that the MD's do not waste their time to talk about.
@stuartperry8141
Chickens are nature scavengers eating whatever they come across.
@stuartperry8141
Isn't organic processed. Why do we use pesticide but to get rid of insects which are natural. to make plants grow without pesticides nowadays you have to use some of kind of process.
@mehfil2011
1. Non starchy vegetables
2. Berries
3. Meat ( animal protein)
4. Eggs
5. Fats & oils
6. Nuts
7. Seeds
8. Avocado
9. Root vegetables
10. Herbs & spices
@SueNahmee
Thank you
@jre617
Yes, thank you. I tend to believe Dr Ekberg, but he goes on too long with biology of it.
Just tell me what to eat and what not to eat.
@imanjones3807
Thanks 😊