THE BEATLES

CODE

A. J. WEBERMAN
ISBN:
978-1-365-83516-2
 THE BEA TLE CODE
By A.J. Weberman

Forty years after the major musical tectonic shift occurred with
the Beatles' US invasion, the Beatles remain a dominant force in
American pop culture. Beatles CDs are selling like potcakes (no one
buys hotcakes anymore) to a new generation of Beatie fans, making
Paul McCartney the richest pop musician in the world . But Beatie
fans, young and old, have overlooked an important ingredient of the
Beatles genius - their poetry! The Beatie Code goes beneath the
surface of the Beatles poems right down to the nitty-gritty, to the
structure of its DNA if you will. In the July 2004 issue of England's
Uncut Magazine Paul admitted that his poetry has a hidden or
underlying meaning when he said the song Got To Get You Into My
Life was "about pot - although everyone missed it at the time," and
Day Tripper was "about acid ." John Lennon and Paul McCartney
always wanted to be poets just like the beat poets of the 1950's who
often wrote about drugs. In fact, Lennon told me that Beatles was
derived from the word Beatnik.

DYLAN AND THE BEATLES

Before we put the Beat/e's lyrics under the microscope, let's

first determine the school of poetry the Beatles belonged to . The
school of poetry refers to the body of creative artists or writers linked
by a similar style or by similar influence. In this case, the Beatles
belonged to the school associated with and/or popularized by Bob
Dylan. There's no question Dylan was years ahead of his time. When
the Beatles were still singing ·~she Loves You Yeah , Yeah" Dylan was
singing "It's a hard rain's gonna fall. " After Peter Paul and Mary
popularized Dylan's Blowin' In Wind any recording artist with
progressive tendencies could not ignore him. As a result, the Beatles
built their poetry using Dylan's unique use of language as a
foundation. In return for this they composed numerous poems to, for
and about Dylan. In a December 1970 letter to the Village Voice
Lennon stated, "Who is there among us who has not had his
consciousness shaped by the words and music of Bob Dylan?" In an

1
 interview with Rolling Stone Magazine Lennon declared, "If I was in
New York, he'd be the person I'd most like to see."

To understand the Beatles one must first understand basic

Dy/analogy. That is why The Beatie Code makes reference to
definitions found in the Dylan to English Dictionary (D-E-D). When
you see D-E-D in this text, if you have any doubt about the derivation
of word, look it up in the Dylan to English Dictionary. Less detailed
definitions of the way in which the Beatles use a particular word are
included in The Beatie Code.

The premise of Beatleology is the same as that of Dy/analogy: .

Beat/eology attributes three levels of meaning to Lennon-McCartney's
poetry: the literal, allegorical and moral. The first level of meaning is
the literal level. This is apparent to the listener and oftentimes is
perfectly understandable as this line from When I'm Sixty-Four,
"When I get older losing my hair many years from now." In other
instances the meaning seem to make no sense in terms of the logic
inherent in language, as in this line from I Am the Walrus: "Semolina
pilchard climbing up the Eiffel Tower." Nonetheless, both of these
lines have a second level of meaning that is allegorical: To grasp it's
meaning you have to define the lesser-used meanings of the key
words used in the line in question. Forget about words like "the" "a"
"you" etc. A thorough knowledge of the English language is
indispensable, as well as a comprehensive database of all Beatles
writings that allows you to look at the word in all the contexts it
appears in the Beat/e's poetry. This is essential in order to locate the
context where its meaning is most apparent. If this does not
adequately define the word , look up the word in a traditional or
Internet-based dictionary and then see if it works in a majority of
contexts. I used freesearch as it originates in the United Kingdom,
Beatie country. When a dictionary does not adequately define the
word in question we must turn to our own knowledge of slang,
sayings, proverbs, idiomatic expressions, colloquialisms, hipsterisms
etc. or consult the Internet that contains alternative, specialized
hyperactive dictionaries such as ones dealing with drug slang. Once
a number of words have been interpreted they must make sense in
terms of coherent verbal communication when they appear next to or

• near each other in the same line of a poem. The lines must make
sense when they appear in a particular verse , and the meaning of the

2
• verse has to fit in with the general theme of the poem, or we know
that something has gone wrong somewhere!

By studying and analyzing the Beatles poetry I have concluded

that all the Beatles were familiar with each other's poetry to the point
that their symbolism became interchangeable. I will occasionally use
the way one Beatie uses a particular word to explain the way in which
another Beatie used that word. Words that reoccur in the Beatles
poetry that are key to understanding the meaning appear in bold
face. Word plays that support these key words are in italics.

The third level of meaning is the moral. Even in a simple poem

like When I'm Sixty-Four or in a "far out" poem such as I Am the
Walrus Lennon/McCartney make a statement that expresses an
opinion. The meaning of the Beatles poems fascinates me because I
agree with a lot of what they have to say and hopefully I can get their
message out to the public.

One must be familiar with the history of the Beatles career and
the times that they lived through so one can put their poetry in
historical perspective. Not only did this Beatleologist live through that
era but also I feel I have a special insight into John Lennon's poetry
as he let me visit him and Yoko for about two years. John and Yoko
gave me donations so that the Yippies, Zippies and the Rock
Liberation Front could stage smoke-ins, anti-Vietnam war
demonstrations and riots , guerilla theatre etc. As a result of this
association and his involvement with other radicals, he was almost
deported from America. John and I had long discussions about the
meaning of his poetry during which time I did most of the talking .

After interpreting a Beatles poem I have included my analysis of

its additional implications and have tried to put it into a perspective
derived from my personal knowledge of John Lennon's radicalism
that was engendered by the turbulent period during which he lived.

DYLANOCENTRICISM

There is one final catch to interpreting a Beatles poem: Not only

• must one be familiar with the history of the Beatles, in many

instances understanding the underlying meaning of their poetry

3
 requires a through knowledge of the life and times of Bob Dylan, a
knowledge that I also possess having known Dylan personally for one
year and having followed his life and his career since 1962.

The Beatie Code divides Lennon-McCartney's significant works

in specific categories. We begin with those poems that deal with the
life of Bob Dylan on an allegorical level. It is going to come as a
shock to the reader that Beatie staples such as Eleanor Rigby and
Lovely Rita The Meter Maid are about Dylan. I am not asking you to
believe what I am saying has any validity until you read through the
entire section devoted to Beatie poems to and about Dylan. After you
do this I hope that you realize that there is recurrent underlying theme
in these poems that mirrors Dylan's career. As a Dylanologist it was
the Dylan poems that gave me my first insights into the meaning of
Beatie lyrics since I shared an obsessive interest in Dylan's lyrics with
the Beat/es. I suppose you could argue that my obsession might
cause me to project a Dylanocentric meaning on these ambiguous
works of art. On the other hand, if this meaning were there who would
be better equipped to find them? Don't blame me for the

•
Dylanocentric content of many Beatie songs, I just calls 'em the way I
see's 'em. In the words of Fidel Castro, history will absolve me!

So step right this way ladies and gentlemen and roll up (a joint)
for the Magical De-Mystification Tour because it's waiting to take you
away from all that you believed the Beatles' poetry was about. ..

POEMS ABOUT BOB DYLAN

NORWEGIAN WOOD recorded October 1965 (Lennon-McCartney)

"I once had a girl, or should I say, she once had me (the Beatles once
had a fan, or to be more accurate, the fan deceived them as to who
was who in this relationship) I She showed me her room (room as in
all the people present in a room as in "the room suddenly became
noisy" - a venue) I isn't it good Norwegian wood 1 (growth - wood -
an expanse of growing trees) I She asked me to stay and she told me
to sit (to remain inactive or quiescent) anywhere I So I looked around
and I noticed there wasn't a chair (Dylan had taken a position of pre-
• eminence in the world of poetry) I I sat on the rug (I was without

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defense as a result of suddenly having discovered Dylan's poetry,
someone had pulled the rug out from under me) I biding my time
(waiting patiently for the opportunity to write my own poetry) drinking
(drinking in, listening intently) her wine (to her entertainment, wine
and dine to entertain. See When I'm Sixty Four I wine D-E-0) I We
talked until two and then she said I It's time for bed 2 (its time you
were content with what you had learned . In I'm Only Sleeping
Lennon-McCartney wrote, "When I'm in the middle of a dream I Stay
in bed, float up stream") I She told me she worked in the morning
(Dylan told her through his poetry that he represented the feelings of
the working class when he first began his career) and started to
laugh (and the Beatles ridiculed this because) I I told her I didn't
(they had not done so) and crawled off (and in order to try hard to
please, in order to get an advantage) to sleep in the bath (they had
contented themselves with writing clean, non-controversial lyrics) I
And when I awoke I was alone, this bird (bird - a singer as in the
Beatles poem Dear Prudence - "the birds will sing I That you are part
of everything") had flown (to fly - to prosper or flourish) I So I lit a fire
(so the Beatles became passionate about Dylan's poetry) isn't it
good, Norwegian Wood?"

ANALYSIS

It has been said the Norwegian Wood was a homophone for the
words, "knowing she would." If this were the case it would be the only
time this type of poetic device was used in the Beatles poetry. Due to
the subjective nature of homophones, it is my belief that the Beat/es
were homophobic.

Dylan was aware that Norwegian Wood was about him. When
he recorded his Blonde on Blonde LP that was released in May 1966,
he borrowed its melody and its meter for his poem, Fourth Time
Around. Check OL!t the similarity on http://bobdylan .com if you don't
own a Blonde on Blonde CD. Lennon commented, "I was very
paranoid about that. I remember he played it to me when he was in
London. He said, 'What do you think?' I said, 'I don't like it.' I just
didn't like what I felt I was feeling - I thought it was an out-and-out
skit, you know, but it wasn't. It was great. I mean, he wasn't playing
any tricks on me. I was just going through the bit."

5
• ELEANOR RIGBY recorded April 1966 (Mc Cartney)

"Ah, (exclamation of derision) look at all the lonely (separated from or

unfrequented by others) people (McCartney observes all the
performers that lack a large following) I Eleanor Rigby (Dylan the
folksinger) picks up (perceives with his senses quickly, suddenly) the
rice (rice as a kernel of rice - kernel: the choicest or most essential
or most vital part of some idea or experience) in the church (a
formally organized body of believers. Dylan equated religion with
politics as they are both a cause, principle, or system of beliefs held
to with ardor and faith and the Beatles adopted this convention . In his
collection of poetry entitled Tarantula Dylan wrote this about his
association with the Left, "me so Sick so Sick of these lovers in
Biblical roles - 'so you're out to save the world are you? you
impostor - you freak! you're a contradiction! you're afraid to admit
you're a contradiction you're misleading!" Also see religion in A Day
In The Life I religion D-E-0) I in the church where a wedding has
been (where someone has been wedded to an ideology - also has-

• been - someone, in this case something, that is no longer popular) I

Lives in a dream (lives in an unrealistic fantasy world of Leftist
revolution) I Waits at the window (goes nowhere because he looks
out at the world through this political Leftwing window - window - a
means of obtaining information on which beliefs are based such as "a
window on Iraq." See window in She Came In Through The
Bathroom Window I window D-E-0) wearing the face (showing the
appearance of the character - the complex of mental and ethical traits
marking and often individualizing a person. See face in A Day In The
Life I face 0-E-D) that she keeps in a jar3 (that reflects Dylan's
involvement with social issues - jar: a clash of interest or opinions;
discord; debate) by the door4 (that Dylan hopes will open doors for
him in the entertainment industry) I Who is it for? (who is going to buy
this type of music and lyrics? Only the already converted)."

"Father McKenzie (Dylan the Leftist - interesting choice of names as

Dylan stayed with the McKenzie family when he first came to New
York City in 1961. This was when he had a close association with the
Left) writing the words of a sermon (a moralistic rebuke like Dylan's

• poem The Ballad of Hattie Carroll that concerned the death of a Black

6
• maid at the hands of her employer) that no one will hear (that only
Leftwing oriented people will hear - again McCartney believed Dylan
was preaching to the choir) I No one comes near (people are afraid to
embrace Leftist thought due to the lessons of the McCarthy era when
liberals were labeled pinkos and communist sympathizers and were
fired from their jobs - also no one can equal the value of Dylan's
topical songs) I Look at him working, darning (mending, creating -
also damning, putting a curse upon) his socks (his hard hitting
songs) in the night (in a period of intellectual stagnation
characterized by a lack of morality in the popular music industry. See
tonight in Being For The Benefit of Mr. Kite I night D-E-D) when
there's nobody there (when his potential audience is not interested
his folksy style of music) I What does he care? (sarcastic - Dylan
would have liked to reach a wider audience)."

"Eleanor Rigby (Dylan the folksinger) died (his popularity died out) in
the church (as a political song writer) and was buried (forgotten)
along with her name (with the name he had made for himself with
songs like Blowing In The Wind) I Nobody came (his fans no longer
attended his concerts in great numbers, nobody was fulfilled, his
relationship with his fans was not consummated) I Father McKenzie
(Dylan the Leftist) wiping (obliterating) the dirt (the dirt - the
disgraceful gossip such as a Newsweek Magazine article that alleged
he didn't write Blowing Jn The Wind and instead stole it from another
songwriter. In Paperback Writer dirt is associated with the print
media, "It's the dirty story of a dirty man I And his clinging wife
[someone or something he is very involved with] doesn't understand I
His son is working for the Daily Maif') I from his hands (from his fate
- hand as in the hand that life deals you also from his abilities - as in
I tried my hand at writing poetry) as he walks (advances and moves
on) from the grave (from obscurity. In Wa/kin Down the Highway
Dylan sang "One road's going to the bright lights I The other's going
to my grave") I No one was saved (there was no revolution society
wasn't changed) I All the lonely (separated or unfrequented by
others) people I Where do they all come from? I All the lonely people
I Where do they all belong?"

ANALYSIS

• 7
• Eleanor Rigby appeared on the LP Revolver that was released
in August 1966. Dylan had already made the transition to poetry and
to folk rock so I assume it was written at an earlier date. The Beatles
had attended Dylan concerts, started using LSD and judging from I'm
Only Sleeping, were smoking pot on a regular basis. Revolver, a
transitional album, contains McCartney's first poems. McCartney, of
course , denied that Eleanor Rigby was poetry: "There was a
gravestone in a cemetery where John and I used to hang out that had
the name Eleanor Rigby carved on it. Those words just fell out like
stream of consciousness stuff, but they started to set the tone of it all
because you then have to ask yourself, what did I mean? John
claimed he contributed to it." It is not incumbent on the poet to explain
the meaning of his poetry to the reader - it is the reader's job to
interact with a poem, otherwise why bother writing poetry in the first
place - why not write prose?

The Beatles were playing catch-up to Dylan as far as the

sophistication of their poetry went. If someone would have asked
Paul McCartney what he wanted to be when he grows up around the
time Revolver was released I am sure he would have answered, "Bob
Dylan." When this Beatleologist analyzed McCartney's book of
poetry, Blackbird Singing, I found that as late as 2002 he was still
obsessed with Dylan, and was writing poetry about him. For example
in In Liverpool, which on its surface seems to be autobiographical,
McCartney writes, "Upstairs (in A Day in the Life Lennon wrote,
"found my way upstairs" - started to become known , stopped playing
in basement clubs . McCartney uses upstairs in the same way) on a
bus ("catching the bus" - beginning to go somewhere. Also see A
Day In The Life, "caught the bus in seconds flat") behind a man
(McCartney was not as advanced as Dylan at that time) I Talking to
himself or so it seemed (preaching to the choir) I Repeating (singing
from memory) the names (the illustrious records) of old (from the
past, antiquated) comedians (entertainers, folksingers) I Laughing
at them (ridiculing their limitations, really wanting to play rock and
roll) ... " McCartney continues his poetic narrative about Dylan's life
then writes, "Listening to the (rubbish) bin man holding court" -
listening to the garbologist, the dirty slob who went through Dylan's
trash , A.J . Weberman , put Dylan on trial for leaving the Movement.

• McCartney's poem Give The Man A Chance deals exclusively with

the bizarre relationship Weberman had with Dylan: "Workers (a

8
• member of the working class not necessarily employed "workers of
the world--unite!" - See Norwegian Wood) I on the picket line
(protesting) I Picking up the trash (collecting Dylan's garbage and
having some understanding of the trashy things that Dylan was
singing about in the poems that Dylan composed in the early 1970's)
I executive (a person who administers the law) negotiators (and is
trying to reach an agreement with Dylan) I shout about the cash
(Dylan's being wealthy and Dylan having attained a widespread
currency - acceptance. Additionally the first thing that I found in
Dylan's garbage was an unfinished letter to Johnny Cash)."

A DAY IN THE l IF E recorded January 1967 (Lennon-McCartney)

"I read the news (a report of Dylan 's 1966 tour of England published
in a scandal sheet such as News of The World, a publication that is
referred to in Lennon-McCartney poem Polyethylene Pam) today oh
boy I About a lucky man (famous - In Down The Highway Dylan
writes "Well, I'm bound to get lucky [famous] baby I Or I'm bound to
die trying" I luck D-E-0) who made the grade (who climbed the
incline and reached the top - grade - relative position or standing in
any series, rank also grade deviation from a level surface to an
inclined plane. In Minstrel Boy Dylan wrote, "Oh, Lucky's been drivin'
a long, long time I And now he's stuck on top of the hill" I hill D-E-D)
I And though the news was rather sad (and though the British tabloids
were unhappy about Dylan becoming famous due to the contempt he
had shown them during his press conferences in 1965 and 1966) I
Well I just had to laugh (Lennon was happy about Dylan's success
because he agreed with Dylan's point of view regarding the media:
Laugh as in Good Day Sunshine "I need to laugh and when the sun
is out I I've got something I can laugh [be happy] about") I I saw the
photograph (Lennon saw newspaper stories in the tabloid press that
consisted mainly of photographs demonstrating how weird Dylan
looked during this period with his Jewish-Afro hairstyle, shades and
the latest hippy fashions, rather than the jeans and denim shirt of a
folksinger) I He blew his mind out in a car (Dylan started taking, what
in my opinion were hard drugs as soon as he found a vehicle that
would take him to fame and fortune. Lennon-McCartney associated
car with fame in Baby You Can Drive My Car -"baby you can drive

• my car I yes I'm going to be a star" I Car D-E-D) I He didn't notice

(discover, perceive also sarcastic: he didn't advertise - post a sign in

9
• a public place as an advertisement) that the lights had changed
(guiding light - a luminary - one who creates a condition of spiritual
awareness; illumination; Dylan was now following a different luminary
than Woody Guthrie - on another level of meaning this one sarcastic,
Dylan didn't realize that he was now seen in a bad light by many of
his former fans who were upset with his transition to abstract lyrics
and rock and roll music. McCartney used light in a similar fashion in
The World Tonight, "I can see the world tonight I Look into the future I
See it in a different light") I A crowd 5 (the Lefty folk crowd: In
Positively Fourth Street Dylan told his former folk fans, "I know the
reason you talk behind my back I I used to be among the crowd
you're in with" I Crowd D-E-0) I of people stood (took a stand - a
position in a dispute against Dylan. Stand as in this line from the
McCartney poem Fixing A Hole, "See the people standing there I
Who disagree") I and stared (stare: to look with fixed eyes wide
open, as through fear, wonder, surprise: the Left and the folk
community could not believe their eyes when they saw and heard the
new Dylan) I They'd seen his face before (character - see Eleanor
Rigby) I Nobody was really sure I If he was from the House of Lords

• (the folknicks could not decide if he was still political - see religion as
politics in Eleanor Rigby)."

"I saw a film (Don't Look Back, a film about Dylan's 1965 tour of
England that was released before this song was recorded) today oh
boy I The English Army (the militant army of Dylan's British Leftist
fans) had just won the war (had won the argument going on within
their community about Dylan's value after he switched to folk rock) I A
crowd of people turned away (as a result they rejected him - and he
was jeered and called Judas) I But I just had to look having read the
book (Lennon had read: interpreted something in a certain way that
conveyed a particular meaning or impression; "I read this address as
a satire" the book - Dylan's new poetry. In Paperback Writer the
Beatles wrote, "Dear Sir or Madam, will you read my book? I It took
me years to write, will you take a look? I It's based on a novel by a
man named Lear'' - it is based on the poetry of Shakespeare who
wrote King Lear and hopefully you will find some similarity) I I'd love
to turn you on (Lennon would love to turn on Dylan's vocal critics to
the genius of Bob Dylan)." Note: On another level this verse was a

• reference to Lennon's anti-war film How I Won The War that was
released in 1966.

10
• "Woke up (became aware) fell out of bed (became discontent. See
Norwegian Wood) I Dragged (with great effort) a comb (something at
is used to search for something very carefully) across my head (head
- that which is responsible for one's thoughts and feelings; the seat of
the faculty of reason the brain so Lennon - tried to discover his true
thoughts and feelings) I Found my way downstairs Uoined the
beatnik movement, the underground) and drank (drink in as in drink
in knowledge) a cup (his portion) I And looking up (and from his
worldview as a member of the beat generation or angry young men) I
I noticed I was late (I noticed that I was born too late to be part of the
Ginsberg, Kerouac founding beat generation crowd) I Found my coat
(words that I was interested in: clothe in its figurative sense means:
to cover or invest, as with a garment; "thoughts are often clothed in
words") and grabbed (caught on to) my hat (to my role as a popular
artist - hat as in Lennon wore several hats - radical, poet, composer)
I Made the bus (vehicle for success "he caught the bus" - became
successful at producing great poetry) in seconds flat (second - the
harmonic combination of two tones and flat as in "B" flat - in the music
business) I Found my way upstairs (became a commercial success)
and had a smoke (began to write abstract poetry - its meaning was
smoky, obscure - see I Am The Walrus for smoke as poetry - also
smoked some marijuana while he was writing) I And somebody spoke
(and he heard and met Dylan) and I went into a dream (and began to
understand Dylan's surreal verse. Also he began to realize his pipe
dream of becoming a great beat poet)."

"(With all of this behind us we return to the present) I I read the news
(the tabloids) today oh boy I Four thousand holes in Blackburn,
Lancashire (hollow fans giving Dylan a problem during his 1966 tour
of Britain's hinterlands - holes as problem as in the McCartney poem
Fixing A Hole) I And though the holes were rather small (and though
these fans were rather small minded and small in number) I They had
to count them all (they had to count the money they paid to see Dylan
as part of the gate) I Now they know how many holes (assholes) it
takes to fill (obstruct - also sarcastic - raise the intellectual level of)
the Albert Hall (a concert hall in London where Dylan performed) I I'd
love to turn you on (to the genius of Bob Dylan)."

• 11
• ANALYSIS

The title of A Da_y In The Life is reminiscent of One Day In The

Life Of Ivan Denisovich by Alexander Solzhenitzyn, a work of
literature that also concerns someone like Dylan who is of Russian
heritage. Day in Dylan's poetry means a period of prominence, as in
the idiom, "Every dog has his day." A Day In The Life deals with the
way in which Lennon achieved period of prominence and the way in
which Dylan's folk fans burst on the scene after Dylan had his day as
a rock and roll musician.

The line in A Day In The Life, "a crowd of people stood and
stared" is reminiscent of Dylan's Man On The Street which dealt with
the fear of failure Dylan experienced at the beginning of his career,
"Crowd (folknicks) gathered one fine morn (at the start, the dawning
of Dylan's calling as a folksinger in Greenwich Village) I At the man
whose shoes (vocation: as in Dylan's message to folk community in
Positively Fourth Street - "I wish there were just one time you could
stand inside my shoes I And just for that one moment you could be
me") and clothes (and words or songs) were torn (had been
destroyed) I There on the sidewalk (in a streak of bad luck - as in
step on a sidewalk crack break your mothers back) he did lay I
Stopped and starred and went their way" I clothes, sidewalk and
shoes D-E-D) ."

Lennon was asked about the meaning of this poem, "I was
reading the paper one day and I noticed two stories. One was the
Guinness heir who killed himself in a car. That was the main headline
story. He died in London in a car crash. On the next page was a story
about 4000 holes in Blackburne, Lancashire. In the streets, that is.
They were going to fill them all." He said not a word about Dylan.

During the time I spent with Lennon, however, I did observe

that he had very strong feelings about Dylan. There were times
during our conversations when he was ready to get up and deck me
for hounding America's greatest living poet. Yoko had to chill him out.
In retrospect I can see that in many ways Dylan transformed the
Beatles from pop stars to poets and attacking him was tantamount to

• attacking them. None-the-less Lennon appeared on the cover of the

New York Post wearing a button that I had circulated that read Free

12
• Bob Dylan - D.L.F. - the D.L.F. was the Dylan Liberation Front, an
organization I started to free Bob Dylan from what I believed was his
addiction to and imprisonment by heroin.

In an interview with Playboy Magazine McCartney hinted at the

meaning of holes in this poem - "It said, 'Now they know how many
holes it takes to fill the Albert Hall' or something. But I mean that
there was nothing vaguely rude or naughty in any of that. 'I'd love to
turn you on' was the rudest line in the whole thing."

LQVEL Y RITA recorded February 1967 (McCartney)

"Lovely Rita meter (meter: the accent in a metrical foot of verse)

maid (maid of honor and someone who made - created poetry) I
Nothing can come between us (not even the fact that Dylan and the
Beatles were competitors in the music world) I When it gets dark
(when I can't understand all the ignorance that exists in the world) I I
tow your heart away (I try to drag out the core meaning - the heart of
- your poetry) I Standing (taking a political stand) by a parking

• meter (with a temporary form of poetry - to park - to place

temporarily; meter- poem. Note: Dylan made parking meters famous
in Subterranean Homesick Blues when he wrote, "Don't follow
leaders watch the parking meters") I When I caught a glimpse (a
vague indication; "he caught only a glimpse of Dylan's genius") of
Rita I Filling in (raising the level of) a ticket (something that was just
the ticket for the Left and the folk community, very suitable and
exactly what was needed. Also ticket as the range of ideas and plans
that someone supports when they are in an election - their politics) in
her little white book (in her limited free from moral blemish or
impurity unsullied book of poems - Also bible, book as in the Book of
Isaiah - religion as politics) I In a cap she looked much older
(restricted to politics she looked much older, old as in antiquated. In
Dylan's song renouncing the Left, My Back Pages he wrote - "I was
so much older then, I'm younger than that now." Also Dylan wore a
cap on the cover of his first LP Bob Dylan CL 1776) I And the bag
(Dylan's bag was acoustic guitar) across her shoulder (which hung
from a guitar strap across her shoulder - see Hey Jude - "the
movement you need is on your shoulder". Also what in my opinion

• was the bag of dope Dylan carried like a cross, a burden) I Made her
look a little like a military man (made Dylan look like a militant, a

13
• revolutionary, which McCartney did not believe Dylan was due what
in my opinion was Dylan's use of heroin, something that is considered
counterrevolutionary)"

"Lovely Rita meter maid I May I inquire discreetly (cautiously) I When

are you free to take some tea with me? (a light mid-afternoon meal
and smoke a joint with me? McCartney told his biographer6 that in
August 1964 Dylan turned the Beatles on to marijuana in a hotel
room in New York City. Later someone turned McCartney on to
heroin , "I didn't realize I'd taken it - I was just handed something and
smoked it, it didn't do anything for me") I Took her out and tried to win
her (became more popular than Dylan and took him out of the
running and tried to win Dylan over to the Beatles way of
communicating with their audience) I Had a laugh (enjoyed Dylan's
style - laugh as in "I just had to laugh" from A Day In The Life) and
over dinner7 (while creating entertainment - "A grand political dinner"
- Tennyson. Also see wine as in wine and dine in Norwegian Wood) I
Told her I would really like to see her again (saw the great potential in
the early Dylan) I Got the bill (the entertainment offered at a public

•
presentation as in the Beatles poem Being For The Benefit of Mr. Kite
"And tonight Mr. Kite is topping the bill!") and Rita paid it (paid the
piper - took the unpleasant results of his playing to the folk music
crowd) I Took her home (showed her how I had reached my goal -
home - as in home plate and home as in the Beatles poem Golden
Slumbers, "Once there was a way to get back homeward") I I nearly
made it (McCartney had made it big - was almost totally successful) I
Sitting (to remain inactive or quiescent - being apolitical as opposed
to taking a stand) on the sofa (on his seat - a position of eminence)
with a sister or two (underplayed language with a very large
audience of young girls) I Oh, lovely Rita meter maid I Where would I
be without you (sarcastic) I Give us a wink (a signal that you are not
serious about something, a rock and roll love song) and make me
think of you (and make me think more highly of you . Also give us a
signal that you understand the underlying meaning of this poem)."

ANALYSIS

From my knowledge of Dylan's poetry, McCartney's request

that Dylan respond to him in 1967 went unanswered. The closest
Dylan came to acknowledging the Fab Four in his song lyrics was in

14
Million Dollar Bash, a poem about the competition in the music world
that contained a reference to the Cream, "come now sweet cream ," to
the Rolling Stones "my stones won't take" and to the Beatles, "first its
hello goodbye."

SHE'S LEAVING HOME recorded March 1967 {Lennon-McCartney)

"Wednesday morning at five o'clock (at the break of dawn - as it

dawns on Dylan that he is not getting anywhere as a folk musician)
as the day (a new era of existence or influence; "in the heyday of folk
rock, " "in the days of the British Empire") begins I Silently (a refusal
to speak when expected: "Dylan's silence about the war in Vietnam
was surprising") closing (come to a close; "The concert closed with
It's All Over Now Baby Blue") her bedroom (the people who provided
the underpinning of her fame - bed as in foundation - bedrock - and
room as in all the people present in a room as in "the room suddenly
became noisy when Dylan played folk rock" Also bed as contentment
- the protest songs and folk music that those in her room - room as a
venue - were content with) I door (that had provided Dylan with the
opportunity to become well-known - see door in Eleanor Rigby) I
Leaving the note (the musical note and the message - message
song) I that she hoped would say more (that Dylan hoped could have
articulated his beliefs in a more profound way, that he was
dissatisfied with) I She goes downstairs (to the ground floor as in
"get in on the ground floor") to the kitchen 8 (a room where things are
prepared - she prepares herself to enter the world of rock and roll)
clutching (used figuratively: grasping firmly for power with) her
handkerchief (the reputation that her old protest songs that cried out
against injustice had earned her) I Quietly (sarcastic: Dylan was
playing amplified electric music) turning (changing) the back door
key (the key of music that allowed Dylan to enter the pop scene
through the back door of folk music) I Stepping outside (leaving the
confining boundaries also step out on the town - be entertained or in
this case being entertaining) I she is free (from the confines of the
Left and folk music) I She - We gave her most of our lives I Is leaving
- Sacrificed most of our lives I (we martyred ourselves for her and
she should do the same for us) I Home (she is leaving her roots and
what the folk music aficionados believed to be her goal) I We gave
her everything money could buy (we bought her LP's like Dylan's LP
of topical songs The Times They Are A-Changin ' also money as

15
• currency, everything our acceptance could earn her) I She's leaving
home (her roots) after living alone (after playing solo) for so many
years Bye, bye."

"Father snores (makes a rough hoarse noise - Dylan was jeered at

many of this concerts by his folk fans) as his wife (something he is
married to, very involved with) gets into her dressing gown
(prepares herself for Dylan 's departure. The Left uses more formal
words stemming from her higher education: cap and gown to do so.
See clothes in A Day In The Life) I Picks up (perceives with the
senses quickly, suddenly: See Eleanor Rigby) the letter (a symbol
usually written or printed also the newspaper article - In Desolation
Row Dylan told the talkies - "I received you letter yesterday [an
"Open Letter to Bob Dylan" that was published in the Leftwing
Singout Magazine accusing him of selling out the folk music
movement] I About the time the doorknob broke" [after you were no
longer afforded the opportu.nity of understanding my lyrics]) I that's
lying there (that is untruthful) I Standing alone (taking a unique,
lonely political stand) at the top of the stairs (on a what she perceives

•
as high, moral ground but what McCartney looks at, stares at, in
disbelief) I She breaks down (loses her composure) and cries (and
protests) to her husband I Our baby's gone I Why would she treat us
so thoughtlessly (why aren't his thoughts about injustice coming
across anymore?) I How could she do this to me? (In Sooner Or Later
One Of Us Must Know Dylan told his old folk fans that they shouldn't
take his abandoning them "so personal") I We never thought of
ourselves (we did not try to get rich) I Never a thought for ourselves
(we worried about the poor and the oppressed) I We struggled (an
open clash between two opposing groups. Struggle is often used by
Communists to describe their fight against the forces of Capitalism) I
hard all our lives to get by."

"Friday morning at nine o'clock (Dylan is beginning his new job as

an entertainer - Friday is a traditional time for entertainment after a
hard weeks work) I she is far away (far removed from the folk scene)
I Waiting to keep the appointment she made (waiting to meet with a
backup group band member that Dylan has appointed to play his
music) I Meeting a man from the motor (to move or increase very

•
quickly as in musical tempo - popular music, rock and roll) trade
(occupation also trade as a publication intended for persons in the

16
• entertainment business. Finally meeting someone who will provide
him with a automobile - a vehicle to success as in "caught the bus in
seconds flat" from A Day In The Life) I She is having fun - What did
we do that was wrong (Dylan is finally enjoying himself doing what he
has always wanted to do) I We didn't know it was wrong (we didn't
know it was wrong to keep Dylan imprisoned and unable to do what
he really wanted to do from the start) I Fun is the one thing that
money can't buy (this kind of satisfaction cannot be attained with our
money - currency - acceptance) I Something inside that was always
denied I For so many years (before Dylan made this important
transition)."

ANALYSIS

This poem was widely appreciated on its literal level as dealing

with parental misgivings about how parents raised their children and
the importance of love rather than an abundance of material objects.
The Beatles were picking up on the term "the generation gap" and
wrote a melancholy poem about it. Who would have guessed the
poem had anything remotely to do with Bob Dylan? McCartney told
his biographer, "Dylan's acoustic folk period was very nice and I liked
him then but then he had a second wave of popularity when he
became more psychedelic and more associated with drugs and at
that time John became very enamored of him because of his poetry.
All those songs were great lyrically. Masses of cluttered lyrics like
John had written in his books. So Dylan's gobbledygook and his
cluttered poetry was dug by John."

DON'T PASS ME BY r ecordedJune1968{Starky}

"I listen for your footsteps 9 (footsteps - ambitions. From the idiom
"get one's foot in the door") I Coming up the drive (in a car or other
vehicle that will propel you to success also the trait of being highly
motivated) I But they don't arrive (succeed in a big way; get to the
top; "After he published The Beatie Code, A.J. Weberman had
arrived") I Waiting for your knock dear (waiting for your negative
criticism) I On my old (what Dylan views as antiquated) front door
(about the Beatles having become prominent in an opportunistic
• fashion, as in "opening the door to success" by singing mindless

17
• songs) I I don't hear it I Does it mean you don't love me any more
(sarcastic)."

"I hear the clock a'ticking (Ringo hears time running out. He also
hears the media reporting on the success of the Beatles - In Restless
Farewell Dylan had this to say of journalists, "A false clock tried to
tick out my time I To distract, disgrace and bother me") I On the
mantel shelf (where the Beat/es trophies are kept) I See the hands
a'moving (Dylan's hands playing a guitar and the hand of fate moving
favorably in the Beatles direction) I But I'm by myself (but the Beatles
are the only ones getting gold records) I I wonder where you are
tonight (this is similar to the title of the Dylan poem Where Are You
Tonight Sweet Marie?) I And why I'm by myself (and why you are not
in the same place that I am) I I don't see you I Does it mean you don't
love me any more (does this mean you don't like our rock music
anymore?)"

"Don't pass me by (don't ignore me, don't surpass me) I don't make
me cry (don't make me protest, don't make me unhappy) I don't
make me blue10 (don't make me tell the world what is clear and
apparent about you as in "blue skies" and as in "Blue Meanie" from
the Beat/es film Yellow Submarine) I Cause you know darling I love
only you I You'll never know it hurt me so (sarcastic: as Dylan sang in
Sooner Or Later One Of Us Must Know, "I didn't mean to hurt you so
bad") I How I hate to see you go (by this time Dylan had stopped
recording rock and roll music)."

"I'm sorry that I doubted you (lacked confidence in you) I ! was so

unfair (sarcastic: showed favoritism to the Beatles) I You were in a
car crash (you were in a car - career slump - also you were using
drugs as in "he blew his mind out in a car" - crash means to come
down from a drug. Additionally Dylan was almost killed in a
motorcycle accident in 1966) I And you lost your hair (you lost your
style as in hairstyle) I You said you would be late (fallen behind as
this word was used in A Day In The Life, also dead, out of
commission) I About an hour or two (for some period of time) I I said
that's alright I'm waiting here I Just waiting to hear from you Uust
waiting for your next LP)."

18
 ANALYSIS

Dylan and the Beatles had a bit of a rivalry going on. In 1964
Dylan wrote this about the Fab Four - "jack o'diamonds (American
capitalism) wrecked (imperiled) my hand (the hand that fate has dealt
me, my chance to succeed) left (Left) me here t' stand (take a
Leftwing position . Also stand in the sense of wait - in Hard Times In
New York Town, a poem about the beginning of his career, Dylan
wrote "stand in one place until your feet begin to hurt" - wait at one
job until you begin to lose your ambitions) I little (small in distinction)
I tin (thin and metallic in sound; lacking resonance) I men play their
drums now (play music and solicit fans - drum up fans) I upside (with
a more positive or favorable aspect) my head (than my brain seems
to be providing) I in the midst of cheers (shouts of approval - also the
way the Brits say goodbye) I flowers (flower - the period of greatest
prosperity or productivity - the best examples of the British Invasion -
the music of England exported to the United States) four (the Beatles,
John, Ringo, Paul and George) queens (again the British reference
as in the Queen of England, a reference to the fact they had long hair
and looked effeminate, and a thing considered in some supreme way)
with pawed out hearts (molested by emotional fans) make believe
they're still good I but I should drop (in popularity) fold (retire, give
up) an' dean martin should apologize t' the rolling stones (Dean
Martin got drunk and attacked the Rolling Stones on the television
show Hollywood Palace "Their hair is not that long. It's just smaller
foreheads and higher eyebrows") ho hum I weird tablestakes (table -
a chart of who is selling the most records. Excerpted from the liner
notes to Another Side of Bob Dylan - Some Other Kinds of Songs)."

HEY JUDE recorded July 1968 (McCartney)

"Hey Jude (Saint Jude is the patron saint of lost causes and
McCartney regarded Dylan's pursuit of Leftwing goals a lost cause
but this was not why Paul McCartney choose to use this name to
represent Dylan. Jude was one of the apostles of Christ who was
better known as Judas. After Dylan switched from folk to folk rock so-
called purists in his audience would yell, Judas in the middle of his
performance. Additionally Jude is German for Jew - Dylan was

• Jewish at this time) I don't make it bad (don't make the situation any

19
 worse than it is) I Take a sad song (take a classic Dylan song like
Sad Eyed Lady of the Lowlands) and make it better (and make the
world better) I Remember to let her into your heart (let your fans see
your innermost feelings and emotions) I Then you can start to make it
better."

"Hey Jude, don't be afraid (of going on tour again) I You were made
to go out and get her (Dylan was made to - he was built to tour) I The
minute you let her under your skin I Then you begin to make it better
(Cole Porter wrote a song entitled I've Got You Under My Skin based
on the idiom which means "I 've got you in my thoughts in my
feelings. " So on one level this means the minute you reveal your
thoughts to your audience then you begin to make the world a better
place. On another level McCartney chose this idiom as an ironic
metaphor. The minute you let your audience get under your skin as
opposed to a hypodermic needle, then you make the world better) I
And anytime you feel the pain, hey Jude (and anytime you start to
suffer from touring or from the effects of what in my opinion was
Dylan's addiction to drugs) I refrain (take a break from performing
also choose to refrain from using dope) I Don't carry the world 11 upon
your shoulders (don't make all of the troubles of humanity your
personal responsibility. Don't assume a burden that you cannot deal
with like saving the world . This also refers to what in my opinion was
Dylan's addiction to heroin - carrying something on your shoulder is
assuming a burden - burden as in the Beatie poem Golden Slumbers,
"Boy, you're going to carry that weight, carry that weight a long time"
which in my opinion also deals with Dylan's heroin addiction) I For
well you know that it's a fool (a person who lacks good judgment -
Dylan. See Fool On The Hill and Maxwell's Silver Hammer) who
plays it cool (who tries to play others for fools and also who thinks he
is the consummate hipster) I By making his world a little colder (by
not singing hot or popular music thereby giving his younger fans the
cold shoulder and by bringing a death drug into his life - cold -
lacking the warmth of life ; "cold in his grave") I Hey Jude, don't let me
down (in Obviously Five Believers Dylan wrote this to his folk fans,
"Don't let me down I I won't let you down I No I won't" so McCartney
is talking to Dylan in his own language) I You have found her (your
new audience) I now go and get her."

• 20
"So let it out (rent a venue) and let it in (and let your fans into it) hey
Jude, begin (start touring) I You're waiting for someone to perform
with (evidentially when this poem was written Dylan hadn't hooked
with Ronnie and the Hawks who later became known as The Band,
Dylan's backup group) I And don't you know that it's just you, hey
Jude, you'll do (even without his own backup band Dylan will suffice) I
The movement (Dylan music - movement - a major self-contained
part of a symphony) you need (the movement Dylan does not need is
the Left - the movement - a group of people with a common ideology
who try together to achieve certain general goals) is on your
shoulder (the music you need is simply hanging from your shoulder
- your guitar)."

ANALYSIS

Hey Jude A Message to Dylan was the title of my first article in

the underground newspaper The East Village Other in which I
revealed the fact that other rock poets were sending Dylan
messages, corresponding with him, through the underlying meaning
of their rock lyrics or as Dylan described this phenomenon in You're
Gonna Make Me Lonesome When You Go, "crickets talking back and
forth in rhyme." The article caused quite a stir in the rock world and
prompted John Lennon to include this line "Everybody's talkin' 'bout
Weberman , evolution" in the version of Give Peace A Chance that
was recorded in Montreal Canada and released as a 45 rpm single.
Numerous people informed me of this after hearing the song on the
radio and at various disco clubs. I asked Lennon about this, "No mon,
that was weatherman, but after workin' with you mate, I think it's the
same difference."

Why did this Dylanologist come to the conclusion that Hey Jude
was about Dylan and make this significant breakthrough in rock
poetry interpretation? When I heard the words "don't let me down" I
immediately flashed back to Obviously Five Believers on the Blonde
on Blonde, the LP that contains this line. I was obsessed with Dylan's
poetry and I knew it all by heart. Dylan even offered me a job as his
prompter. Additionally I believed that the world of rock revolved
around Bob Dylan. As fate would have it many rock musicians shared
this obsession to a greater or lesser degree and as a result rock
became highly Dylanocentric in its nature. Rock poets like Paul

21
 Simon, Bruce Springsteen, Jim Morrison and Mick Jagger tuned into
Dylan's poetic language, and communicated with Dylan by using
words in the same way in which Dylan used them in their poetry.
Dylan's influence on rock music is incalculable.

OB-LA-DI OB-LA-DA recorded July 1968 (McCartney)

"Desmond (Dylan the folksinger) I has a barrow in the market place

(barrow: a large mound of earth or stones over the remains of the
dead - a grave in the commercial music world) I Molly is the singer in
a band (the other Dylan is a rock and roll musician) I Desmond says
to Molly "girl I like your face" (Desmond - Dylan the folksinger likes
the character - the face - of Molly the rock singer. See face in
Eleanor Rigby and A Day In The Life) I And Molly says this as she
takes him by the hand (she determines his fate - the hand of cards
that Dylan has been dealt and she utilizes his abilities - hand as in
"I've tried my hand at writing about the Beatles") I Life goes on yeah ,
la la la life goes on (c'est la vie, that's the way things go down in the
world) I Desmond takes a trolley (see bus in A Day In The Life -
catches a ride on a vehicle that will take him to stardom by going to)
to the jewelers (a jewel - something as brilliant as a piece of jewelry
- the luminous words of Dylan's folk rock poetry) store (which he has
an abundent supply of and where he) I Buys a twenty carat golden
(genuine and the most valuable of its kind) ring (characteristic sound.
In Nothing Gonna Change My World McCartney wrote, "sounds of
laughter shades of life are ringing through my open ears") I Takes it
back to Molly waiting at the door (awaiting the opportunity to play
rock and roll as in "the door to success") I And as he gives it to her
she beg ins to sing (sing rock and roll poetry) I In a couple of years
they have built (established something abstract; "built a reputation") I
A home sweet home (a gratifying mental environment offering
happiness, also reached their goal) I With a couple of kids (their
creations) running (running - going through - as in "thoughts ran
through my mind") in the yard (the private area of Dylan's mind and
poetry) I Of Desmond and Molly Jones (this is the first time we found
out Desmond and Molly's second name. Jones evokes the lyrics to
Ballad of A Thin Man, "Something is happening here but you don't
know what it is I Do you Mr. Jones?" Ajones is also a drug habit as in

• "I am jonesing for some heroin)."

22
•
"Happy ever after in the market place (selling literally millions of
CDs, records) I Desmond lets the children (their kids, their creations)
lend a hand (lend a helping hand - give assistance and support) I
Molly stays at home (Molly has achieved her goal) and does her
pretty face (used ironically - unexpectedly bad character; "a pretty
mess," "a pretty kettle of fish." Reference to what in my opinion is
Dylan's use of hard drugs, his pretty bad character) I And in the
evening (in a period of decline as in the evening of the Roman
Empire) I she still sings it (vague use of language - in my opinion
sings about drugs) I with The Band (Dylan's backup group, who in
my opinion were a band of junkies) I Desmond stays at home and
does his pretty face (Desmond and Molly have become the same
person) I And in the evening she's a singer with the band I And if you
want some fun I Take ob-la-di ob-la-da (sarcastic: take dope)."

ANALYSIS

There is an interesting correspondence between Ob-La-Di and

the Dylan poem Lo and Behold written in 1967 that contains the line,
"What's the matter Molly dear, what's the matter with your mound."
The first verse of OB-LA-DI also makes reference to a mound - a
barrow - and Molly is also found in it. Is this coincidence or
comparative literature?

OB-LA-DI reflects the same thinking as Eleanor Rigby in regard

to Dylan's career in that McCartney contended that Dylan was
digging his own grave when he worked as Leftist folksinger. Needless
to say McCartney never associated Bob Dylan with this song, "Ob-la-
di came from a guy in a nightclub I used to frequent. He was a black
friend of mine called Jimmy Scott. And I used to just say, 'What's
happening, Jimmy?' Scott, who had a strong Jamaican accent, would
answer, 'Ob-la-di, ob-la-da, life goes on, bra.' And so I just thought,
"That's a great saying, Ob-la-di , Ob-la-da, life goes on , bra." Jimmy
Scott, a legendary black jazz musician popular among many hipsters
was born in Cleveland, Ohio.

ROCKY RACCOON recorded Aug ust 1968 (Mc Cartney)

• 23
"Now somewhere in the black (offering little or no hope; "the future
looked black" also black as in Black people) I mountain (dealing with
big problems such as Civil Rights for African-Americans - mountain
as "don't make a mountain out of a molehill") hills (grade as in A Day
In The Life - a hierarchy of performers - Dylan was at the top of the
hill of folk musicians) of Dakota (of the country - of folk music) /
There lived a young boy named Rocky Raccoon (there lived a young
folksinger named Bob Dylan) I And one day his woman ran off with
another guy (and one day the audience Dylan wanted to reach
became attracted to more conventional performers like the Beatles) I
Hit young Rocky in the eye (disturbed young Dylan's thoughts - In
Ballad Of A Thin Man Dylan describes the African - Americans who
were involved in the Civil Right Movement as "one eyed midgets
shouting the word now" a minority group with one thought on their
minds - Freedom Now! I eye D-E-D) I Rocky didn't like that I He said
I'm gonna get that boy (he said he was going to become more
popular than the Beatles) I So one day he walked into town (he
advanced into the mainstream of the entertainment industry - "go out
on the town" - "paint the town" - entertain yourself - Dylan started
playing folk rock) I Booked himself (engaged himself for a
performance; "His agent had booked her for several concerts in
London") a room (a venue) in the local saloon (British: tavern
consisting of a building with a bar and public rooms - in Albert Hall
and other British venues)."

"Rocky Raccoon checked into his room (Dylan came to the UK) I
Only to find Gideon's bible (only to find his old fans who were into folk
music and politics. See religion as politics in Eleanor Rigby and in A
Day In The Life) I Rocky had come equipped with a gun (Dylan had
come with an electric guitar - In It's All Over Now Baby Blue Dylan
wrote this to the folkies and the Leftists "Yonder stands your orphan
with his gun I Crying like a fire in the sun" - there stands Dylan, no
longer part of the lineage of Woody Guthrie since he has an electric
guitar, yet still protesting with great intensity. Also gun as in
Happiness Is A Warm Gun, something that shoots, as in shoots
dope) I To shoot off the legs of his rival (to disable the Beatles
popularity which had a strong foundation in rational thought, a leg to
stand on, with folk rock) I His rival it seems had broken his dreams
(the Beatles it seems had interrupted Dylan's unrealistic day dreams,
pipe dreams) I By stealing (steal - make oneself the focus of

24
•
attention as in steal the show) the girl of his fancy (of Dylan's new
audience; at least what he fancied to be his audience, what he
imagined or believed to be so) I Her name was Magill 12 and she
called herself Lil I But everyone knew her as Nancy (she went my
many names as she was a vast audience) I Now she and her man
who called himself Dan (the Beatles) I Were in the next room (venue)
at the hoe down (and were a tough row to hoe difficult to top) I Rocky
burst in (exploded on the rock scene) and grinning a grin (and was
overconfident. Grin: a wide smile that assumes things will go well. In
his poem City Park McCartney wrote that he "grins to the sky" - he
is confident about his future - Dylan 's word for future is sky as in
"How many years must a man look up before he can see the sky?"
from Blowin' In The Wind) I He said Danny boy this is a showdown
(challenged the Beatles to a showdown - a competition as to who
could put on a better show - performance) I But Daniel was hot (but
the Beatles were hot - popular) he drew first and shot (they were a
bigger draw then Dylan and they wanted a shot at the championship)
I And Rocky collapsed in the corner (and Dylan collapsed in the
corner - a remote area - a place where there are very few people I

•
corner D-E-0)."

"Now the doctor came in (the supplier of drugs - as in the Beatles

song Doctor Roberts and in the Dylan song When You Gonna Wake
Up "You got unrighteous doctors dealing drugs that'll never cure
your ills") I stinking of gin (reeking of intoxicants) I And proceeded to
lie on the table (affected Dylan's performance on the record charts or
tables) I He said Rocky you met your match (drugs as in a match
that is used to cook up a fix of heroin and Dylan could not match,
compete against, the Beatles talent) I And Rocky said, doc it's only a
scratch (a track mark also one of the effects of heroin is that it makes
you itch and one has a tendency to scratch ones self: Dylan
associates scratch with addict in his book of poems, Tarantula, "don't
scratch too much - watch the green peppers 13 & I think you've had
enough pop 14corn - you're turning into an addict" Finally in relation to
the competition between Dylan and the Beatles, a scratch is a minor
imperfection in a long playing record so Dylan is saying it is a minor
setback as far as music goes) I And I'll be better doc as soon as I am
able (Dylan will be better, in the sense of well, healthy, as soon as he

•
is able to stop using drugs and he will be better musically after he has
more experience playing rock and roll instead of folk music)."

25
• "And now Rocky Raccoon he fell back in his room (Dylan fell back,
reverted back, to his original venue) I Only to find Gideon's bible (only
to find the same old outdated political tract - Oas Kapital) I Gideon
(the Leftists) checked out (to check: to make certain that something
or someone is correct or suitable by examining it or them quickly -
the Left checked out Dylan's new poetry and sound) I and he left
(Left) it no doubt (his fans split and Left this for him) I To help with
good (sarcastic - in good standing) I Rocky's revival (to help Dylan
acquire a spiritual religious revival - that is get back into politics, folk
music and topical songs and to help him have a revival of his
popularity among the folk and Lefty community) I Oh yeah, yeah
come on, Rocky boy I The story of Rocky Raccoon."

ANALYSIS
McCartney had a laugh on Dylan in this poem and of course
when questioned about it the word Dylan was never spoken however
McCartney made an oblique reference to Siegfried Sassoon a British

•
Jew who wrote numerous anti-war poems, "I was sitting on the roof in
India with a guitar - John and I were sitting 'round playing guitar, and
we were with Donovan. And we were just sitting around enjoying
ourselves, and I started playing the chords of Rocky Raccoon, you
know, just messing around. And, oh, originally it was Rocky
Sassoon, and we just started making up the words, you know, the
three of us - and started just to write them down. They came very
quickly. And eventually I changed it from Sassoon to Raccoon,
because it sounded more like a cowboy. So there it is. These kind of
things - you can't really talk about how they come 'cuz they just come
into your head , you know. [It] was just a joke, you know, as most of it
is!"

MAGGIE MAY r ecorded January 1969

"That dirty (reviled by the press) I Maggie (Maggie 's Farm is a well-
known Dylan poem) May they have taken her away (this is similar to
the line in Dylan's Drifter's Escape © 1968 "Oh help me in my
weakness [for rock and roll] I heard the drifter [the folksinger who is
drifting into rock and roll] say I As they carried from the courtroom
• [the court of public opinion] I And were taking him away]") I And

26
• she'll never walk down lime street anymore (she will never advance
by singing bitter protest songs in Greenwich Village anymore - street
is a section of a city such as Wall Street) I The judge he guilty found
her (Dylan was found guilty of selling out the Left just as he was in
the mock trial in Drifter's Escape) I For robbing a homeward bounder
(for cheating those who had a political goal in their lives) I That dirty
no good loving Maggie May (sarcastic: that no good truthful rock and
roll singer named Bob Dylan) I To the port of Liverpool (to the early
manner of bearing oneself) I They returned me to I Two pounds ten a
week then was my pay (Dylan had very little currency - popularity.
Also pound as a place or condition or confinement was his pay - to
give or forfeit in expiation - was the penalty Dylan paid for being a
folksinger)."

ANALYSIS

These are the lines Lennon borrowed from the Irish Sea Shanty
Maggie May, which was about a woman of questionable virtue who
shanghaied and robbed sailing men, "Oh Maggie, Maggie May I They

• have taken her away I To slave upon Van Dieman's cruel shore
(Australia) I Oh, you robbed so many whalers, and dosed so many
sailors I But you'll never cruise 'round Peter Street no more ... The
judge he guilty found her I Of robbing a homeward-bounder I Now
she's doing time in Botany Bay (Australia)." He took these lines and
put them together to form a song about Dylan that made sense within
the parameters of Dylan's use of language! Coincidentally, when
Dylan mentions Botany Bay in his arrangement of Jim Jones the jury
also finds him guilty "then says the judge says he for life Jim Jones I
sentence you across the stormy sea I Don't get to gay in Botany Bay
or else you'll surely hang says he."

YOU NEVER GIVE ME YOUR MONEY recorded May 1969 (McCartney)

"(From the point of view of Dylan's folk fans in regard to the early
Dylan) I You never give me your money (currency - acceptance) I
You only give me your funny (involving trickery or deception) paper
(topical songs taken from newspaper accounts) I And in the middle of
negotiations (dealings with the Left - see analysis of Eleanor Rigby)

• 27
 you break down (you defect, quit - break down - failure or collapse of
a process)."

"(From McCartney's point of view) I I never give you my number

(sarcastic: I never dedicate any of my numbers to you - number - a
short theatrical performance that is part of a longer program; "it was
one of the best numbers he ever did") I I only give you my situation
(sarcastic - I only tell you about my relative position , circumstances,
temporary state at a moment of action which excites interest - how
great I am) and in the middle of investigation (and while you are
performing the work of inquiring into something thoroughly and
systematically) I I break down (you make a grammatical analysis of
my work - break it down into components or essential features;
"analyze a sentence in a poem" and get my message)."

"Out of college, money spent (drop out of college where you wasted
your attention on irrelevancies) I See no future (cannot foretell what
fate has installed for you) pay no rent (not addicted to drugs yet -
see Lady Madonna) I All the money's gone, nowhere to go (all the

• acceptance from society has vanished, no way to achieve success) I

Any jobber (anyone who turns public business to private advantage;
hence, one who performs low work such as playing folk music in
Greenwich Village New York City) got the sack (gets fired from gigs,
gets a bag of drugs) I Monday morning (begin to refuse to do this any
longer - that Monday morning feeling: The feeling of tiredness and
reluctance to work that people often feel after the weekend, at the
thought of another week's work ahead) I turning back (then turning
your back on your old fans and their ethics) I Yellow (shocking) lorry
(British usage: large truck - to truck - to deal in or with illegal goods)
slow (not a very clever thing to do) nowhere to go (no direction in life)
I But oh, that magic feeling (that feeling of being drugged - "take me
on a trip upon your magic swirling ship" - Dylan in Mr. Tambourine
Man) nowhere to go (no more direction in life)."

"One sweet dream (one gratifying pipe dream) I Pick up (to obtain by
payment) the bags (the bags of dope) and get in the limousine I Soon
we'll be away from here (we will be high, away from reality and
depression) I Step on (increase) the gas (something that gives

•
pleasure) and wipe (to expunge completely: wipe from memory) that
tear (that regret as in "tears of regret") away I One sweet dream

28
 came true today (sarcastic: someone succeeded) I Came true today
(yes it did) I One two three four five six seven I All good children go to
Heaven (sarcastic: Dylan has reached a place or condition of the
utmost happiness)."

ANALYSIS

McCartney has a Dylan fixation that manifests itself in the

underlying meaning of many of his poems. Certain words reoccur in
the Dylan poems such as negotiate, Monday morning and most
importantly of all , bag. Without these key words there would be no
way to associate this poem with Bob Dylan.

MAXWELL'S SILVER HAMMER recordedJuly1969 (McCartney)

"Joan was quizzical (comically quaint - she was a folk fan) I studied
pataphysical science (a French absurdist concept of science, often
expressed in nonsensical language - Dylan's political poetry from
McCartney's point of view) I in the home (in order to reach her
political goal) I Late nights (in a period of intellectual difficulty) all
alone (suggests sadness) I with a test-tube (with the experiment
Dylan was conducting in his career) I oh oh I Maxwell Edison (Dylan
the inventor, innovator) I majoring in medicine (who was trying to
improve the condition of humanity and who by this time was, in my
opinion, a major drug user) I Calls (to pursue a special disposition or
a particular course) her on the phone (phone: electronic equipment
that converts sound into electrical signals that can be transmitted
over distances - a Long Playing record. In the McCartney poem
Velvet Wave he wrote: "Thin echoes of headphones" - a device with
a part to cover each ear through which you can listen to music) I Can
I take you out to the pictures, Joan? (can I paint a vivid picture for you
of the cu rrent political and social problems of America - picture -
something you produce in your mind, by using your imagination) I But
as she's getting ready to go (to have a go at it) I A knock comes on
the door (knock - to drive or be driven against something - to clash -
Dylan's dogmatic Leftist point of view clashes with his opportunity to
tell things like they are or at least how McCartney perceives them to
be)."

• 29
• "Bang, bang (suddenly, loudly) I Maxwell's silver hammer (Dylan's
silver - eloquently persuasive - hammer - to hammer something into
someone's head through repetition) I Came down upon her head (her
brain) I Bang, bang (to close violently, ends with a bang) I Maxwell's
silver hammer I Made sure that she was dead (incapable of being
stirred emotionally or intellectually)."

"Back in school again (returning to the body of creative artists or

writers or thinkers linked by a similar style or by similar influences of
which Dylan was a member - the Woody Guthrie school of folk music
that was based on socialist realism) I Maxwell plays the fool again
(Dylan plays, in the sense of deceives the Communist political
leaders) I Teacher gets annoyed (Leftist leaders are upset) I Wishing
to avoid an unpleasant scene (such as the confrontation with Dylan
that would occur after Dylan switched to folk rock and abandoned
topical song writing) I She tells Max to stay when the class (when
Dylan's class consciousness, his belief in socialism) has gone away I
So he waits behind (so does not immediately advance to rock and roll
music and poetic lyrics) I Writing 50 times "I must not be so" oh oh oh
(the same kinds of songs that were written by a formula - a standard
or accepted way of doing or making something, the items needed for
it, or a mathematical rule expressed in a set of numbers and letters) I
But when she turns her back on the boy (but when she forces him to
back up - to provide musical accompaniment only with an acoustic
guitar) I He creeps up (he secretly advances and at the same time
becomes a creepy figure in her eyes. See creep Lady Madonna)
from behind (from where he has fallen behind so that he can realize
his genuine ambition of playing rock and roll and composing poetic
lyrics that are difficult to decipher)."

"P.C. Thirty-One (the phrase Politically Correct originally meant strict

adherence to the Communist Party line - so "P .C. Thirty-One"
translates into the politics of the Communist Party in 1931) said , "We
caught a dirty one" (one whose behavior is scandalous - see dirt in
Eleanor Rigby) I Maxwell stands alone (doesn't follow the party line) I
Painting testimonial pictures ohh oh oh oh (the Communist Party
USA held a testimonial dinner for Dylan at which he was presented
with the Tom Paine award by the Emergency Civil Liberties

• Committee, a Communist Party front group. Dylan gave a speech that

night which painted an uncomplimentary picture of the Communist

30
•
Party and was jeered and booed by the audience) I Rose and
Valerie 15 (Dylan's teenaged fans) I screaming (a loud high sound
when very excited, characteristic of young rock and roll fans) from the
gallery (a place where spectators watch an event such as a concert) I
Say he must go free (let Dylan do as he pleases) I The judge (the
political leaders of the Left. See Maggie May) does not agree and he
tells them so oh oh oh I But as the words are leaving his lips (as
Dylan is singing and as the rhetoric of the Left is departing from his
repertoire) I A noise (a sound that lacks agreeable musical quality)
comes from behind (comes from a bygone era)."

"Bang, Bang" (bang - shoot drugs - as in Lennon poem, Happiness is

a Warm Gun, "bang, bang shoot. shoot" I Maxwell's silver hammer
(Dylan's hammer as in the hammer of a warm gun - what in my
opinion was Dylan's drug addiction) I Came down upon her head
(interfered with the ability of Dylan's younger fans to hear Dylan's
rock and roll music. When this poem was written Dylan had already
released Nashville Skyline, a country music LP that would not appeal
to those who were attracted to Dylan by rock and roll songs like Like
A Rolling Stone. Dylan had decided to keep a low profile so that he
could devote himself to what in my opinion was his true love - heroin)
I Bang Bang Maxwell's Silver Hammer made sure that she was dead
(no longer having an interest in Dylan)."

ANALYSIS

Lennon-McCartney listened intently to John Wesley Harding,

Dylan's LP that was issued on December 27, 1967 as a lot of the
images in the song were taken from it. Dylan wrote about the incident
that occurred at the Tom Paine award dinner in, As I Went Out One
Morning To Breath the Air Around Tom Paine and in Drifters Escape
he sang about his confrontation with the Left and with the folk
community and used the backdrop of trial "Oh help me in my
weakness, I heard the drifter (Dylan - who had drifted from folk to
rock) I As they carried him from the courtroom / ... the judge he cast
his robe (gown worn by members of the clergy) aside ... "

THE ANTI-VIETNAM WAR POEMS

• 31
• RAIN recorded April 1966 (Lennon)

"(This is an early try at a Dylanesque poem. In the liner notes to The

Times They Are A-Changin' Dylan wrote, "It was as though the rains
of wartime had left the land bombed-out an' shattered." Rain in
Dylan 's poetry is the devastation of war, as in the poem, A Hard
Rain's Gonna Fall) I If the rain (a war) comes they run (flee from
reality) and hide (conceal, disguise as Lennon wrote in Crippled
Inside, "You can hide your face behind a smile") I their heads (what
is really on their minds) I They might as well be dead (they might as
well already become a casualty of war) I If the rain comes I When the
sun (happiness, peace as in Band On The Run, "Well, the rain
exploded with a mighty crash I As we fell into the sun") I shines (is
conspicuously evident or clear) they slip (fall into error or fault, lapse
- in Free The People Lennon wrote, "As you slip and you slide down
the hill I On the blood of the people you killed") into the shade (into
the state of believing that something, in this case war, is appearing
less impressive than it really was: In Nothing's Going To Change My
World Lennon wrote, "Sounds of laughter, shades of life") I And sip
(take in the words of politicians in small amounts who are like) their
lemonade (lemon: someone thought of as worthless, disappointing,
unattractive or defective) I Rain I don't mind (they put the war out of
their minds) I Shine (be conspicuous) the weather's (we can
overcome, endure, stand up against, bear the brunt of; fall victim to it)
fine (sarcastic) I I can show you that when it starts to rain I
Everything's the same (that war will not have an effect on your life) I I
can show you (sarcasm, overstatement) I Rain I don't mind I Can
you hear me, that when it rains and shines (that when war becomes
evident) I It's just a state of mind? (sarcasm - it is not real) I Can you
hear me? (can you understand what I am really trying to say?)"

ANALYSIS
When questioned about Rain in 1980 Lennon focused on the
fact that some of its music was played backwards, "That's me again -
with . the first backwards tape on record anywhere ... I got home from
the studio and I was stoned out of my mind on marijuana ... and, as I
usually do, I listened to what I'd recorded that day. Somehow it got on
• backwards and I sat there , transfixed, with the earphones on, with a

32
•
big hash joint. I ran in the next day and said, 'I know what to do with
it, I know ... listen to this!' So I made them all play it backwards. That
one was the gift of God. Of Ja actually: the god of marijuana, right?
So Ja gave me that one."

What puzzles this Beatleologist is what people thought when

they heard the lyrics to this song? Did they believe that Lennon was
saying that people react so violently to rain pouring from the sky that
they might as well commit suicide? It is no wonder that Lennon keeps
repeating, "Can you hear me?"

BEING FOR THE BENEFIT OF MR. KITE recordedMarch1967(Lennon)

"For the benefit of Mr. Kite (kite: any of several small graceful hawks
- hawk - one who takes a militant attitude and advocates immediate
vigorous action. A supporter of a war or warlike policy) I There will be
a show (a war, a spectacle - a blunder that makes you look
ridiculous; used in the phrase "make a spectacle of yourself") tonight
(in a period of intellectual stagnation characterized by a lack of

• morality see Eleanor Rigby) on trampoline (a device used for

tumbling - tumble - to roll over and over, back and forth - to revolve
- there will be a war on revolutionaries also the poor as in tramp) I
The Hendersons will all be there (the Americans, the Anglo-Saxons)
I Late of Pablo Fanques Fair (following the footsteps of the French
who were defeated at Dien Bien Feu in 1954) what a scene! (a
display of bad temper) I Over men (overman: one in authority over
others. Also ubermenschen - Nazi so-called supermen) I and horses
(troops trained to fight on horseback - the famed U.S. Cavalry that
came to the rescue of white settlers when they were surrounded by
Native Americans) I hoops (loud shouts of orders: hoop - to drive or
follow with a shout. "To be hooped out of Rome" -- Shakespeare) and
garters (medals - garter: The distinguishing badge of the highest
order of knighthood in Great Britain, called The Order of the Garter) I
Lastly through a hogshead (a barrel holding a large quantity of a
liquid substance) of real fire! (napalm - napalm was used extensively
during the Vietnam War. Unlike its use in the Korean War, napalm
wasn't used to destroy troops but rather to burn down the jungle)/ In
this way Mr. Kite will challenge the world! (in this way the American

• military will challenge humanity)."

33
•
"The celebrated (having an illustrious past - World War II) Mr. Kite I
Performs (as in performs his duty) his feat (sarcastic: a striking act of
strength, skill, or courage) on Saturday at Bishopsgate (in a country
headed by a Roman Catholic - Ngo Diem, the dictator of Vietnam
who was a Catholic) I The Hendersons (the American Army) will
dance (move in a pattern and dance to the music - follow orders)
and sing (fire their weapons: sing - to make or be filled with a high
ringing sound: A bullet sang past the top of the soldier's head) I As
Mr. Kite flies (travels) through the ring (the area in which a fight is to
take place, as a boxing ring) I don't be late! (sarcastic: don't get killed,
late as in having died recently) I Messrs. K and H assure the public
(the hawks and their army assure the world) I Their production will be
second to none (their conflagration will top all the previous wars in its
brutality) I And of course Henry The Horse (the local heroin dealer -
there was widespread heroin use by the American armed forces in
Vietnam - horse as in the Lennon song, I Dig A Pony) I dances the
waltz! (dances the dance, goes along with it, easily waltzes off with it.
In Mr. Tambourine Man Dylan wrote, "Cast your dancing spell my
way I I promise to go under it." This, in my opinion, was a reference to

• Dylan's heroin use. Also Henry the Hoarse, the silent British
leadership, dances to the music of the American President and the
American military)."

"The band (band to unite in a troop, company, or confederacy.

"Banded against his throne ." - Milton) I begins at ten to six (early on)
I When Mr. Kite performs his tricks (his deceptions) without a sound
(without significant protest - the Gulf of Tonkin Resolution passed by
the American Congress in 1964 marked the official start of the war in
Vietnam) I And Mr. H will demonstrate (the Army get a chance to
demonstrate rather than the anti-Vietnam war protestors) I Ten
summersets (a leap - duck enemy fire) I he'll undertake (accept as
a challenge: additionally he might get to meet up with an undertaker)
on solid ground (sarcastic: for no good reason - not on terra firma -
not on solid grounds: additionally he might be buried on solid ground)
I Having been some days in preparation (having undergone basic
training) I A splendid time is guaranteed for all (sarcastic) I And
tonight Mr. Kite is topping the bill! (Mr. Kite is outdoing himself and
might use nuclear weapons)."

• 34
• ANALYSIS

There are going to be those who will react to the above

interpretation by citing the Mr. Kite Poster that contains much of the
above words such as "Pablo Fanques Fair, Being For the Benefit of
Mr. Kite, having been some time in preparation, the Hendersons etc."
How could the poem be about Vietnam when it is based on an
antique circus poster - these superficial thinkers might ask. This is
where Lennon-McCartney's genius comes in. Just as Salvador Dali
could see anthropomorphic forms in a piece of driftwood, Lennon-
McCartney were able to see the basis of an anti-war poem while
viewing a poster that had nothing to do with Vietnam . Don't
underestimate the poetic genius of these two Irishmen just because
they once wrote songs like She Loves You Yeah Yeah Yeah. The
Irish have produced so much great literature, including James
Joyce's Finnegan 's Wake that is still the subject of much analysis.

THE F00 L 0 N THE HI LL recorde d September 1967 (McCartney)

• This poem appears to me to be written on three levels. The

superficial level is about some dude on a hill, perhaps guru type, on
the second level it is about a soldier in Vietnam and finally a third
level, it is about Bob Dylan and his lack of political commitment.

Fool On The Hill As An Anti-Vietnam War Song:

"Day after day, alone on the hill (Capitol Hill in Washington: in

Working Class Hero Lennon wrote , "There's room at the top they are
telling you still I But first you must learn how to smile as you kill I If
you want to be like the folks on the hill" - also a hill in Vietnam since
many battles of the Vietnam War were fought over hills, culminating
in the battle for Hamburger Hill. On May 14, 1969 American troops
assaulted Ap Bia Mountain, or Hamburger Hill - about one mile from
the Laos frontier. After nine assaults over six days of heavy fighting in
which severe losses were incurred US forces took the hill - only to
abandon the virtually worthless objective several days later) I The
man with the foolish (the politician and the soldier both devoid of
good sense or judgment) grin (a trait that causes the politician to grin

• - be self-content and the soldier to snarl - have an angry vicious

35
expression) is keeping perfectly still (the politician is not doing
anything to oppose the war and the soldier is waiting to ambush the
enemy) I But nobody wants to know him (the voters of American don't
want to know his true nature or to be acquainted or familiar with him
and as for the soldier who wants to know him and be shot?) I They
can see that he's just a fool (they can see he is a politician with poor
judgment and they can see that he is an enemy soldier waiting to kill
them even though he thinks he is hidden) I As he never gives an
answer (the politician never answers the question of why is America
in Vietnam and the soldier never answers - to be or act in return - he
never gets a chance to answer the enemies fire) I But the fool on the
hill (the politician on Capitol Hill and also the soldier in Vietnam) I
Sees the sun going down (sees unhappiness, darkness, gloom
coming to the world) I And the eyes (thoughts) in his head (in his
brain) I See the world spinning around (see the world in a tailspin and
see world revolution)."

"Well on the way (the politician well on the way to a nuclear

confrontation with the Soviet and the soldier well on the way to death
and healthy - well - on the way to meet the enemy before being
wounded) I head in a cloud (both thinking unrealistic thoughts -
idiom: keep your head out of the clouds and your feet on the ground)
I The man of a thousand voices (both the politician and the soldier
are advocates who represent someone else's policy or purpose)
talking perfectly loud (perfect - without qualification; pejorative "a
perfect idiot" In Jerk Of All Jerks McCartney wrote, "I'm the man that
disposes I Of nuclear waste I There's no need to worry I It's perfectly
safe." Loud - offensive in appearance) I But nobody ever hears him
(understands the evidence both the politician and the soldier present
to justify their actions: hear as in When The Rain Comes, "Can you
hear me?") I Or the sound he appears to make (or what both believe
are the sound arguments based on solid grounds that justifies killing)
I And he never seems to notice (but this doesn't phase either of them
or stop them nor do they advertise this fact) I And nobody seems to
like him I They can tell what he wants to do (kill other human beings) I
And he never shows his feelings (neither show remorse, sorrow or
any kind of human feelings) I He never listens to them (the anti-war
movement) I He knows that they're the fools (they are the foolhardy
ones, not him) I They don't like him (because they oppose what he is
doing in Vietnam)."

36
• FOOL ON THE HILL AS A POEM ABOUT BOB DYLAN

"Day after day, alone on the hill (on the top of the heap of the music
world - see made the grade in A Day In The Life) I The man with the
foolish grin (the singer who has created his own self-contentment
through what in my opinion was the use of drugs) is keeping perfectly
still (is not protesting the War in Vietnam) I But nobody wants to know
him (his old fans have abandoned him) I They can see that he's just a
fool (they can see he is a fool for giving up social criticism for a white
powder) I And he never gives an answer (no more "the answer my
friend is blowing in the wind" no more answers to the problems of
Dylan's age) I But the fool on the hill (but Bob Dylan) I Sees the sun
going down (sees the Beatles and other musicians unhappiness with
him) I And the eyes in his head (the thoughts in his mind) I See the
world spinning around (see the chaos all around - also Dylan has
become woozy from using, what in my opinion, was heroin)."

"Well on the way (to his death - well on the way to Over Dosing like

• so many other rock stars have done) I head in a cloud (his brain on
cloud nine - in a state of extreme happiness and in an unreal world) I
The man of a thousand voices (voice - utter with vibrating vocal
chords - a thousand songs) I talking perfectly loud (saying nothing
now that anyone can understand although his music is no longer
acoustic, it is amplified and is much louder) I But nobody ever hears
him (but very few understand, comprehend what he is saying) I Or
the sound he appears to make (or the rock music he makes during
his appearances) I And he never seems to notice (sarcastic: he
never advertises, makes public what he is doing) I And nobody
seems to like him (the his old fans in the folk community are upset
with him and other rock musicians who understand his poetry are
displeased with him and write songs to this effect) I They can tell
what he wants to do (the folk fans know that he wishes to play rock
and roll not acoustic folk music and the rock musicians who
understand his poetry know Dylan wants to do up what in my opinion
is heroin) I And he never shows his feelings (about politics) I He
never listens to them (to the Left and rock bands like the Beatles) I
He knows that they're the fools (that he is far more intelligent than

• they are) I They don't like him ... "

37
• ANALYSIS

There you have it, a poem that makes sense on three levels.
When I was locked up in Federal Prison after my dog bite a postman I
would sit and fret - is this poem about Vietnam or is it about Dylan?
Then it came to me - it was about both. This is what poetry is about -
the more meanings, the better the poetry, assuming the underlying
meanings have some morally redeeming quality to them, like putting
an end to evils of war, poverty and racism that seem to have always
plagued humankind.

During a press conference circa-1994 McCartney remarked

Fool On The Hill "was mine and I think I was writing about someone
like the Maharishi. His detractors called him a fool. Because of his
giggle he wasn't taken too seriously .. ."

SEXY SADIE recorded July 1968 (Lennon)

"Sexy (seductive) Sadie (sadist) what have you done I You made a

• fool (soldier see Fool on the Hill) of everyone I Sexy Sadie you
broke the rules (international law - by bombing civilian populations) I
You laid it down for all to see (in 1966 Johnson began the bombing of
Hanoi) I One sunny day (one happy day, during the Kennedy era)
the world was waiting for a lover (the world was looking for a savior -
the Peace Corps was formed, civil rights bills were introduced into the
United States Congress, the Alliance for Progress plan was
introduced to aid Latin America) I She came along to turn on
everyone (but then the United States turned-on double-crossed the
world when it began to make war on the Viet Cong and the North
Vietnamese) I Sexy Sadie the greatest of them all (America, the
greatest superpower, the greatest democracy of all nations) I Sexy
Sadie how did you know I The world was waiting just for you (waiting
in ambush, waiting to confront the greatest capitalist power) I Sexy
Sadie you'll get yours yet (you are going to be defeated) I However
big you think you are (despite however powerful and however
impregnable you think you are) I We gave her everything we owned
(the British compromised their moral beliefs, what they owned up to -
to acknowledge to be true, valid, or as claimed as did The Beatles)

• just to sit at her table Uust to share in America's material wealth . The

38
 Beatles suppressed their beliefs to remain at the top of the charts, the
record tables) I Just a smile (favor; countenance; as, the smiles of
Providence "The smile of heaven" - Shakespeare. Also just a song
as in Sergeant Pepper's Lonely Hearts Club Band, 'They've been
going in and out of style I But they're guaranteed to raise a smile")
would lighten everything (make Britain's economic burden lighter and
an anti-war Beatles song would illuminate the minds of many Beatles
fans as to the morality of the war in Vietnam) I Sexy Sadie she's the
latest and the greatest (sarcastic) of them all (she is the new empire
builder, she is the new British Imperial Empire or the new Nazi
Germany)."

ANALYSIS

You don't have to be a genius to figure out what Sexy Sadie

was about yet I was the only rock critic to point out the fact that the
song was not about a prostitute - or sex worker - despite words like
laid, turned on, lover that were used to formulate its superficial level
and despite the fact that Sadie Thompson was the name of a
prostitute in a Somerset Maugham novel. I asked John Lennon point
blank, "Is Sexy Sadie about Vietnam man?" He said, "No man, its
about a girl" but Yoko interjected, "Don't listen to him A.J. its about
Vietnam, you are right." Yoko was like cool. Sexy Sadie is an
allegory: an expressive style that uses fictional characters and events
to describe some subject by suggestive resemblances - an extended
metaphor.

BUNGALOW BILL recorded October 1968 (Lenn on)

"Hey, Bungalow (bungle - make a mess of, destroy or ruin also

Buffalo Bill - American warrior) Bill (typical American name) I What
did you kill, Bungalow Bill? (the alliteration here is reminiscent of the
anti-war chant, "Hey, Hey LBJ - how many kids you kill today?" LBJ:
President Lyndon Johnson the conservative demikraut who escalated
the war in Vietnam) I He went out tiger hunting (tiger: figurative - a
ferocious, bloodthirsty person - hunting - searching for - on a search
and destroy mission - an operation developed for United States
troops in Vietnam; troops would move through a designated area
• destroying the enemy troops as they found them) I with his elephant

39
 (white elephant - a valuable possession whose upkeep is excessively
expensive - his massive war machine) and gun (and M-16 machine
gun) I In case of accidents (a mishap; especially one causing injury or
death) he always took his mom (his higher authority - his
commanding officer) I He's the all American (the boy next door - in
the 1940's there was a radio series entitled Jack Armstrong, The Al/-
American Boy) I bullet-headed (obstinate and stupid - also
obsessed with guns, ammunition and hunting) Saxon (White
American Anglo Saxon Protestant - WASP) mother's son (someone
who obeys authority) I All the children (the anti-war protesters) sing
(Hey LBJ how many kids you kill today?)"

"Deep in the jungle (the jungles of Vietnam) where the mighty (a

warrior of great force and courage) tiger (enemy) lies (lies in ambush
and where it is deceptive as to who the enemy really is) I Bill and his
elephants (his detachment) were taken by surprise (stumbled up a
civilian , a child) I So Captain Marvel zapped (to hit destroy or shoot
something) in right between the eyes, zap! I (Hey Bungalow Bill how
many kids you gonna kill?)"

"The children (the anti-war generation) asked him if to kill was not a
sin (if killing innocent children went against his religion , Christianity) I
Not when he looked so fierce (when he began to have second
thoughts about his Nazi-like act in light of the teachings of Jesus) his
mummy butted in (his commanding officer interceded) I If looks could
kill Uudging from the child's evil facial expressions and of course if the
child was armed) I it would have been us instead of him (he would
have killed us) I All the children sing ..."

ANALYSIS

Lennon was a revolutionary and he didn't just sing about the

war in Vietnam, he sponsored riots that opposed it. In 1968, two
members of the Youth International Party (Y.l.P. - Yippies - a group
of revolutionary hippies) Abbie Hoffman and Jerry Rubin were
indicted for participating in a riot that occurred in Chicago, Illinois,
during the Democratic Convention that was held there . By the time
the next political conventions rolled around in 1972, these dudes

• were burned out and intimidated from the rigors of what became
known as the Chicago-Seven Conspiracy Trial. As a result myself,

40
• along with Thomas King Forcade, founder of High Times Magazine
and Irvin Dana Beal, now the leader of the Cures Not Wars medical
marijuana movement along with Aron "Pieman" Kay who threw pies
at every conservative politician and Watergate spy and their
grandmothers during the 1970's founded the Zippies - to put the zip
back into YIP. I recruited Lennon into our organization and he
supplied me with approximately $25,000 to finance a riot in Miami
Beach, Florida, during the Republican Convention. I did not lie to him
and tell him that the money was going to be used for peaceful
purposes. I made it clear that we were going to trash the city, attack
the cops with rocks and bottles and generally cause chaos . We did
just that and more - Yippie Ben Masel spied Senator Strom
Thurmond, a racist former Dixiecrat turned conservative Republican
who was in the midst of boarding a bus. Masel jumped on the bus,
ran up to Thurmond and punched him in his face then ran back to
Flamingo Park where the Zippies and other demonstrators were
camped out. Senator Thurmond was not happy about this. The FBI,
through their informants, found out it was Masel who performed this
action. Thurmond wanted to know what group Masel belonged to and

• where its funding came from. The FBI told him Masel was a Zippie
and the Zippies funding came from two sources - pot smuggling &
dealing and John Lennon. Thurmond told the feds - "Step up the
deportation proceedings against that trouble-makin' communistic
Beatie" and Lennon's problems with Immigration and Naturalization
Service became even worse than they already were.

Lennon did get a good deal of bang for his buck. About a
thousand Zippies went on the warpath after Nixon got the Republican
nomination for president despite the disastrous war in Vietnam and
the Watergate scandal. On the last night of the Republican
Convention Tom Forcade was arrested for possession of firebombs,
but they were so carefully constructed that the FBI could not prove
they were improvised explosive devices. The Miami Police
Department cornered me, and after discussing the fact that my cousin
was a big rabbi in Miami Beach, decided it was kosher to beat the
"you know what" out of me. While one cop aimed an automatic pistol
at me another fractured my ribs with kicks. Then we were given 30
minutes to get out of Dodge - leave town - but in reprisal for our

• actions against their vehicles the cops slashed the tires on our
vehicles. When I returned to New York City I furnished my

41
• commanding officer - John Lennon - with a complete report. He was
pleased with the way things went even with my having gotten beaten-
up!

LENNON & McCARTNEY'S ANTI-HEROIN POEMS

ADDRESSED TO 808 DYLAN

WHEN l'M SIXTY-FOUR recorded Decem ber 1966 (Mc Cartney)

"(McCartney takes on the persona of what I believe to be Dylan's

drug habit) I When I get older (become antiquated, a thing of the past
among musicians) losing my hair (my current style as in hair-style
had been lost, gone out of style. When my popularity has diminished.
See hair in A Day In The Life I hair D-E-0) I Many years from now I
Will you still be sending me a valentine (will you still be madly in love
with me - love to like something very much) I Birthday greetings (will
you still have a naked, defenseless reaction in a specified manner to
me) I bottle of wine? (will you still be entertaining your audience -
wining and dining them - with songs about that, in my opinion, were
about heroin. See wine in Norwegian Wood I wine D-E-0) I If I'd
been out (out of it - wasted) till quarter to three (all of the time , both
day and night) I Would you lock the door? (would you deny me the
opportunity to keep you addicted?) I Will you still need (desire me
with great intensity) will you still feed me (feed a drug habit) I When
I'm sixty-four? I You'll be older (have been addicted for many years)
too I And if you say the word (and if you agree)/ I could stay with you
(you could still be addicted)."

"I could be handy (I could enhance your ability) I mending (to put into
good shape or working order) a fuse (composing a poem - fuse - to
blend thoroughly by melting together) I When your lights (something
that enlightens or informs - a guiding light, an inspiration) have gone I
You can knit (to form with needles) a sweater (clothes - words clothe
in its figurative sense means: to cover or invest, as with a garment;
"thoughts are often clothed in words") by the fireside (by heating
something up and cooking it) I Sunday (a day devoted to religion -
Leftist politics) mornings (at the start of your life) go for a ride
(sarcastic - we can both go for a ride - be fooled together. You were
deceived about Communism, why not about drugs?) I Doing the

42
•
garden (doing drugs with all the flowers - the best examples of the
rock music world) I digging the weeds (someone like a weed in their
detrimental quality) I Who could ask for more? (sarcastic: there is
much more in the world than drug addicted musicians)"

"(More sarcasm) I Every summer (a time of greatest energy,

happiness: a heyday) we can rent (pierce with sound) a cottage (a
small house - audience) in the Isle of Wight (white - free from moral
impurity) I If it's not too dear (if this does not bother you - dear - used
to express annoyance or dismay) I We shall scrimp (make the songs
scanty) and save (and political) I Grandchildren (descendants of his
original fans) on your knee (deeply engaged - knee deep- in Dylan's
works) I Vera, Chuck & Dave."

"Send me a postcard (a song with message in it about heroin - the

meaning of these words are clarified in the next line) drop (a dose of
medicine) me a fine (do a line, to inhale a drug) I Stating point of view
(that is reflective of your belief in me as the answer to all your
problems) I Indicate precisely what you mean to say (sarcastic: be

•
frank in your thoughts, don't express yourself in poetry) I Yours
sincerely, wasting away (something that gets you wasted, very high) I
Give me your answer (to whether you still crave me or not) I fill in
(raise the level of) I a form (one of the different aspects a word may
take - write me a poem) I Mine for evermore I Will you still need me,
will you still feed me I When I'm sixty-four?"

ANALYSIS
The key to this poem was the refrain "will you still need me, will
you still feed me." "Need" as in to have to have something, or to want
something very much and "feed" as in "I commit crimes to feed my
habit." I asked myself, why "feed"? Why not support, clothe, house?

On its superficial level this poem is about the temporary nature

of fame. McCartney wondered if the Beatles were just a craze, a fad
and would be someday forgotten like the hula-hoop? But why would
McCartney be insecure? He knew he was a part of an Elvis-like
mythology. The Beatles fame lives on: In 1996 the Beatles Anthology

•
sold over 15 million copies. In December 2000 a compilation of the

43
•
Beatles poems and lyrics became the number one best seller in more
than twenty countries, including the United States.

Viewing this poem as being about fleeting fame is far too

superficial as everyone looked at this song in this way. If figuring out
the meaning of McCartney's lyrics were turned into a game show
along the lines of Who Wants To Be A Millionaire? and the audience
was polled as to the meaning of Beatles poem they would always be
wrong. The best thing to do would be to use a lifeline to call an expert
- either A.J. Weberman or Paul McCartney.

LADY MADON NA recorded February 1968 {McCartney)

"Lady Madonna (lady and Madonna are both found in Dylan's poem
Visions of Johanna - "in the empty lot where the ladies play blind
man's bluff with the key chain" and "Madonna she still has not
shown" so we know this poem has something to do with Dylan)
children at your feet (influencing youth as was part of your initial
ambitions - feet are ambitions - see Don't Pass Me By also the

• phrase at your feet is found in Sad Eyes Lady of the Lowlands which
was on the same record as Visions of Johanna) I Wonder how you
manage to make (come to terms with, justify, rationalize) ends meet
(ends: the state of affairs that a plan is intended to achieve - in this
case to be a role model for youth and to be what in my opinion is to
be a heroin addict - how do you reconcile these two contradictory
things - make them meet) I Who finds the money? (who receives
the money? Who do you give currency to - accept into your life) I
When you pay the rent? (rent: a fixed amount of money that you have
to pay periodically to support your habit since the effects of heroin
last for a short time and it is addictive) I Did you think that money
was Heaven sent? (do you think that decent people are profiting from
the money you spend to support your addiction and that God sent it
to them with his blessings? Do you think God approves?)"

"Friday night (Dylan the entertainer - the Beatles use of the days of
the week denote a sequence in time, also Friday night is a traditional
time for entertainment) arrives (arrives - becomes known - on the folk
music scene) without a suitcase (without his own songs - see

• clothes as songs in A Day In The Life. Dylan's first LP consisted

44
•
mainly of spirituals such as Gospel Plow and folk songs such as The
House Of The Rising Sun. He also came to New York City with just
the clothes on his back) I Sunday morning creep in like a nun (the
next early stage of Dylan's career involves Dylan being unpleasantly
strange - in Paul McCartney's opinion - creepy and political - see
religion as politics in Day In The Life) I Monday's child (that Monday
morning feeling: The feeling of tiredness and reluctance to work that
people often feel after the weekend, at the thought of another week's
work ahead and that caused Dylan to regress) has learned to tie 16 his
bootlace (to boot - to shoot heroin. In Mr. Tambourine Man, when
Dylan is straight he "wait[s] only for [his] boot heels to be wandering"
lace refers back to tie and is like a tourniquet or belt that is wrapped
around one's arm in order to find a vein. It also means that which
binds or holds, as the use of heroin does, since it results in addiction
much more rapidly than people think. In his epic poem about Dylan's
life entitled Standing Stone McCartney wrote, "Thud of boot, beff'
again associating, belt, a word that is similar to face with boot) I See
how they run (see the order of things, see their true nature even
though it is not how you wished that it were)."

• "Lady Madonna, baby at your breast (Dylan, with a habit that you
need to feed periodically: see feed in When I'm Sixty-Four) I Wonder
how you manage to feed the rest (wonder how you are able to feed -
to gratify your audience) I Lady Madonna, lying on the bed (content
with yourself see Day In The Life for bed. Also lying on the bed as
telling fies has become your foundation - lying as in Lennon's poem
Happiness Is A Warm Gun - "lying with his eyes while his hands are
busy working overtime") I Listen to the music playing in your head
(listen to the music that has resulted from you having turned into,
what in my opinion was a smack head. Also one day you are going to
have to face the music and pay the piper for your fleeting pleasure) I
Tuesday afternoon is never ending (Dylan has entered the "foggy
ruins of time" as he describes being high in Mr. Tambourine Man 17 ) I
Wednesday morning papers didn't come (and because his work was
deteriorating after he began writing about what I believe to be the
pleasures of heroin, he is not getting as much publicity as he once did
- the press is visiting and reviewing Dylan's concerts less and less) I
Thursday night your stockings needed mending (your songs need

• rewriting - see darning your socks in the night in Eleanor Rigby) I See
how they run (see how they are flawed)."

45
• ANALYSIS

McCartney really stuck it to Dylan in Lady Madonna about what

in my opinion was Dylan's addiction to heroin, just as John Lennon
did the same in Happiness is a Warm Gun, the next poem to be put
under a Beatleo/ogical microscope. But Lennon, unlike McCartney,
eventually got addicted to heroin himself, although unlike Dylan his
addiction did not prevent him from being political. I have got to hand it
to Paul McCartney despite the nasty things he has written about me
in his poetry - even with the egotism engendered by superstardom
he managed to keep his head together through all these years. In his
biography he said that he snorted cocaine on one occasion and that it
wasn't his cup of tea. Lennon probably told himself that he, being the
great John Lennon, would just use heroin occasionally and not get
addicted. However, everyone who is destined to become an addict
tells themselves' - the minute I get a chippy - the first signs of
addiction, I will quit. But even the angel dust heads and crack heads I
met after I was arrested and thrown into The Tombs - the
depression-era jail in lower Manhattan - all agreed that no one can
handle heroin and that once you use it for the first time addiction is a
foregone conclusion.

HAPPINESS IS A WARM GUN recordedSeptember1968(Lennon)

"She's (Dylan's) not a girl who misses much (feels or suffers from the
lack of money or drugs) I Do do do (do up - shoot up drugs) I She's
well acquainted with (on the level of her relationship with the
connection - she knows him well. On the level of her connection with
the drug - understatement, she's addicted so she has to come into
contact with it quite often) I the touch (on the connection level touch
as to put the touch on somebody - to ask them for money. On the
drug level the event of something coming in contact with the body) I
of the velvet (on the connection level sarcastic - not at all soft and
delicate. On the drug level soft and delicate in terms of carefully
shooting drugs) hand (on the connection level someone who has
their hand out for your money. On the drug level hand as in ability -
the delicate ability to inject yourself with drugs) I Like a lizard on a
window pane (on the connection level a lizard: an evil person who is

46
• reflective of yourself since without the demand for drugs he would not
exist. Also the way in which Dylan, a lounge lizard or social parasite
looks out at the world through his window on reality: a manner that is
painful to Lennon. On the drug level like the way that a lizard perches
on a pane of glass via a suction cup - an eyedropper is often used as
a suction device when shooting dope: "and when the blood begins to
flow and it shoots up the droppers neck and I'm closing on death" -
Heroin by Lou Reed) I The man in the crowd (a group of people
sharing similar interests - the rock music crowd) with the multicolored
mirrors (multiple variety of effects of language that has its parts
reversibly or perversely arranged in comparison with another similar
thing as in mirror image) I on his hobnail (a short, sharp-pointed, nail
a spike - drug slang for needle) boots (to shoot heroin - boot up -
see Lady Madonna) I Lying with his eyes (thoughts) while his hands
are busy (his ability, his dexterity) I Working overtime (feeding his
drug habit and creating) I A soap impression (a corny romanticized
characterization - soap as in soap opera) of his wife (of what he is
now married to, what he is very involved with) which he ate
(swallowed, convinced himself is real) I And donated to the National
Trust (and betrayed the national trust of Woodstock Nation by dishing
out this sort of poetry in his lyrics) I Down (heroin is the ultimate
downer) I I need a fix cos I'm going down (the last one is wearing off)
I Down to the bits (bit is part of a bridle - horse - heroin see Being
For The Benefit Of Mr. Kite) that I left uptown (Dylan's first song, that
in my opinion was about heroin, is Spanish Harlem Incident -
Spanish Harlem is in upper Manhattan) I I need a fix cos I'm going
down I Mother Superior (Dylan the political folksinger) jump (skip
over, escape from, avoid also jump as in claim jumper - to take
possession of) the gun (gun - from online dictionary of drug slang to
inject a drug; needle. Also the idiom jumped the gun - acted too soon)
I Happiness is a warm gun (in my opinion this is a parody of the kinds
of poems Dylan was writing around this time - happiness is set of
works - narcotics paraphernalia - that have just been used) I
Happiness bang, bang (to bang means take a shot of heroin) shoot,
shoot (shoot up dope) I When I hold you in my arms (when I put a
needle into my arm - arm as in the movie about heroin titled, The Man
With The Golden Arm - Dylan uses a similar line in I Threw It All
Away on his Nashville Skyline LP that was released prior to

• Happiness Is A Warm Gun - "I once held her in my arms I She said
she would always stay .. . No matter what you think about it you just

47
• can't do without it etc.") I And I feel my finger (my involvement, as in
a finger in the pie) on your trigger (with a drug that is going to trigger,
initiate, actuate a state of euphoria) I I know no one can do me no
harm (except for myself of course) I Because happiness is a warm
gun, mama."

ANALYSIS

Take a tip from A.J . Weberman, a dude who helped found the
drug culture and did prison time for doing so - don't mess with
smack. Just take my word for it and you'll be better off in the long run.
Even if you snort it and pass it around in coke a spoon you can still
get Hepatitis from the transference of mucus from person to person. If
you shoot it you can O.D., or what is even worse since it is prolonged
misery, contract HIV and then AIDS . I am sure heroin is a wonderful
high since people devote their lives to it - it is too good, that is the m-f
problem.

GOLDEN SLUMBERS recorded July 1969 (Lennon-McCartney)

"(This is addressed to Bob Dylan) I Boy, you're going to carry (to

sustain the burden of) that weight (that overpowering source that is
controlling you) I Carry (to have on one's person. Drug slang, "Be
cool when you are carrying") that weight (weight a large amount of
drugs as in "The dude is dealing weight") I a long time I I never give
you my pillow (something to mitigate the effects of a disorder) I I only
send you my invitations (I only urge you politely to stop using drugs) I
And in the middle of the celebrations (to hold up or play up for public
notice - Dylan's poetry celebrates the joy of heroin use) I I break
down (I fail) I Once there was a way to get back homeward (once
there was a way to move in the direction of a goal) I Once there was
a way to get back home (once there was a legitimate, moral goal) I
Sleep (remain under the effects of a sleep inducing drug) pretty
darling (exaggerated use of language - sarcastic) do not cry (do not
sing anymore protest songs) I And I will sing a lullabye (more
sarcasm - and I will go along with it) I Golden (the most valuable of
its kind) slumbers (to be in a torpid, slothful or negligent state) I fill
(obstruct) your eyes (your thoughts) I Smiles (approval, songs - the

48
moving of the lips) I Smile D-E-0) awake you (make you conscious
and aware) when you rise (return from death)."

ANALYSIS

This song was based on a poem by Thomas Dekker, an 15th

Century English dramatist: "Golden slumbers kiss your eyes I Smiles
awake you when you rise I Sleep pretty wantons, do not cry I And I
will sing a lullaby I Rock them, rock them, lullaby."

SHE CAME IN THROUGH THE BATHROOM WINDOW

recorded with Polythene Pam as one song July 1969 (Lennon)

"She came in through the bathroom (a venue where things were

clean. See She 's Leaving Home) window (worldview, belief, outlook)
I Protected (kept safe from the rest of the world) by a silver (clear
and ringing in tone) spoon (to present information so completely as
to preclude independent thought) I But now she sucks (is attracted
by an inexorable force, inducement, gets sucked-in) her thumb (and
is under a thumb, completely under a power or influence; in a
condition of subservience) and wanders (drifts from the folk music
and the Left as in the Dylan poem, Drifter's Escape) I By the banks
(by composing a collection of similar things, in this case poems that in
my opinion glorify the use of heroin) of her own lagoon (that are
generated by her shallowness of thought)."

"Didn't anybody tell her? (sarcastic - although Lennon is keeping

Dylan 's status a secret from the public and the media it should be
obvious from Lennon I McCartney's lyrics) I Didn't anybody see?
(didn't anyone understand its meaning?) I Sunday (a day of prayer -
religion - politics) is on the phone (is on Dylan's recordings and is
progressing) to Monday (to the next stage in Dylan's poetic evolution,
where he gets that Monday morning feeling and switches to
something else) I Tuesday's on the phone to me (then Tuesday,
drug use as in Lady Madonna, takes over his poetry and recordings
and Lennon hears this)."

"She said she'd always been a dancer (she always used drugs - see
For The Benefit of Mr. Kite) I She worked at 15 clubs a day (an
association of persons for some common object meeting periodically)

49
• I And though she thought I knew the answer (and though Dylan
thought that Lennon knew the answer to what his poetry was about) J
Well I knew what I could not say (he was right - he knew what would
be too controversial for him to say)."

"And so I quit the police department (sarcastic: stopped trying to

make Dylan clean and put his life in order) I And got myself a steady
job Uob - a criminal enterprise - Lennon began to use heroin himself.
Also sarcastic: trying to get Dylan straight was a steady job -
constant in principle and purpose. In Paperback Writer
Lennon/McCartney used steady job in the same sarcastic manner,
"His son is working for the Daily Mail, it's a steady job but he wants
to be a paperback writer") I And though she tried her best to help me
(sarcastic: and though Dylan tried his best to help Lennon with his
drug problem) I She could steal (make oneself the focus of Lennon's
poetry, steal the spotlight) but she could not rob (to deprive Lennon of
something due, expected, or desired such as heroin - Note: the use
of steal and rob in this verse reinforce the definition of job as a
criminal act)."

LENNON'S DRUG SONGS

STRAWBERRY f IE LOS recorded November 1966 (Lennon)

"Let me take you down (into the depths of your consciousness) cause
I'm going to Strawberry Fields (I 'm going to drop some acid and pick
up some strange vibes - field: the space around a radiating body
within which its vibrations can exert force on another similar body not
in contact with it) I Nothing is real (everything is a hallucination) and
nothing to get hung about (and nothing to get dependant on, strung
out on - as in my heroin habit hung about for decades) I Strawberry
Fields forever (acid is where it's at, not a habit forming drug)."

"Living is easy with eyes closed (being alive is simple when your
thoughts have not be opened by LSD) I Misunderstanding all you see
(not really seeing another level of reality that will explain the nature of
the thought processes and the mind) I It's getting hard to be someone
(its hard to have an ego on acid) but it all works out (but the drug

• 50
wears off) I It doesn't matter much to me (it doesn't matter much to
Lennon if he stays high forever)."

"No one I think is in my tree (no one is in my hell: tree - punishment

as in hanging tree) I I mean it must be high or low (I must either be in
heaven or in hell: In 1963 Aldous Huxley published a book about
psychedelic drugs titled , The Doors Of Perception Heaven and Hell) I
That is you can't you know tune in (tune in - bring into harmony - as
in Tim Leary's slogan - "Turn on, tune in and drop out") but it's all
right I That is I think it's not too bad (that is I think its not a total
bummer)."

"Always, no sometimes, think it's me (always I think its my mental

ghosts that are haunting me - no sometimes I do - I am mentally
disoriented) I But you know I know when it's a dream (but I can still
tell reality from hallucinations) I I think I know I mean a "Yes" but it's
all wrong (I think I know which is which I mean I do but then I don't) I
That is I think I disagree (that is I think I am no longer sure)."

ANALYSIS

Strawberry Fields contained a lot of very simple words and this

made its meaning highly ambiguous. The only key words are "tune
in." The fact that it is about acid is more obvious from its musical
arrangement that is stoned psychedelic. Lennon little help in
explaining it's meaning, "Strawberry Fields was a place near us that
happened to be a Salvation Army home" although many hippies
believed that acid was their salvation.

L.S.D. is one of the strangest drugs I have ever taken , as it

doesn't change what you think, it changes the very way you think.
Sometimes you feel as if you have died but you cannot determine if
you in heaven or if you were in hell. There were times when I couldn't
tell the hallucinations from reality and almost drifted off into a
psychotic state. I dropped acid over fifty times then stopped after it
became an ordeal. Instead of taking acid I suggest you visit my
website http://acidtrip.com for a simulated LSD trip.

51
• EVERYBODY'S GOT SOMETHING TO HIDE 'CEPT FOR
ME AND MY MONKEY recordedJune1968(Lennon)

"The deeper you go (the more involved, engrossed, addicted you get)
the higher you fly (the more wasted you become) I The higher you fly
(the more wasted you become) the deeper you go (the deeper into
addiction you go - you get caught in a vicious circle) I Come on is
such a joy (come on - to first feel the effects of a drug) I Come on
let's make it easy (let's shoot up and get a real come on - a rush) I
Take it easy (let's take it the easy way, intravenously) I Everybody's
got something to hide (all the straight people out there are hiding
some vice that they engage in) except for me and my monkey (but I
am being honest about my drug habit) I Your inside (your inner being,
consciousness, as in the Lennon poem Crippled Inside) is out (is out
of the picture) and your outside (something not belonging to ones
regular occupation or duties) is in I Your outside is in (you are outside
of the law) and your inside is out (and you are giving out confidential
information in your song lyrics)."

• ANALYSIS

Lennon's FBI file revealed that Yippie Jerry Rubin was taken
aback at John's use of hard drugs. "Source advised that Rubin is at
odds with Lennon due to excessive use of drugs ... Source advised
that Lennon appears to be radically oriented however he does not
give the impression he is a true revolutionalist since he is constantly
under the influence of narcotics." I inadvertently helped Lennon feed
his habit: When he lived on Bank Street I installed a pair of telephone
wires leading to a terminal box where composer John Cage's
telephone line originated. I attached this wire to a red telephone in
Lennon's apartment so that he could make telephone calls late at
night, after Cage had gone to sleep, that could not be tapped by the
FBI. Lennon assured me that these calls were of a political nature but
in retrospect I believe that they were calls to his heroin connection.

COME TOGETHER recordedJuly1969(Lennon)

•
"Here come old (antiquated) I flattop (John Lennon with hair -
a style - that is flat, not interesting, lacking emotion. Also here he

52
•
comes in the 1950's with a short flattop haircut) I he come grooving
up (play on the word growing up - he began to groove heavy - enjoy
his life) slowly I He got joo-joo Uujube candy- chewy candy that was
malleable like black hashish - in the legends of the 1950's when a
submarine would spring a small leak the sailors would yell, "Get the
jujubes!" so as use the clay-like candy to plug up the hole) eyeball
(Lennon had a piece of black hash about the size of an eye that has
affected his thoughts - eyes - and he had a ball with it) he one holy
roller (someone who is going to roll that whole piece of hash in with
some tobacco and smoke it - a practice many American hash heads
like myself frowned up when they witnessed their British brothers and
sisters practice it. Also holy roller as a member of a religion that
expresses ecstatic fervor - a member of the drug culture) I He got
hair down to his knee (he is deeply involved, up to his knees, in the
alternative lifestyle - hair as style as in hair-style) I Got to be a joker
(beatnik and a poet) he just do what he please (he makes up his own
rules of morality)." It should be noted that in July 1960 the British
tabloid People did an expose of the sordid conditions that beatniks
lived in that featured none other than John Lennon's beatnik pad .

• "He wear no shoeshine (Lennon doesn't make it obvious as to what

he is up to in his career see shoes in A Day In The Life I shoe, shine
O-E-0) he got toe-jam football (toe in Dylan's symbolism means
reach a high point - as in toe the line. When Dylan is not high in Mr.
Tambourine Man he sings, "My toes to numb to step, wait only for my
boot heels to be wandering." Jam: get stuck or immobilized, football
is a controversial issue like a political football - so toejam football
means by getting high Lennon has become addicted and the morality
of addiction is the subject of much controversy - there is also a visual
image here similar to that of the jujube eyeball - toejam, the residue
of sweat and sock fibers found between the toes is another malleable
substance and a football is somewhat similar visually to an eyeball
only larger - rather than a small amount of hashish Lennon now has
a large amount of raw opium and as a result) I He got monkey (a
monkey on his back) finger (with which he is deeply involved, he has
his finger in the pie) I He shoot coca-co/a (he also shoots cocaine) I
He say 'I know you, you know me' I One thing I can tell you is you
got to be free (I am doing wrong and I admit it) I Come together (get

•
your act together) right now over me (above me since I don't have my
act together)."

53
• "He bag production (bagism was a visual poetic happening during
which John and Yoko appeared at a press conference covered by
paper bags - however the recurrent theme of this poem is drugs and
a bag is an amount of drugs, like a dime bag, nickel bag) I He got
walrus (Lennon - see I Am The Walrus. Lennon also sported a
walrus mustache) gumboot (gum is a sticky substance - stick - to
place or put out or get others stuck on - boot - to shoot dope - so
Lennon has introduced others to the pleasures of heroin) I He got
Ono sideboard (he has made Yoko Ono an extension of himself - in
my opinion he has got her onboard his drug trip - he has Yoko using
heroin) I he one spinal (backbone - fortitude and determination)
cracker (crack - break suddenly and abruptly - Lennon broke down
Yoko's moral fortitude and compunctions against heroin) I He got feet
(ambitions - as in get a foot in the door) down below (not worthy of
someone, beneath him) his knee (that he is deeply engaged - knee
deep - in . Also on bended knees - he has low ambitions to make
others submissive to a white powder) I Hold you in his armchair (arm
is power as in the word , strong-arm you I arm D-E-0. Chair is a
position of eminence - armchair becomes powerful position of
eminence) I you can feel his disease (you can share his addiction) I
Come together right now over me I Right! (sarcastic)."

"He roller-coaster (roll - the act of throwing dice - gamble - coast -

the coast is clear - the danger is over - Lennon is gambling with and
endangering his life by doing what he describes in this poem) I he got
early warning (and when he began doing it it almost cost him his life) I
He got muddy water (he had some confusion - muddy the waters -
about the potency of the drugs he was using or the impurities they
contained - also he has the blues - Muddy Waters was a black blues
musician) I he one mojo (a mojo is a magical amulet once popular
among American blacks that was supposed to bring good luck) I filter
(addicts use cotton to filter heroin before shooting it) I He say 'One
and one and one is three' (he is trying to determine the value or
strength of something) I Got to be good-looking (got to watch closely)
cos he's so hard to see (because it is difficult to determine the
strength of a white powder by just looking at it) I Come together right
now over me."

• 54
• ANALYSIS

In his book on John Lennon, Albert Goldman, who was a close

friend of mine, reported that John and Yoko were heavily into drugs
and Come Together confirms this. Lennon was a secret junkie. I
spent twelve hours at a pop with him and never noticed any signs of
addiction. Lennon knew that I strongly disapproved of heroin use so
he concealed his disease from me.

That was about all he concealed: John and Yoko would be

laying a double bed in an all white room stark naked watching
television with the sound off. It's like I saw the dude's uncircumsized
pecker on numerous occassions. It's many a Beatles groupie who
would have gladly changed places with me! We talked for hours on
philosophical questions such as the existence of God. Neither of us
were believers. Lennon pointed out that if the universe needed a
cause to come into existence and God was that cause, who caused
God to come into existence?

• On occasion I would attack Dylan for what I believed was

Dylan's heroin use and this would greatly upset Lennon. Before John
and Yoko met me in person they wrote following letter to the Village
Voice demanding I apologize to Dylan for my previous activities: "We
ask A.J. Weberman to publicly apologize to Bob Dylan for leading a
public campaign of lies and malicious slander against Dylan in the
past year. It is about time someone came to Dylan's defense when
A.J. published articles and went on radio calling Dylan a junkie -
which he never was [Note: Lennon was addicted to heroin at the time
he wrote this letter) - attacked Dylan for 'deserting the movement'
when he was there before the movement and helped create it [Note:
Lennon never denied that Dylan left the Movement) - and publicized
Dylan's address - exposing Bob and his wife and children to public
embarrassment and abuse.

"Dylan is more than a myth - he is a human being like you and

me. He has feelings and sensitivities like you and me. Yet who raised
his or hers voice or uttered a word to defend Dylan when A.J.
Weberman began his personal campaign of slander against Dylan -

• in the true tradition of the sensationalistic press who will to print

anything about somebody famous [See Polythene Pam] - even

55
organizing demonstrations at Dylan 's home - for god's sake: - can 't
Dylan have some privacy? Can't he have some peace of mind in his
own home to think and write and make music and be with his family?

"Weberman took advantage of Dylan's fame. If Bob Dylan

attacked A.J. Weberman who would listen or publish it? If A.J.
Weberman has some 'inside gossip' or 'the real truth ' about Bob
Dylan everyone is all ears because everyone wants to talk about Bob
Dylan . Stories spread from person to person in an ever-widening
circle of exaggeration and bullshit. No one cares to find out the truth
about Bob Dylan the person. They are too busy amusing themselves
by telling outlandish stories about Bob Dylan - the myth - whom they
have never met.

"Weberman tried to make a name for himself by attacking Dylan

and proclaiming himself a Dylanologist or something like that. No one
else named Weberman an expert on Dylan. Weberman calls himself
an expert and all of a sudden the press is all over him trying to get
information or gossip about Dylan. Now whenever someone writes
about Bob Dylan they also interview A.J. because he is a self-
proclaimed authority on Dylan's music. A.J. claims everything that
Dylan writes is either about Weberman or about heroin . What bullshit!

"Weberman is to Dylan as Manson is to the Beatles - and

Weberman uses what he interprets from Dylan's music to try and kill
Dylan and build his own fame. Now A.J. Weberman takes credit for
Dylan's George Jackson song. More egocentric bullshit. Dylan wrote
it in spite of Weberman and in spite of the Movement. Dylan wrote it
because he felt it.

"A.J. Weberman's campaign and the Movement's complicity in

it is the current fad of everyone in the revolution attacking each other
and spreading false rumors about each other. It's time we defended
and loved each other - and saved our anger for the true enemy,
whose ignorance and greed destroys our planet. - The Rock
Liberation Front - David Peel, Jerry Rubin, Yoko Ono, John Lennon
December 2, 1971."

I wrote a letter of apology to the Voice after which , for the first
time in my life, I went into a deep state of depression.

56
• YER BLUES recorded August 1969 (Lennon)

"In the morning (in my early years) wanna die (I was plagued by
depression) I In the evening (in a period of decline) I wanna die I If I
ain't dead already (if I haven't committed suicide) I Ooh girl you know
the reason why (its because I have been able to deal with my
depression by using heroin) I My mother was of the sky (mother as
in "Mother Superior jump the gun" - my major authority figure, Bob
Dylan was way ahead of his time as far drug use went) I My father
(father - an authoritative witness to the Church's - politics - teaching
and practice) was of the earth (of the people, of the planet earth) I
But I am of the universe (and I am a child of everyone, everywhere) I
And you know what it's worth (and you being part of the earth's
people know that this is very valuable, a worthy cause) I I'm lonely
wanna die I The eagle (the eagle - a symbol of power - and
surveillance - eagle-eyed) picks (to pick holes - to find fault) my eye
(my unconventional thoughts) I The worm (someone who has a nasty
or unethical character undeserving of respect - heroin connection) he

• licks (finds the solution to a problem) my bone (that is at the very

core - "down to the bone" - of my existence) I I feel so suicidal (ruin
of one's own interests) I Just like Dylan's Mr. Jones (there is no
mention of suicide in Ballad of a Thin Man, however the words eye
and bone are present - a jones is a drug habit so Lennon feels as
self-destructive as Dylan who has become "Mr. Jones," "Mr. Drug
Habit" since in my opinion both of them were addicted to heroin) I
Black (offering little or no hope) cloud (something that makes one
gloomy or depressed) crossed (burdened and afflicted) my mind I
Blue (obvious, clear, apparent) mist (anything which dims or darkens,
and obscures) round my soul I Feel so suicidal I Even hate my rock
and roll."

ANALYSIS

Lennon was a manic-depressive as are so many artists. Edgar

Allan Poe wrote: "Men have called me mad, but the question is not
yet settled, whether madness is or is not the loftiest intelligence -
whether much that is glorious - whether all that is profound - does not
• spring from disease of thought - from moods of mind exalted at the

57
•
expense of the general intellect." Genius and insanity are entwined .
English poets William Blake, Lord Byron and Alfred, Lord Tennyson,
experienced the extreme mood swings. Lennon dealt with his periods
of depression by using the greatest anti-depressant known to man -
heroin. He also had an active sex-life with Yoko, and she became
pregnant several times. The majority of these pregnancies,
unfortunately, resulted in miscarriages. Then of course Lennon could
escape his depression by playing and listening to rock and roll. There
you have it - Lennon's cure for bi-polar disorder, SEX, DRUGS and
ROCK AND ROLL. The drug part however, had a major drawback:

COLD TLJ RKEY recorded October 1969 (Lennon)

"Temperature's rising (intense passion or emotion is increasing) I

Fever (intense nervous anticipation) is high I Can't see no future I
Can't see no sky (sky is also future, repetition is for emphasis) I My
feet (ambitions) are so heavy (are weighing down on me and pointing
me in one direction: to get more drugs in my blood stream) I So is my
head (so that it will effect my brain) I I wish I was a baby (I want

• instant gratification) I I wish I was dead (I feel suicidal) I Cold turkey

(withdrawal symptoms) has got me on the run I Body is aching I
Goose-pimple bone (emotional stress right down to the bone) I Can't
see no body I Leave me alone (when I knew Lennon there were times
when he would lock himself in his all white room for days and refuse
to see anyone. Yoko would tell me that he was depressed but now I
realize he was going cold turkey) I My eyes are wide open (my
thoughts are focused on getting more heroin) I Can't get to sleep
(can't relax, chill out) I One thing I'm sure of I I'm at the deep (strongly
felt) freeze (to make or become motionless or unable to move,
because of fear, everything has stopped) I Thirty-six hours I Rolling
(steadily increasing) in pain (physical discomfort) I Praying for
someone I Free me again (get me high again) I Oh I'll be a good boy I
Please make me well I I promise you anything I Get me out of this
hell (Lennon will sell out his beliefs for a shot of smack)."

ANALYSIS

In his autobiography How To Talk Dirty And Influence People

• Lenny Bruce recalled the time his mother caught him jerking off -

58
• masturbating - and told him that he had to stop or else hair would
grow on his palms. Lenny recalled that he was so frightened he
immediately stopped jerking off - he went cold jerky.

In any event, Lennon, unlike Dylan, didn't romanticize heroin

addiction he just told it like it was. I was thirteen years old when I first
observed a junkie going through withdrawal symptoms. It was on a
train going to Florida - the dude got off in Lexington, Kentucky, where
the federal government once had a hospital for drug addicts. I will
never forget him: he was chain smoking walking up and down the
aisles, shaking and fidgeting. His nose was running and mucus was
dripping down on his shirt. I had read about addiction in books by
Alexander King, such as My Enemy Grows Older, but had never seen
it firsthand. That's not the reason I never took heroin. I was brought
up in an orthodox, kosher, Jewish household and I could never find a
bag of heroin with a Kor an (OU) on it.

LENNON I McCARTNEY'S DIFFICULT POEMS

• I AM THE WALRUS recordedSeptember1967(Lennon)

"(The first two lines of this verse are highly ambiguous, although He
generally refers to God. This however, does not make sense in terms
of the rest of the verse) I I am he as you are he as you are me I And
we are all together (the only word in these two lines with any
significance is together which appears in All Together Now a poem
about unity written primarily by McCartney - and in Come Together
where Lennon writes "Come together, right now, over me." So this
would translate into, we are one race, the human race, so let's focus
on our similarities not our differences) I See how they run (this line is
found in Lady Madonna - where it means observe their true nature
and also means notice their flaws. In this context it simply means see
how the flee) I like pigs from a gun Uust as policemen do when shot
at by rioters - major riots had occurred in Detroit and Newark in
1967) I see how they fly (see how the rioters or insurrectionists win
popular acceptance among the other oppressed peoples of the world)
I I'm crying (I am proclaiming my public support for the insurgents)."

• 59
•
"(In this next verse Lennon protests the widespread presence of
heroin in the Black ghettos of America) I "Sitting on (possessing -
drug slang - "He is sitting on a lot of weight") a corn (usage in the UK:
corn - the most important crop of a particular region - opium, the
coca leaf) I flake (flake - slang for heroin or cocaine) I waiting for the
van (the car, the bus a vehicle to take you to fortune. Also a police
van) to come I Corporation (the council of a city or town - the
government) t-shirt (the United States Government resource - shirt -
a large part of one's money or resources - "he lost his shirt on that
dope deal") I stupid bloody Tuesday (stupid bloody drug use - see
"Tuesday afternoon is never ending" - Lady Madonna) I Man (the
man - the connection) I you been a naughty (committed criminal
acts) boy (and have become a boy- a servant to the oligarchy, to the
racist powers that be) I You let your face grow long (you allowed your
character to become undesirable - long as in having a greater length
than is desireable or necessary) I I am the eggman 18 (you can listen
to the egg - the idea I will try to implant in your brain) they are the
eggmen (or you can listen to the people who supply the connection
with drugs ideas: The Mafia, the Columbian Cartels) I I am the

•
walrus I (I am John Lennon the political poet. In Through The
Looking Glass Lewis Carroll portrayed a politician who expressed
himself in poetry as a walrus. Carroll's psychedelic imagry became
popular with the hippies of the 1960's) I goo goo goo joob (the fact I
am a political poet is almost impossible to figure out due to the fact
that my poetry might appear nonsensical just as Lewis Carroll's
allegory appeared as such to many of his readers)."

"Mister City Policeman (the censor who polices - cleans up - the

music industry) sitting pretty (seeming in a good position in society
pretty again used ironically - unexpectedly bad character; "a pretty
mess," "a pretty kettle of fish" also a good target) little policemen
(small minded censor) in a row (waiting to be knocked down and in a
fight - a row - with artists like the Beatles) I See how they fly like
Lucy in the Sky (see how they fly get their medium and message
over like great poets that they are and will be recognized as such in
the future, although they work in the popular culture) see how they
run (see their true nature) I I'm crying (I am protesting our
persecution)."

• "(Lennon describes British tabloid journalism and how it stinks) I

60
 Yellow (sensationalistic as in yellow journalism) matter (written
works especially in books or magazines: "he always took some
reading matter with him") I custard (that is easily swallowed by the
public) I dripping (exuding , oozing like slime) from a dead (no longer
having force or relevance - as in a dead issue) I dog's (dog - an
enemy: In Standing Stone McCartney wrote, "Lambs listened for the
dog-pack howl" in this case an enemy of celebrities who is a
despicable person) I eye (thoughts) I Crabalocker (no such word in
any dictionary - the crabs are a sexually transmitted infestation of lice
- locker room talk is conversation of an earthy or sexual nature) I
fishwife (a vulgar woman prone to gossip) I pornographic (the
depiction of acts in a sensational manner so as to arouse a quick
intense emotional reaction) I priestess (leader of a cult) I Boy you
been a naughty (sarcastic - comitted a criminal act) girl I you let your
knickers down (you engaged scandalous sexual behavior and you got
caught with your pants down - behavior that has found its way into
the pages of the tabloids) I I am the eggman (listen to me) they are
the eggmen (not the tabloids) I I am the walrus (I am John Lennon)
goo goo goo joob."

"Sitting in an English garden (a well cultivated region - Ireland)

waiting for the sun (waiting for something that will bring happiness -
when independence from England finally comes) I If the sun don't
come (if the British refuse to grant us independence) I You get a tan
(kill a black and tan an English recruit serving in the Royal Irish
Constabulary to combat Sinn Fein in 1921 or get a beating - a
tanning - from a black and tan) from standing in the English rain (by
taking a stand against the devastation , the destruction - rain as in
When The Rain Comes. Also rain as the devastation brought on by
the remnants of English imperialism - reign of the British Monarchs I
rain D-E-0)."

"Expert textpert choking smokers (experts on drugs whose

knowledge comes from textbooks preventing pot from being
legalized) I Don't you think the joker laughs at you? (Don 't you think
those who smoke it - the hippies - ridicule you - Lennon laughs : Ha
ha! He he!) I See how they smile (they approve) like pigs Uournalists
see Piggies) in a sty (in a filthy disgusting place) see how they snide

•
(express criticism or disapproval in an offensive, sly or malicious
manner) I I'm crying (I am protesting)."

61
• "(Second layer of meaning:) I Expert textpert (expert on interpreting
Beatles text) choking (constricting, limiting) smokers (poets - see A
Day In The Life) I Don't you think the joker (Lennon and the other
rock poets - see Come Together) laughs at you? (ridicules you) I Ha
ha! He he! I See how they smile (express themselves, move their
lips, see the kind of songs they could write) I like pigs in a sty (like
establishment rather than underground journalists) I see how they
snide (see how they deceive, counterfeit our meaning, create a
sham) I I'm crying ."

"Semolina (milled product of durum wheat or other hard wheat used

in pasta - pasta is associated with Italy and Italy is associated with
the Vatican and Catholicism) I pilchard (small fatty fish usually a
canned sardine - fish are associated with Catholics who once were
prohibited from eating meat on Fridays and were called mackerel
snappers as a result) I climbing up the Eiffel Tower (trying to get to
heaven. France is also a Catholic country) I Elementary (novice)
penguin (nun) singing Hare Krishna (singing repetitive Gregorian

•
chants) I Man you should have seen the kick in Edgar Alan Poe (the
kick in Edgar Allen Poe was opium - Lennon is saying that
Catholicism is the opium of the people - just as Karl Marx said that
religion was the opium of the masses. In Working Class Hero Lennon
wrote, "Keep you doped with religion)."

ANALYSIS

When it comes to explaining the meaning of their poetry, the

rock poets certainly know how to play dumb: Here is what George
Harrison had to say about I Am The Walrus: "People don't
understand. People look for all sorts of hidden meanings. It's serious,
but it's also not serious. It's true, but it's also a joke (a joker is a poet
in the Beatles symbolism)." Lennon said this about I Am The Walrus
in 1968: "Well, they can take them [the lyrics] apart. They can take
anything apart. I mean I hit it on all levels, you know. We write lyrics,
and I write lyrics that you don't realize what they mean till after.
Especially some of the better songs or some of the more flowing
ones, like Walrus. The whole first verse was written without any

• knowledge." In 1980 he commented, "The first line was written on one

acid trip one weekend. The second line was written on the next acid

62
•
trip the next weekend, and it was filled in after I met Yoko. Part of it
was putting down Hare Krishna. All these people were going on about
Hare Krishna, Allen Ginsberg in particular. The reference to
'Elementary penguin' is the elementary, naive attitude of going
around chanting, Hare Krishna, or putting all your faith in any one
idol. I was writing obscurely, a la Dylan, in those days. It's from The
Walrus and the Carpenter. Alice in Wonderland. To me, it was a
beautiful poem. It never dawned on me that Lewis Carroll was
commenting on the capitalist and social system. I never went into that
bit about what he really meant, like people are doing with the Beatles'
work. Later, I went back and looked at it and realized that the walrus
was the bad guy in the story and the carpenter was the good guy. I
thought, Oh, shit, I picked the wrong guy. I should have said, 'I am
the carpenter.' But that wouldn't have been the same, would it?
(singing) 'I am the carpenter .. .'"

I Am The Walrus took this Beatleologist years to figure out and I

am still not sure if I got all of its verses right. When I first heard the
verse with "knickers down" and the words "pornographic" and

•
"fishwife" I figured it was about sexual repression, not about the
tabloid press. When I did an article about the poem in the East Village
Other I erroneously interpreted "yellow matter custard dripping from a
dead dogs eye" as "semen dripping from a flaccid erection." Lennon
couldn't believe that one and kept asking me where I dug up the word
flaccid? I really couldn't answer him.

Lennon's verse about Ireland foreshadowed his later poems

such as If You Had The Luck Of The Irish (I tried to convince him to
write a sequel entitled, If You Had The Luck of the Jewish - "If you
had the luck of the Jewish, you'd been sorry and wish you were dead,
if you had the luck of the Jewish, you'd wish you were Irish instead.")
During meetings with Lennon, who was of Irish extraction, I told him
that Irish Northern Aid, an organization I worked with New York City
that raised money for the families of Irish Republican Army prisoners
and supported the political agenda of Sinn Fein was in reality a front
for the Irish Republican Army. I put Lennon in contact with the New
York office and he assigned all the royalties of his song Luck of the
Irish to this organization. When I attended a party given by Irish

•
Northern Aid I was treated as a hero, for a change, and introduced as
the man who turned Lennon on to their organization. I said that all I

63
•
did was accelerate things - Lennon would have found them sooner or
later. In 1971, Lennon, Yoko Ono and I began to take part in street
demonstrations on behalf of the IRA in New York.

After the Beatles broke up, McCartney who "always vowed that
I'll be the one who doesn't do political songs" recorded, Give Ireland
Back to the Irish, as a reaction to the Bloody Sunday massacre where
the British killed 14 peaceful demonstrators in Derry, Ireland in 1972.
Hopefully this was also a reaction to the 1972 demonstration that the
Rock Liberation Front, of which I was Minister of Defense, held in
front of McCartney's in-laws (the Eastman's) apartment building in
Manhattan where we staged a mock funeral for Paul since we
believed that judging from the lyrics he composed after he went out
on his own, Paul was dead in the head. In retrospect, perhaps I did
not understand them or I disagreed with his libertarian political
philosophy. We chanted, "Paul is dead, miss him, miss him." This
was appropriate since I was the first journalist to discover what later
became known as backwards masking. Jann Wenner of Rolling
Stone Magazine reported in his Random Notes column that I had
played the line from If Dogs Run Free ©1970 "so it may flow and be"
backwards and heard "If Mars invades us." Playing LPs backwards
spread through the world of rock to a Detroit disc jockey and when he
played part of the Beatie song I'm So Tired backwards he heard "Paul
is dead, miss him, miss him" sparking the "Paul is Dead" myth.

The end of I Am The Walrus contains the line "Everybody

smoke pot, smoke pot" repeated so often in an mantra like chant it
appeared to many as subliminal advertising. Lennon was heavily into
the Legalize Marijuana Movement and supplied me with money to
stage a smoke-in, where we would all spark up joints in public at New
York City's Central Park Bandshell. His house band, Elephant's
Memory, played there and we rolled the biggest "joint" ever - over ten
feet in length using surreal cigarette papers that were taken from a
ten foot reproduction of a package of Bambu cigarette papers that
artist Ann Duncan had created.

GLASS ONION recorded September1968 (Lennon)

• "I told you about strawberry fields (what it was like to be high on LSD)
I You know the place where nothing is real (which is a hallucinogenic

64
- - - - - - - - - - - - - - - - - - - - - --------- - ----

drug) I Well here's another place you can go I Where everything flows
(where happiness is abundantly present and there are no bad trips or
bummers) I Looking through the bent (altered from an originally
straight condition) backed (backward - turned upside down) tulips (a
tulip bulb when turned upside down looks just like opium poppy seed
pod) I To see how the other half live (see how the poor people, who
can't afford expensive French food, champagne, yachts take a
shortcut to happiness) I Looking through a glass onion (another level,
another layer, another strata of reality)."

"I told you about the walrus and me, man I You know that we're as
close as can be, man (John Lennon was the walrus and sported a
walrus mustache) I Well here's another clue for you all (Lennon knew
that everyone would be trying to figure out what I Am The Walrus was
about when he wrote it) I The walrus was Paul (as a result of this line
many people believed that the walrus was Paul McCartney. It is this
kind of thinking that set Beatleo/ogy back many years. The reference
here is to Paul the Apostle, a humble fisherman who spread the
message of Jesus Christ just as Lennon spread the message of the

•
Left and of the counterculture) I Standing (taking a stand on political,
religious and social issues) on the cast iron (casting his ideas into the
wind in a militant manner, like a man of iron, strong inflexible) I shore
(and shoring up the position of the Left) I yeah Lady Madonna
(Lennon borrows these words from McCartney and relates them
himself rather than to Dylan. The Madonna was Mary, the mother of
Jesus - Lennon the political hippy, the revolutionary - religion as
politics) trying to make ends meet, yeah (make the ends justify the
means, in other words any violence that was used to stop violence
was justified by the fact that in the long run there would be less
violence in the world) I Looking through a glass onion (looking at the
world beyond its superficial aspect)."

"I told you about the fool on the hill (Lennon told you about the
politician on Capitol Hill and the soldier in Vietnam)/ I tell you man he
living there still (the war was still going on when this poem was
recorded in 1968 and Richard Nixon was the American president) I
Well here's another place you can be (get out of Vietnam) I Listen to
me I Fixing a hole (fixing a problem as in "I'm fixing a hole where the

•
rain gets in I And keeps my mind from wandering") in the ocean (in
humanity - a vastness of humans I sea D-E-D) I Trying to make a

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dove-tail joint (trying to bring peace - a dove - to the world at the tail
end of many wars by joining people together through hippy
philosophy - also trying roll a perfectly constructed joint - a marijuana
cigarette) yeah I Looking through a glass onion."

ANALYSIS

Many people viewed Lennon as someone who opposed

Christianity. In March 1966 Lennon told The London Evening
Standard, "Christianity will go. It will vanish and shrink .... We're more
popular than Jesus now; I don't know which will go first-rock 'n' roll or
Christianity. Jesus was all right ... " Although Lennon was an atheist
and in Imagine he wrote, "Imagine no religion, I wonder if you can, no
hell or heaven, a brotherhood of man" he told me that he respected
Jesus as a historical figure and felt that Jesus had planted the seeds
that would later lead to socialist thought. Lennon could best be
described as a wealthy socialist who suffered from depression, as he
was able to envision a better world yet he knew that he would never
live to see it. As a result of this and other factors he turned to hard

• drugs .

When John Lennon first wrote Imagine it contained the line,

"Imagine no possessions I I wonder if you can?" I asked him "What
about your possessions?" After that he changed the line to "I wonder
if we can?" Lennon told his personal secretary Fred Seaman that I
was one of the most interesting and integritous counter-culture
figures that he associated with in New York City. About a month
before Lennon was assassinated Yoko Ono gave an interview to the
Soho News in which she recalled my visits to their apartment at 150
Bank Street in Greenwich Village: "During the time when Yoko was
hanging out with Abbie Hoffman and Jerry Rubin the famed-
garbologist A.J. Weberman paid a visit to her and John's Bank Street
loft. Inspecting some art pieces that Yoko was preparing to put on the
market, A.J. exclaimed: "Why are you selling these things, Yoko, you
should be giving them away." "Why shouldn't I have the right to make
money from my art?" Yoko asked when relating the story. "Would he
say that to John? Why don't you give the records away instead of
selling them?" John and Yoko were disillusioned with the revolution

• and Yoko took her frustrations out on me. I probably told her to give
away her artwork for free, and I told John the same thing. We ran free

66
~------------------- - - --

•
stores, gave out free pot at smoke ins and did our thing for free. I still
give out my work for free, not in the underground press, but on the
Internet.

LUCY IN THE SKY WITH DIAMONDS recorded March 1967 (Lennon)

"Picture (something you produce in your mind, by using your

imagination, such as this poem) I yourself in a boat on a river
(having an abundance of problems you are sharing with others -
being in the same boat. River as abundance as in the Lennon poem
#9 Dream "On a river of sound") I With tangerine (Orangemen - a
secret society, organized in the north of Ire land in 1795, the
professed objects of which are the defense of the reigning sovereign
of Great Britain, the support of the Protestant religion, the
maintenance of the laws of the kingdom) trees (gallows,
punishments) and marmalade (a preserve - a domain that seems to
be specially reserved for someone in this case the English) skies (for
the foreseeable future) I Somebody calls you (calling - an urge to
follow a particular profession in this case that of a Leftwing poet) you
answer quite slowly (you start out as a pop star writing lyrics) I A girl
• (a writer) with kaleidoscope (an endless variety) eyes (of thoughts)."

"Cellophane (transparent - free of deceit) flowers (artists having

their period of greatest productiveness) of yellow (yellow is symbolic
of shocking, sexual exposes and of age) and green (green is
symbolic of youth, innocence) I Towering (standing out above
yourself and many others) over your head (and beyond your
comprehension) I Look for the girl (writer) with the sun
(enlightenment, truth) in her eyes (in her thoughts) I And she's gone
(and she's gone - she has gone to that great beyond - she is dead)/
Lucy (Lennon) in the sky (recognized in the future) with diamonds
(as a great poet - diamond - a gem: anything of small size, or
expressed within brief limits, which is regarded as a gem on account
of its beauty or value, such as a verse of poetry)."

"Follow her down to a bridge (a structure that allows people to cross

an obstacle) by a fountain (the source from which anything
proceeds) I Where rocking horse people (people whose opinions
sway back and forth: critics) eat (are sustained by) marshmallow
• (main characteristic of a marshmallow is its sponginess - sponges -

67
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followers who hang around a host) pies (simpletons - something as
easy as pie) I Everyone smiles (smile as an expression of
countenance, indicative of satisfaction combined with feelings of
contempt, scorn also the best poets sing their poetry) as you drift past
(vary or move from a fixed point or course; "stock prices are drifting
higher" transcend) the flowers (the others who are supposedly the
best in their field) I That grow (become) so incredibly high (so
unbelievably, so incomprehensibly popular when you observe the low
level of the art that they create)."

"Newspaper taxis (reviews - a car - a vehicle to achieve success

driven by a person whose job is to take passengers where they want
to go, in this case a journalist) appear (be issued or published, as of
news in a paper) on the shore (whatever has been shoring up your
hopes of becoming an immortal in the field of literature) I Waiting to
take you away (waiting to help you fade into obscurity) I Climb (move
with difficulty in your career) in the back (and become part of the back
of the pack - or leave the publics view for a moment) I with your head
in the clouds (with some work that is not in touch with their version of

•
reality) I And you're gone (and your history, baby, you are dead
meat)."

"Picture yourself on a train (a sequentially ordered set of writers in

which each successive member is related to the preceding) in a
station (in your proper or designated social situation) I With plasticine
porters (humanist writers who will bring something to life - plasticine
- a synthetic material resembling clay. Clay: elementary particles of
the human body; hence, the human body as formed from such
particles. "l also am formed out of the clay." - Job xxxiii) I with looking
glass (with allegorist Lewis Carroll's classic Through The Looking
Glass) ties (connections, antecedents) I Suddenly someone is there
at the turnstile (after Lennon changes his style of writing) I The girl
(writer) with the kaleidoscope (the ever-changing) eyes (thoughts)."

ANALYSIS

John Lennon's poetry is never what you think it's about as far
as understanding it on its most significant level. There is no doubt

• that Lennon had L.S.D. in mind when he composed this poem as far
as an abbreviation and imagery went, but its underlying meaning

68
•
deals with his insecurity about being recognized as an important
literary figure and not simply a lyricist. I hope that The Beatles Code
does just that for both John Lennon (may he rest in peace) and Paul
McCartney.

THE BEATLES POEMS ABOUT JOURNALISTS

GEORGE HARRISON'S PROTEST POEM

PIGGIES recorded September 1968 (Harrison)

"Have you seen the little piggies? (have you seen the obnoxious
journalists?) I Crawling (to try hard to please in order to get an
advantage) in the dirt (by collecting dirt, derogatory information on
celebrities) I And for all the little piggies I Life is getting worse I
Always having dirt to play around in (play around - cheat on -
commit fraud - to make up falsehoods about others with and play
their readers for fools)."

• "Have you seen the bigger piggies (the editors, publishers) I In their
starched (stiff, precise, formal) white (sarcastic: free from moral
blemish or impurity; unsullied; "in shining white armor") shirts?
(wealth, affluence - shirt - a large part of one's money or resources -
"he lost his shirt on that business deal") I You will find the bigger
piggies I Stirring up the dirt (stirring up public opinion with the
derogatory information their reporters have gathered) I Always have
clean (morally pure, untainted) shirts (money) to play around in (to
pay the reporters and their reporters sources with)."

"In their stys (the building and enclosed area where pigs are kept -
their offices) with all their backing (backed by even more wealthy
people, the oligarchy) I They don't care what goes on around (they
don't care about the plight of the common man) I In their eyes
(thoughts) there's something lacking (humanity, decency) I What they
need's a damn good whacking (beating also whack - to divide up into
shares)."

"Everywhere there's lots of piggies (of media people) I Living piggy

• lives (living their greedy, wealthy lives) I You can see them out for

69
•
dinner (you can see them out - get rid of them - entertaining
themselves) I With their piggy wives (along with their consorts who
they are very much involved with and dependant on - their sources of
information) I Clutching (to take or try to take hold of something
tightly, usually in fear, anxiety or pain: This is similar to clinging in the
Beatles poem Paperback Writer) forks (those who divide, also
pitchforks emblematic of the devil) and knives 19 (those defeat by
underhanded means) to eat their bacon (to consume their fellow
human beings)."

ANALYSIS
Initially many people believed this poem was about the middle
class, the silent majority and that it advocated violence against them
however the use of the word dirt eventually led me to believe
differently. It was this fallacious interpretation that caused me to think
that it was George Harrison who said the word "in" when the line
"When you talk about destruction don't you know that you can count
me out" 20 appeared in Revolution. Nothing could have been further
from the truth as Harrison was a mellow individual. After speaking

• with him during a brief elevator ride at Apple Records he told me,
"A.J. you are not as bad a fellow as everyone says you are." I told
him that I was not, that Dylan had put the bad rap on me.

MEAN MISTER MUSTARD recordedJuly1969(McCartney)

"Mean (of little value or account; worthy of little or no regard;

contemptible; despicable) Mister Mustard 21 (but highly enthusiastic,
as keen as mustard) sleeps (is in a dreamy state) in the park (an
area in a town with grass also amusement park where nothing is
taken seriously) I Shaves (lightly touches the surface) in the dark (is
in the dark - unknowing about things) trying to save (save from
economic ruin and save in the sense of save the world) paper
(underground newspapers) I Sleeps (is in a sluggish torpid state) in a
hole (is in a hole - is in a fix, has a problem both intellectually and
economically) in the road (in life - In Two Of Us Lennon-McCartney
wrote, "You and I have memories I Longer than the road that
stretches out ahead") I Saving up to buy some clothes (saving up to

•
buy some lyrics to records, see clothes as words in A Day In The
Life) I Keeps a ten-bob note up his nose (is curious, nosy, about Bob

70
•
Dylan's songs and the musical notes the comprise them) I Such a
mean old man (has antiquated politics as in the Dylan song My Back
Pages, "I was so much older than I'm younger than that now)."

"His sister Pam (sister - a fan. See Lovely Rita Meter Maid. Also
sister - a woman regarded as a comrade - his publisher) works in a
shop (a print shop, a union shop) I She never stops (causes him to
give up or change a course of action) I she's a go-getter (she likes to
go after people too) I Takes him out to look at the queen (sends him
to concerts of eminent artists such as those based in England) I Only
place that he's ever been (although he is definitely not at that position
or place - prestige accorded to one of high rank - that status - in life)
I Always shouts (protest loudly - in Free The People Lennon wrote,
"So let's shout it aloud like a prayer I Free the people now") I out
something obscene (always has something bad to say and uses dirty
language) I Such a dirty (a collector of dirt- derogatory information -
on people) old (belonging to an early period in the development of a
language or literature) man (cop)."

•
ANALYSIS

After spending a pleasant evening with John and Yoko on Bank

Street Lennon took me into the bathroom and said, "You know A.J.
you should shave after it gets dark at night. Then go to sleep. You will
feel much better." I thanked him for this advice but I could never really
understand what he was trying to say until recently when I put his
words together with those in Mean Mister Mustard. Then it came to
me. I was mean Mr. Mustard. Lennon and McCartney became aware
of my work very early on as we were plugged into the same scene in
London. When Ann Duncan and I visited there in 1967 we hooked up
with Miles, who ran the lndica Bookshop that had been financed by
Lennon-McCartney. Miles would later publish International Times an
underground newspaper that put all of my articles on its front cover.
The beatniks had always fascinated Lennon and McCartney and they
were leaders of the hippy movement that followed in its sandalsteps.
When they formed Zapple Records just prior to their break-up,
Lennon and McCartney were going to sign beat poets like Lawrence
Ferlingetti, Allen Ginsberg, William Burroughs and Kenneth Patchen

• to record spoken word records on this label. They also planned to

reissue Lord Buckley and Lenny Bruce material. This was where they

71
•
were coming from and one must take this into consideration and
realize that they too, like those they idolized, are world-class poets!

POLYTHENE PAM recordedJuly1969(Lennon)

"Well you should see Polythene (plastic) Pam (abbreviation for

pamphlet - the plastic journalist) I She's so good-looking (good at
observing others) but she .looks like a man (but she looks to me like a
cop - the Man) I Well you should see her in drag (influencing
something having pull) I dressed (prepared for use or service) in her
polythene bag (some magazine's were wrapped in plastic so that
children could not open them, also in her plastic, artificial unattractive
thing that she is good at)."

"Get a dose (anything nauseous that one is obliged to take; a

disagreeable portion thrust upon one) I of her in jackboots Uackboots
are associated with fascism in Britain) and kilt (short skirt - marketing
sex) I She's killer-diller (very attractive or seductive looking especially
to those who are into vicarious murder) when she's dressed (when

• she is prepared for service and gives a neat appearance) to the hilt
(to stories about violence - hilt as a handle of a dagger or sword) I
She's the kind of a girl that makes the "News of the World" (the UK's
best selling weekend tabloid. News of the World allegedly hired an
informant to set up The Rolling Stones for a drug bust. According to
McCartney's biographer George Harrison almost got nicked as he
was visiting Keith Richards at the time) I Yes you could say she was
attractively (having the power to arouse interest) built (build a fire
under - to stimulate to vigorous action - to encourage others to
commit acts of violence by giving these acts wide spread publicity)."

The British tabloid press went after the Beatles with a passion,
since they were the most popular musical group in history. Lennon
got his revenge in some of these songs but to my knowledge, no one
caught on to what any of them were about.

In his letter to the Village Voice dated December 2, 1971 John

Lennon accused this Beatleologist of being a member of the school of
sensationalistic journalism. I suppose that sifting through celebrity

• garbage such as that of Bob Dylan falls under that aegis. I don't want
to rationalize my behavior, but garbology has become an established

72
•
journalistic method, a variation of muckraking. The science of
garbage analysis, which has also been termed garbology is taught at
numerous universities as part of anthropology courses. I am trying to
reinvent myself with The Beatie Code, and not intrude on others
privacy. If I expose something about a Beatie by revealing the
underlying meaning of a poem I am dealing with information that the
poet hoped would someday be made public.

MCCARTNEY'S POLITICAL POEMS

PEN NY LANE recorded December 1966 (McCartney)

"In (why not on Penny Lane?) Penny Lane (Liverpool) there is a

barber (someone unhappy about everyone having long hair or a
different lifestyle also a barbarian) showing photographs (mug shots
and newspaper articles) I Of every head (pot head, acidhead,
harmless drug user) I he's had the pleasure to know (sarcastic - that
he has investigated) I And all the people that come and go (and all
the people who have been arrested and served time and then
released) I Stop and say hello (sarcastic - pay him tribute - actually
they would like to injure or kill him)."

"On the corner (in a remote hidden place see Rocky Raccoon) is a
banker (the dealer, or one who keeps the bank in a gambling house
- a gambler, a member of organized crime) with a motor car (who is
wealthy and is motivated to go somewhere in life very quickly) I The
little children laugh at him behind his back (innocent townspeople are
afraid to ridicule him to his face) I And the banker never wears a
Mack (a raincoat - never needs protection from being arrested) I In
the pouring rain (even in the worst of times: rain as devastation as in
the Beatles song Rain) very strange22 (difficult to explain or
understand; odd: how come the barber - the police - overlook the
banker, the criminal?)"

"Penny Lane (Liverpool) is in my ears (my sympathies: In Across The

Universe Lennon wrote, "Sounds of laughter shades of life are
ringing through my open ears I Inciting and inviting me"- McCartney
is sympathetic to those who are being victimized) and in my eyes
 (and in my thoughts) I There beneath the blue suburban skies (the
clear, transparent idyllic future) I I sit (I remain inactive or quiescent)
and meanwhile back ... "

"In Penny Lane there is a fireman (one who is supposed to deliver

and intense verbal attack or criticism - a politician) with an hourglass
(who has been around for ages like father time) I And in his pocket
(what he has in his power, in his control, and what keeps him in
power) is a portrait of the queen (the Queen of England - he
pretends to love England and its people) I He likes to keep his fire
(intense adverse criticism) engine (anything used to effect a purpose;
any device or contrivance; an agent so fire engine become politics)
clean (empty - the ship returned with a clean cargo hold) I It's a
clean (sarcastic: free from moral corruption or sinister connections of
any kind - the candidate had a clean record) machine (machine: a
group that controls the activities of a political party; "he was endorsed
by the Laborite machine)."

"Penny Lane is in my ears and in my eyes I A four (a winning hand

in life hand) I of fish (Dylan's symbol for socialist or communist - cold
fishes - people without human feelings - the British Labor Party and
the British Communist Party I fish D-E-0) I and finger pies (to have
your finger in the pie - to get a piece of the action as the Labor Party
did in working class Liverpool) I In summer (a time of greatest
energy, happiness: in its heyday)."

"Meanwhile back behind the shelter (to protect, to screen or cover

from notice; to disguise) in the middle of a roundabout (marked by
obliqueness or indirection in speech or conduct - deviating from a
straight course) I The pretty (used ironically - unexpectedly bad
character; "a pretty mess," "a pretty kettle of fish)" nurse (the
psychiatrist - in Desolation Row Dylan said this about Sigmund
Freud, "his nurse some local loser, she's in charge of the cyanide
hole [the gas chamber] and she also keeps the cards that read have
mercy on his soul [and she can prevent criminals from getting the
death penalty by certifying them as insane]") I nurse is selling
poppies (legal narcotics) from a tray (out in the open also a tray bag
- three dollars worth of heroin as in the Proco/ Harem song Whiter

•
Shade of Pale, "When we called out for another drink the waiter
brought a tray" ) I And though she feels as if she's in a play (to

74
•
perform the duties associated with a certain position she feels she is
a legitimate actress, and a legitimate dispenser of drugs) I She is
anyway (she is in a different kind of play - a world of deceit as in "that
doctor played the establishment like a violin ." Also play as to make
use of double meaning of two words for stylistic or humorous effect)."

"In Penny Lane the barber (the policeman, constable) shaves (to
strip, to plunder to fleece) another customer (pothead, another so-
called criminal) I We see the banker (the gambler, the criminal)
sitting (to remain inactive or quiescent, not protesting) waiting for a
trim (cut down on ; make a reduction in his wealth - make a payoff) I
And then the fireman (the politician) rushes in (sarcastic: to move
forward without preparation) from the pouring (continuous) rain
(economic devastation) very strange (sarcastic: what one would
expect in a British town like Liverpool that is suffering from economic
problems but all pervasive corruption)."

ANALYSIS

On another level fish is slang for vagina - "What's that smell

like fish boy, wouldn't you like to know" - Keep On Truckin' Mama
(Public Domain) and finger pie is female sexual stimulation by
inserting a finger in the vagina. A form of petting - McCartney
explained this as "A bit of dirt for the boys back home." But a poem is
a cohesive unit and what has this got to do with the other verses of
Penny Lane?

Don't miss the boat: Penny Lane is great social satire.

McCartney paints an idyllic picture of Liverpool. On its face it is a
happy sort of place with bankers, barbers, firemen , little children
laughing but underneath it is corrupt and unjust. This characterization
works well as not only does Liverpool exist on two levels, so does
poetry. Lennon hinted at this in a 1968 Rolling Stone interview: "We
really got into the groove of imagining Penny Lane - the bank was
there, and that was where the tram sheds were and people waiting
and the inspector stood there, the fire engines were down there. It
was just reliving childhood."

• 75
•
McCARTNEY'S APOLITICAL POEMS

FIXING A HQLE2 3 recorded February 1967 (McCartney)

"I'm fixing a hole (a problem) where the rain gets in (destruction,

devastation, war the problems of the outside world) I And stops my
mind from wandering (having no fixed course) I Where it will go I I'm
filling (obstructing, stopping also fill as a bit of instrumental music
that fills the pauses between phrases as of a vocalist) the cracks (the
brief witty remarks) that ran through (that I rehearsed as in run
through) the door (in order to afford myself the opportunity of being
famous) I And kept my mind from wandering (and constricted my
thinking) I Where it will go"

"And it really doesn't matter if I I'm wrong (politically incorrect) I I'm

right (a conservative, rightwing point of view might be the correct
one) I Where I belong (the class to which I belong) I'm right I Where I
belong (is where I should be) I See the people standing there (taking
Leftwing political stands) I Who disagree and never win (who dissent

• but never take power) I And wonder why they don't get in my door
(and wonder why I don't give them the opportunity to enter my life)."

"I'm painting (figurative: to represent or exhibit to the mind; to

describe vividly; to delineate; to image; to depict) I my room (my
concerts, where I perform) I in the colorful (striking in variety and
interest "a colorful period in the history of popular music") way I And
when my mind is wandering (wandering from politics, social issues -
also when he is high on pot) I There I will go."

"Silly people run around (give themselves the run around - deceive
themselves) I They worry me (disturb my peace of mind) and never
ask me (and have no need to ask me) I Why they don't get past my
door (why I don't give them the opportunity to get into my life) I I'm
taking the time (a suitable moment) for a number of things (a short
theatrical performance that is part of a longer program) I That weren't
important yesterday I And I still go."

ANALYSIS

• 76
•
By the time Fixing A Hole was written McCartney had rebelled
against rebellion. As a result, after the Beatles disbanded Paul's first
album was a reaction to the high degree of content in his previous
works. He wrote songs with simplistic lyrics such as "I Love Linda, "La
la I Lovely Linda with the lovely flowers [best example of great
artists] in her hair (style)." As a result, this Beatleologist believed he
was writing on a lower level than he had written in the past when in
fact he had simply changed his style of poetic composition.
McCartney continued to write songs about Dylan including Junk:
"Motor (to move or increase very quickly) Cars (a vehicle to get you
where you want to go) I Handle (controversial material too hot to
handle) Bars (that prevent someone from doing something) I Bicycles
(exercise machine - futile exercises) for Two (for a small number of
people) I Broken (interrupted) Hearted (by heart - by or from
memory - broken hearted becomes forgotten) I Jubilee (events that
happened many years ago) I Parachutes (a large payment made to
someone who has an important job with a company when they are
forced to leave their job - Dylan became wealthy after switching to
folk rock) I Army (a large group of people who share similar aims or

•
beliefs) I Boots (boot - to shoot heroin - See Happiness Is A Warm
Gun) I Sleeping Bags (bags of a sleep inducing drug) I for Two (for
Dylan and Lennon) I Sentimental (gentle feelings such as love when
considered to be foolish or not suitable) Jamboree I Buy Buy (literal
and good-bye) I Says the Sign (something up for public display - in
this case a record - In Venus and Mars McCartney wrote, "Sold me a
sign, reach for the stars [celebrities]" I sign D-E-0)" I in the Shop (a
place you can buy things such as a junk shop) Window (a way of
looking out at the world) I Why Why I Says the Junk (heroin) in the
Yard (yard a private area - Dylan's private thoughts. See yard in
Obladee) .. ."

Later, McCartney would include Lennon in his poems, as in

Monkberry Moon Delight: "So I sat (sit tight: to maintain one's position
and opinion determinedly) in the attic (in my mind - the attic is
symbolic of the human head as, "He has a loose board in the attic") I
A piano up my nose (curious as in nosey about playing the piano see
nose in Mean Mr. Mustard - that wasn't the only thing Lennon had up
his nose. Additionally Lennon's piano in his apartment on Bank street

•
was located in an attic-like room that was reached through a spiral
staircase) I And the wind (the zeitgeist of the time - as in "the answer

77
•
is in the wind" but in this case it is more likely defined as empty
rhetoric or insincere or exaggerated talk; that's a lot of wind) played a
dreadful cantata (a musical composition for voices and orchestra
based on a religious text. See religion as politics) I sore (angry
because you feel you have been unfairly treated) was I from a crack
(a wise-assed remark) of an enemy's hose (hard hitting songs: hose
as sock - see Eleanor Rigby and Strawberry Fields) I And the
horrible sound of tomato ketchup (thin cold red sauce) soup (dense,
enveloping fog - this is how McCartney described Lennon 's radical
music) and puree (sarcastic - and purity of thought, morality) I Don't
get left (Left) behind (don't loose the popularity race that was going
on between Lennon and McCartney)."

ALL TOGETHER NOW recorded May 1967 (McCartney)

"One, two, three, four I Can I have a little more? I (In Charles
Dickens' Oliver Twist, Oliver asks, "Please Sir, I want some more"
after being deprived of food. In this line McCartney asks his fans if he
can have a little more than adoration from them) I Five, six, seven,
eight, nine, ten , I love you I Black, white, green, red (opposites, no
matter how diverse) I Can I take my friend (my fans) to bed? (to the
foundation of my thought) I Pink (white) brown (African, Hispanic)
yellow (Asian) orange (Protestant, as in Orangemen) I blue (Catholic
- blue as in something that is clear to him as McCartney's parents
were Catholic however his father described himself as an agnostic) I I
love you I All together now (focus on similarities of human beings not
minor differences) I Sail (In Backward Traveler McCartney wrote,
"And we were sailing songs I Wailing on the moon" sail - to attack
vigorously or sharply: "McCartney sailed into Dylan for using junk" -
attack) the ship 24 (the revolution as in the Dylan song The Hour That
The Ship Comes In) I Jump (escape from, avoid) the tree (the
punishment as in hanging tree) I Skip the rope (skip being a
defenseless and helpless position - on the ropes or being roped in to
an ideology) I Look at me (follow Paul's example)."

BACK IN THE USSR recorded August 1968 (McCartney)

"Flew in from Miami Beach (at this time Miami Beach was largely
populated by Jewish people who were forbidden from practicing their

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religion by the Soviets) BOAC I Didn't get to bed (didn't find any
comfort) last night (in this time of intellectual darkness and inactivity)
I On the way the paper (newspapers with articles about) bag
(capturing or killing, as in hunting; "bag a few dissident Jews") was on
my knee (had me deeply engaged - knee deep. Also on my knees -
was making me submit, bringing me to my knees, intimidating me) I
Man, I had a dreadful flight (the act of escaping physically from an
oppressive situation) I I'm back in the USSR I You don't know how
lucky you are, boy (sarcastic) I Back in the USSR, yeah ."

"Been away so long I early knew the place (sarcastic: the Soviet
economy was stagnant and very little changed as far as new
buildings, stores etc) I Gee, it's good to be back home (back to my
roots, back to the past) I Leave it till tomorrow to unpack my case (I
think I will postpone opening a case against Communism) I Honey
disconnect the phone (as this is a totalitarian society and if I do I will
have the KGB on my case tapping my telephone). "

"Well the Ukraine girls really knock me out (literally - render him

•
unconscious) I They leave the west behind (women would perform
many tasks in the Soviet Union that were performed by men in the
West) I And Moscow girls make me sing (sing - confess) and shout
(shout in pain) I That Georgia's always on my mind (that America's on
my mind - as in the lyrics, "An old sweet song keeps Georgia on my
mind." Of course Georgia was also a republic that was part of the
Union of Soviet Socialist Republics)."

"Oh, show me round your snow (to conceal ones true motive)
peaked (to the most extreme possible amount or value) mountain
(problems - don't make a mountain out of a molehill. See Rocky
Raccoon) way down south (in your forced labor camps or gulags in
Siberia located in the South of Russia) I Take me to your daddy's
farm (prison farm also Animal Farm - a book about the totalitarian
nature of communism by George Orwell) I Let me hear your
balalaika's (a stringed instrument that has triangular body and three
strings) ringing out (sound loudly, like a shot) I Come and keep your
comrade warm (friendly responsive - obey the orders of your superior
in the Communist Party and shoot any prisoner that tries to escape)."

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ANALYSIS

Paul McCartney first met Linda Eastman in May 1967. She

moved in with him in October 1968. Linda was of Russian-Jewish
heritage and no doubt discussed the plight of Soviet Jews with
McCartney. It took a libertarian like McCartney to write a song of this
nature. Lennon focused more on the repressive nature of China with
its so-called cultural revolution and wrote, "If you go carrying pictures
of Chairman Mao I You ain't gonna make with anyone anyhow."
McCartney had this to say about Back In The USSR: "There's all
sorts of little jokes in it. It's a jokey song."

LET IT BE recorded January 1969 (McCartney)

"When I find myself in times of trouble (when McCartney is troubled

by the events of the world , troubled times) I Mother (the title of a
woman who is in charge of, or who has a high rank within, a convent)
Mary (a variation of Lady Madonna) comes to me (his version of
politics as religion comes to mind) I Speaking words of wisdom (with
the wisdom of hindsight) let it be (don't get involved, chill , lay back,
groove heavy) I And in my hour (a time for action - the hour of
decision) of darkness (and a time of ignorance, of not knowing what
to do) I She is standing (taking a stand on the issues - see She 's
Leaving Home) right in front of me (she is leading the way in a
rightwing fashion) I Whisper (to prompt secretly or cautiously; to
inform privately) words of wisdom, let it be (let it run its own course). "

"And when the broken (interrupted) hearted (enthusiasm as in take

heart) people I Living in the world agree (agree that ideology is not
the answer then) I There will be an answer (the answer will still be the
same) let it be I For though they may be parted (divided, have
different points of view) I There is still a chance that they will see
(they are better off this way since they are not brainwashed or cult
members and there is still a chance that they will realize) I There will
be an answer, let it be (don't let government get involved in people's
lives)."

"And when the night (a time of intellectual inactivity) is cloudy

• (clouds people's perceptions, make them think unrealistic thoughts) I

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There is still a light that shines on me (there is still a truth that
illuminates the way for me in a conspicuous fashion) I Shine on until
tomorrow (show me the way the future should be) let it be (let things
run their natural course) I I wake up (start to react to a situation after
a period in which you have done very little) to the sound (free from
error or fallacy) of music (and is harmonious to my being - also music
to my ears - particularly welcome) I Mother Mary comes to me (and
his guiding spirit came to him) I Speaking words of wisdom, let it be."

ANALYSIS

Lennon and McCartney had some major ideological differences

as you might have deduced from Let It Be. McCartney is basically a
libertarian, someone who believes in the doctrine of free will, while
Lennon was a socialist who believed in economic determinism. It was
amazing that they stayed together for as long as they did. When I
knew Lennon he hated McCartney and told me numerous times that if
he could he would kick the crap out of him. I agreed with him back
then but now I realize that hating someone like McCartney was a

•
mistake. McCartney is a strong believer in personal freedom,
although he must realize that there has to be some restrictions on the
"freedom" of those who wish to establish racist societies such as
those that existed in South Africa and Nazi Germany. The "freedom"
of those who plant landmines that cripple so many children and adults
and the "freedom" of those who wish to trap animals so that women
can parade around in their fur must also be curtailed. The only way to
do this is through government or through revolutionary groups such
as The Animal Liberation Front.

LENNON/McCARTNEY'S OTHER WORKS

BLACKBIRD recorded June 1968

"Blackbird (McCartney - who later titled his book of poetry, Blackbird

Singing25 ) singing in the dead (silence) of night (of a period of
intellectual inactivity) I Take these broken wings (broken - difficult to
comprehend - as in broken, not-continuous, English - wings - to
wing it - to improvise - lyrics) and learn to fly (and learn to get your
• message over) I All your life I You were only waiting for this moment

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to arise (come into existence as a poet) I Take these sunken (deep,
profound) eyes (thoughts) and learn to see (see reality) I All your life/
You were only waiting for this moment (moment in history) to be free/
Blackbird fly I Into the light (enlightenment) of the dark black night
(that exists in the mysterious, foreboding present)."

ANALYSIS

In 1982 McCartney released Ebony and Ivory, a simple anti-

racist song based on the piano keys being black and white. In his
book of poems, Blackbird Singing, McCartney attacks apartheid. The
problem with this interpretation is that it is too superficial. Even
Charles Manson believed that Beatles were urging black people to
arise and revolt against the white establishment in the lyrics of this
poem. Manson was fond of the word "rise"- often telling his followers
that black people would "rise up."

TW 0 0 F LJ S recorded January 1969 (Lennon I McCartney)

• "Two of us (Lennon-McCartney) riding (being sustained, as in "a lot

rides on this bet") nowhere (in our careers) I Spending (wasting)
someone's I Hard earned (belief that we have been duly worthy of or
entitled) pay (currency, acceptance) I You and me Sunday driving
(playing political music to press or force people into an activity,
course, or direction in an amateurish fashion) I Not arriving (not
succeeding, not receiving the proper recognition) I On our way back
home (to reaching our goal)."

'Two of us sending postcards (writing songs with a message in

them) I Writing letters (a symbol usually written or printed,
allegorical poetry like Sexy Sadie) I On my wall (the Biblical phrase
"writing on the wall" is an idiom used to point out some dark and
ominous event which may not be very obvious in the present but is
actually looming large in the future like the war in Vietnam at its early
stages) I You and me burning matches (destroying the competition)
I Lifting latches (breaking barriers) I On our way back home (on our
way to our goal) I You and I have memories I Longer than the road
(the life) that stretches out ahead (that looms before us)."

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"Two of us wearing raincoats (protected from destruction and failure)
I Standing solo (but now taking different stands on the issues) I In
the sun (the happiness engendered by lasting success) I You and me
chasing paper (seeking insightful reviews of our work) I Getting
nowhere I On our way back home (on our way to reaching our
ultimate goal) I We're on our way home I you better believe it I
Goodbye (this was the last Beatles poem that Lennon/McCartney
would co-author before the Beatles broke-up)."

ANALYSIS: YOKO ONUS

The media put the onus on Yoko for their disintegration and
exerted so much pressure on John that he left Bank Street for Los
Angeles. Yoko was not a happy camper and called me to complain
about John's having left her. I told her that he would return shortly as
he needed some stability in his life. Yoko and I discussed many
things during this period. I pointed out to her how Dylan had
incorporated some of her work into his music. She listened to song in
question and told me that I was right, and she had missed this. I

• detected a certain love in Yoko's voice but knew that John was her
main squeeze.

While in L.A. Lennon started drinking hard and began acting off
the wall. He put a tampax on his head as a gesture of rebellion
against feminism, "We were all in a restaurant, drinking, not eating,
as usual at those gatherings, and I happened to go take a pee and
there was a brand-new fresh Kotex, not Tampax, on the toilet. You
know the old trick where you put a penny on your forehead and it
sticks? I was a little high and I just picked it up and slapped it on and
it stayed, you see. I walked out of the bathroom and I had a Kotex on
my head."

John soon came to his senses and returned to Yoko. Shortly

thereafter John and Yoko left the Village and moved to the Dakota, a
prestigious condominium on the Upper West Side. They cut off their
radical friends and took up with a crowd who subscribed to the notion
of heroin chic. Instead of fighting the police John and Yoko made a
large donation to a fund that was supplying the New York City Police

• Department with bulletproof vests. I view this as an indirect payoff to

the police to look the other way when it came to Lennon's heroin

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addiction. I began to receive reports about John and Yoko through
various unsavory sources that they had hired to work on the
apartment in the Dakota and their home in Palm Beach. I was told
that J & Y had associated themselves with someone who had close
connections to the King Of Morocco, a notoriously corrupt monarch.
Instead of supporting the Movement John and Yoko began to collect
Egyptian art and nearly caused the floor to collapse in the Dakota
when they purchased a stone sarcophagus. John would pop up all
over Manhattan without the benefit of bodyguards. The entrance to
the Dakota became a hangout for Lennon groupies. He knew that he
was a target yet something inside of him, a subconscious impulse
told him he was betraying all that he had believed in, and he wanted
to destroy himself. I kept tabs on John and Yoko from my vantage
point as a pot dealer, a vocation that gave me access to many
divergent people and before he was killed I attempted to relay a
message to him that he should have men with magnetometers
circulate in the crowd outside the Dakota. I told David Peel, who was
once close to John and Yoko of my concern, but he too had been
purged. The rest is history. A mentally ill male, who was attracted to

•
the delusional world of religion assassinated the author of the line,
"Imagine no religion," but the real John Lennon had died long before
a hail of bullets pierced his chest.

PHIL SPECTOR AND THE BEATLE BREAKUP

John and Paul had their differences but in my opinion it was

Phil Spector who broke up the Beatles. Allen Klein, the Beatles
manager, hired Phil Spector to produce and overdub Get Back
(released in May 1970 as Let It Be) against Paul's wishes. After that
Paul filed suit against him and the Beatles were history.

Strangely enough it was through Spector and Klein that I met

John Lennon. It all began with an expose in New York Magazine by
writer Peter McCabe concerning the profits from a benefit concert that
the rock community put on for the people of Bengladesh. The piece
alleged that the cost of the Bangladesh Concert Benefit Album was
highly inflated and implied that ABKCO (Allen B. Klein's Company)
was pocketing $1.14 per album sold - and considering the LP would

• probably sell three million copies, that wasn't chicken feed. McCabe
broke the costs down on the non-profit disc this way: (roughly) $3.00

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to produce and distribute it etc .... $1.14 profit to Klein, $2.54 to
Columbia for Dylan's appearance and $5.00 to be split between the
writers and publishers. Three million discs sold - six million bucks of
non-profit.

On Monday February 28, 1971, a few days after McCabe's

story hit the streets, Klein called a press conference in his office.
Klein's big mistake was sending a telegrammed invitation to the
underground newspaper, The NY Ace, since its publisher, Rex
Weiner, tipped me off to what was happening. Five members of the
Rock Liberation Front (RLF) showed up on Monday, including Ann
Christine Duncan, Minister of Art, Frank Rose, Minister of Information,
two photographers and myself, Minister of Defense. After casing the
place and finding that everything worth stealing had been removed or
nailed down we began to listen to Klein do his thing; that is, in my
opinion, lie. "I didn't make a cent; in fact we actually lost money on
the disc. We did it for the starving people of Bangla Desh. I'm gonna
sue New York Magazine for $1 to 6 million." He came up with, in my
opinion some real winners - $7.50 apiece for the box and booklet -

•
although he produced a million units of each and this price did not
include color separation. Repayment of the cost of the concert that he
had originally claimed would come from the profits he made on the
movie - $1.00. The about $2.00 an LP to Phil Spector for studio (it
was recorded live) and mixing costs - multiply that by $3 million and
you've got $3/4 of a million smackeroos going to Phil who was
already worth-twice that.

In the middle of all this Spector wobbled in and began a super

indignant riff about how the press was trying to do a number on his
righteous employer. When a straight reporter dared to question Klein,
he was met with obscenities from Spector who soon challenged him
to a fistfight, but just as the guy was about to slug Spector, an
ABKCO heavy moved in and grabbed him. Then Ann began to cross-
examine Klein: Spector went over to her and began to harass her.
Ann moved somewhere and Phil followed her, then began to literally
step all over her. "You swine!" Ann screamed and Spector couldn't
believe his ears, "Did you hear what she called me?" he demanded of
everyone. Meanwhile I began to grill Klein about what I believed to be

•
the album's inordinately high production costs - "You sure you ain't
gettin a kickback from the printers, Al? Maybe on the next deal with

85
•
them they don't charge, eh?" "Stay in the garbage can!" yelled Phil.
"Go back to the 50's Spector," I retorted. Finally Klein told me to shut
up 'cause I know nothing about the business. Then a Capitol Records
exec, there to deny some information given "by mistake" by a Capitol
VP to McCabe, read the press release regarding the upcoming RLF
action against ABKCO. This dude recognized me from the time we
picketed Capitol over their refusal to press the Bangla-disc at cost. I
had told him we were holding a tribunal for his company downstairs
and they'd better send their best attorney or else we'd have to assign
them a legal aid lawyer who would plead them guilty. He didn't dig my
humor. He showed the release to Klein who said, "I think it's time to
show Mr. Weberman out." Suddenly two of Klein's heavies came out
of the woodwork and grabbed me. I broke loose and shoved one
toward the window. If not for a ledge, in front of it, he would have
gone through it - then 20 flights down. Meanwhile, Phil had grabbed
Ann and was holding her up against a wall by the throat yelling, "Call
your man off, those are feds he's fighting. Call him off or else I'll
karate chop you in the throat." Finding Ann intractable, Spector came
over to me and announced he was gonna do the job the heavies had

•
failed at. I grabbed him by the collar, then slapped his face - "The
next time I hit you , capitalist scumbag, it'll be a punch in the nose and
you'll never be able to snort coke again!" Then I felt this
tremendous hand clasp around my wrist and a big dude pulled us
apart. Four more heavies appeared and they escorted me out
peacefully. Phil came from behind screaming how he was going to do
me in. I tried to break loose to waste him when the Capitol executive
flipped. "We gave you the opportunity to go quietly but you wouldn't
take it," he screamed. Then he turned red, unsuccessfully attempted
to knee me in the groin and took a karate chop on the neck. "We saw
you hit him," yelled Klein's heavies as if they were going to take me to
court and were getting their testimonies together early. Eventually
they shoved me in the elevator and I waited downstairs for Phil. After
ten minutes of shadowboxing the weasel appeared - he tried to come
at me but his bodyguard held him back. After some half-hearted
attempts to elude his employee/captor I went over to him and called
him a chicken. He answered, "You're nothing cause you can't afford
the luxury of hiring people to protect you." I told him America also
hires mercenaries in Vietnam. Then he told me that I shouldn't go

•
after stars. "Are you kidding man, that's my specialty."

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We came back a few days later, picketed, chanting, "Klein
come clean I Where's the buck fourteen?" "You'll wonder where the
money went I When Klein runs a charity event" then went up to
ABKCO, losing the cops who were supposed to keep us out. We
were there to implement our free lunch program for starving music
executives modeled after the Black Panthers Free Breakfast Program
For Hungry School Children. We threw a lot of rotten lettuce and
tomatoes all over the front office that I had collected from dumpsters
in the East Village . High Times Magazine founder Tom Forcade was
also up there, after fighting Allen Klein himself to gain admittance,
and was being accosted by someone or other. I punched Tom's
attacker a few times screaming "Let him go - we need him for Miami."
Things calmed down and I asked to speak with Allen Klein. "What are
you here for?" someone asked. "We came to pick up the three million
dollars," retorted Tom in perfect deadpan. "What are you gonna do
with it?" they asked. "What are you gonna do with it?" Tom replied.
"We're gonna give it to UNICEF," I chimed in. Then Al Steckler, Apple
PR man, came running in, looking like a typical corporate hippie and
screamed - "What about the mothers?" I thought to myself - Frank
Zappa and the Mothers of Invention? Wha? He continued - "What
about the mothers of the children who'll starve because you're
discouraging people from buying this album?" I told him that he was
the one who was helping to stave the children by working for Klein
then turned to Tom for a second when Steckler, who was about six
foot tall and weighed over 200 pounds, took the opportunity to swing
at me. Luckily RLFers Gabrielle Schang and Jackie Diamond
indicated I should duck, which I did then I came up swinging and
laughing and landed one on Steckler's face. He began to scream , "I'll
kill him!" His fellow execs told him to split - he did a double take at me
standing there ready to fight and the cameras rolling then split. (It
only took a fraction of a second for his "murderous rage" to subside).
The cops moved in and it was either leave or take a bust. We left.

John and Yoko eventually spoke out against Klein and told me
in our first telephone conversation they had fired him as their
manager because "he was stealing from us too" although this has
never been proven. It was during this telephone conversation they
invited Ann and I over to their apartment on Bank Street for tea and
thus began our historic friendship.

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As for Allen Klein, in February 1971 Paul McCartney's lawyer
stated the "Klein cannot be trusted." 26 In April 1973 Klein severed his
remaining ties with the Beatles. 27 On April 6, 1977 Allen Klein was
indicted in Manhattan on charges of evading $125,000 in Federal
income taxes in an alleged scheme to sell promotional records. He
was convicted and served two months in prison. 28

As for Phil Spector he continued to work with John and Yoko

but eventually faded off into oblivion until February 2, 2003 when
Spector went to the House of Blues in Hollywood, left a waitress
named Lana Clarkson a $450 tip drove home with her in his
limousine then, according to his chauffer, came out of his mansion
with a gun in his hand and said, "I think I just killed someone."
Spector is out on bail facing murder charges. What happened that
night? In my opinion Spector expected sex in return for the $450 tip
and when he was refused it he gave Lana something else to suck on
other than his penis.

As for A.J. Weberman, he was convicted of money laundering

and served a year at the Metropolitan Detention Center in Brooklyn,
New York, where he broke The Beatie Code.

1. In McCartney's poem Rocking On found in his collection of poetry entitled Blackbird Singing he
wrote, "Reminisce about our childhood I What we did in deepest wild wood" and in This Is The
Way he wrote, "Deep in the wild wood a fire goes out I And what are we left with I Now we are
grown up?"

2. In If Tomorrow Wasn't Such A Long Time Dylan wrote, "Only if my own true love were waiting
and I could hear her heart softly pounding then I would lie in my bed once again." Also see bed in
A Day In The Life I bed D-E-0.

3. In McCartney's poem Liverpool found Blackbird Singing he wrote this about Dylan's early
period, "In a house (audience or venue as in bring down the house) before they built the road
(that was inaccessible and therefore unfrequented and small also before Dylan built a life for
himself. Road as in the Beatles poem Two Of Us, "You and I have memories I Longer than the
road that stretches out ahead") I Raising (as in raising an issue) jam jars (problems, jams,
caused by social discord) for a worthy cause (the Civil Right Movement)."

4. See door in Ob-la-di Ob-la-da, Maxwell's Silver Hammer, Lady Madonna, Come Together and
Fixing a Hole I door D-E-0.

5. In Liverpool McCartney wrote, "Down the pierhead (part of a pier or platform or stage that is
furtherest from the land - in a remote version of reality) I where the preachers (where Leftist

• political leaders) met I Each of them his own imagined crowd (each of them with his own

88
• sectarian following of radicals) I Giving us his version of the book (Das Kapital, the bible of
Communism) I That God had written (that Karl Marx had written many years ago) ."

6. Barry Miles, Many Years From Now: Henry Holt and Company October 1977

7. In Dinner Tickets McCartney wrote, "My mother (a higher authority) always looked for dinner
(entertainment) tickets (the range of ideas and plans that someone supports when they are in an
election - political songs) in the breast pocket (in one's pocket control or possession of the center
of a person's feelings) of my gray (ill-defined, morally questionable) school (a group of painters,
writers, poets, etc. whose work is similar, especially similar to that of a particular leader that Dylan
followed) shirt (that I relied on as a resource) I Dried (cut-and-dried poetry that is done according
to a plan, set procedure, or formula) mud (old fashion , a stick-in-the mud) I Falls (subsides,
abates also falls from a moral position) from my work boots (from my stance as a worker of the
world and as a result of booting heroin) I Zig zag (alterations in a course - also zig-zag cigarette
papers that can be used to smoke heroin) sculptures (abstract poems - in Tarantula, Dylan's
collection of poetry, he termed his new poetry, "butter sculpture") I Leave a trail (do poorly in
relation to others - namely Dylan's former fans in the folk community) as I head (head -as in pot
head, smack head) I For the woods (for danger - as in out of the woods)."

8. In Give The Man A Break McCartney writes that Dylan was "poisoned (was made the subject
of hurtful words while he was) in the kitchen by (while he was creating his poetry and that this
person was) a dirty slob (someone who was rude and dug up dirt on people, a pig, this
Beatleologist)."

9. In Hell On Wheels McCartney wrote, "I wanna get my right [conservative] foot down I Shake

•
some dust (dirt: newspaper articles in the tabloid press) off of this old bus (vehicle that is taking
me somewhere, see A Day In The Life)/ I gotta get her out of town (I have to progress beyond
just being an commonplace entertainer - town as in paint the town red)."

10. In Standing Stone an epic poem about Dylan's life, McCartney used blue in a similar fashion:
"Until a crack (a sudden short noise. A crack is also a joke, in Dylan's poetry the joker is the
folksinger) of blinding light (of overwhelming truth) broke through (broke through the former
barriers that prevented Leftwing songwriters to express themselves) and hauled the boat
(propelled the ship, the revolution as in the Dylan song, The Hour That The Ship Comes In) along
a singing slipway, towards a dear blue sky (towards valuable clear future - sky as in Lennon's
poem Cold Turkey "Can't see no future I Can't see no sky"). And as before (as in other times
when the Left has resurgence) clear music (music and lyrics that were easily understood) led the
way."

11 . In McCartney's poem Chasing The Cherry he wrote, "A weapon is not I Worth a button I
When anti-world I Matters explode."

12. It is no coincidence that Magill appears in a poem written by Jim Morrison of the Doors that is
about Dylan and was entitled Maggie (as in the Dylan poem, Maggie's Farm) M'G ill : "Miss Maggie
M'Gill, she lived on a hill (she was at the top of a group of musicians) I Her daddy (her higher
authority) got drunk (started to use what in my opinion was the intoxicant heroin) and left her no
will (and left here no will power to fight evil) I So she went down, down to Tangie Town (she went
off on a tangent in the entertainment business) I People down there really like to get it on (by
shooting heroin)." There will be more on the poetry of Jim Morrison in my next book, Opening
Doors.

13. To hit with a rapid, repeated motion .

• 14. Pop - joy popping occasional use of drugs.

89
• loose or most reliable and principle support) I Goodbye to rom2.nce (an emotional attraction or
aura belonging to an especially heroic era, adventure, or activity) I Out on the ocean (in the midst
of humanity) a good ship (a vision of revolution) is lost, And what are we left (Left) with Now we
are grown up?"

25. McCartney wrote this at the end of his epic poem Standing Stone, a poem that was included
in Blackbird Singing and which recounts the tragic life of Bob Dylan, "An impossibly distant
(incredibly far behind Dylan poetically) black bird circled (went round in circles: was trapped in
an endless and frustrating cycle of repetitive discussion or thought) overhead (over the thoughts
coming from your brain) and wondered why so many bite-sized (insightful, articulate - bite -
sharpness or incisiveness of words: size - to make a mental measurement of something)
creatures (the slavish underling or puppet of something) spent their lifetime (wasted their life)
running (in a continuous and unbroken period) on the spot (in an awkward situation, especially
one requiring immediate action or response)."

26. New York Times February 20, 1971 p14

27. New York Times April 3, 1973 p40

28. New York Times April 7, 1977 and December 18, 1979 .

• 91
 I AM MEAN MISTER MUSTARD

One night I followed John Lennon into the bathroom while he was taking a
piss. Hey the dude was naked anyway so what difference did it make if I
talked to him while he was urinating? Anyway Lennon looked at my
stubble covered face and remarked, “A. J. you should shave in the night,
shave in the dark.” I forgot how I responded but the minute he said this
Mean Mister Mustard came to mind. Was Lennon giving me a hint about
the subcontent of this poem? I think so.

Mean Mister Mustard Weberman who cannot cut the mustard Slang to come up to
expectations when it comes to interpreting poetry sleeps is in a state of inactivity
resembling or suggesting sleep; in the park in a stadium where artists like the Beatles
attract large audiences, he only has a small underground following Shaves only touches
or barely grazes in passing in the dark difficult to understand; obscure: poetry that is
large in scope and dark in substance. It is also concealed or secret; mysterious and he
is in the dark as to its meaning trying to save trying to save, rescue paper the
underground press; paper as in a newspaper. Sleeps is asleep to the truth in a hole
because of a fault or flaw: There are holes in his arguments in the road in a way, path,
or course in life Saving up making unnecessary; obviating: saved me the time of figuring
out these lyrics for myself to buy informal to believe in, especially wholeheartedly or
uncritically: couldn't buy into that idea some clothes something that conceals or
disguises Keeps a ten-bob keeps a lot of Bob Dylan note the characteristic vocal sound
made by a songbird, Dylan’s music and lyrics up his nose in his curiosity: Informal the
nose considered as a symbol of prying: Keep your nose out of my poetry. Such a mean
old man such a man who studies meaning: mean as act as a symbol of; signify or
represent: In this poem, the budding flower means opium. Such a mean old man such a
man who is low in social status His sister Pam Weberman’s other persona works in a
shop looks for something with the intention of acquiring it She never stops, he pulls out
all the stops Informal To deploy all the resources or force at one's disposal: AJ pulled
out all the stops when he went through Dylan’s trash she's a go-getter he goes and gets
the garbage. Takes him out takes the trash out of the bag to look at the queen to see
how Dylan’s wife is living Only place that he's ever been Weberman lives in a garbage
can Always shouts out always makes a loud cry to convey a command something
obscene something repulsive; disgusting: "The way he writes about Bob Dylan’s heroin
habit is simply obscene" Such a dirty old man” who has acquired the trash by illicit or
improper means Dirty old man dirt as malicious or scandalous, someone who digs up
the dirt on Dylan.
 THE JEWISH DEFENSE ORGANIZATION (JDO) CONTENT ANALYSIS SECTION

YOKO ONO’S FRIDAY FEBRUARY 18, 2011 FULL PAGE NEW

YORK TIMES AD “IMAGINE PEACE 2011” CONTAINED CODE
WORDS THAT REFERRED TO THE JEWISH PEOPLE IN A
CLASSICAL ANTI-SEMITIC RANT

This ad is Dog-whistle politics. Dog-whistle

politics, also known as the use of code words,
is a term for a type of political campaigning or
speechmaking which employs coded
language that appears to mean one thing to
the general population but has a different or
more specific meaning for a targeted
subgroup of the audience. The term is used to
refer to messages with an intentional subtext.
The key to its use is to maintain the option of
"plausible deniability." For example the phrase "states' rights", although
literally referring to powers of individual state governments in the United
States, are "code words" for institutionalized segregation and racism.
These are the code words that indicate this ad is about Jews: “world
control” “elitist” “minority” “arrogant” “changing law for their convenience
(lobbyists)” “seducing us with words (control of media)” “rich” “keeping
wealth for themselves (greedy)” and Blue Meanie which the production
supervisor of Yellow Submarine admitted stood for Jews. Put this together
with Yoko Ono’s having convinced John Lennon to monetarily support Abie
Nathan, a so-called Israeli peace advocate who was jailed for meeting with
the Jew-killer Yassir Arafat along with Ono’s having awarded the anti-
Zionist self-hating Jews Mordechai Vanunu, Seymour Hersh and the
Center for Constitutional Rights (founded by Communist Jews) the $50,000
John Lennon Peace Prize it becomes obvious what Yoko’s message here
really is. Remember, this is dog whistle politics and you are not going to
find any direct reference to Jews in the text. This the text of Yoko Ono’s full
page ad:

IMAGINE PEACE 2011

Yoko Ono Lennon 18 February 2011

Dear Friends, Today, February 18th, 2011, I am 78.I know you

are asking many questions on Twitter and elsewhere about
what I am really like. It’s something I would love to know, too!
One day it will suddenly dawn on us …maybe. The world
situation is too urgent for us now to discuss trivial things, like
what I eat for breakfast. We are at a point in human history
when we have to wake up and realize that the only people who
can save the world are us. Every hour that goes by without us
doing anything about it affects us, and affects the world that we
love so much. In his State of the Union Speech, President
Obama said we should do “big things.” Well, we are already
doing the biggest thing anybody in the human history could
ever hope for. Together, we are creating a world of Peace,
Love and Freedom, all while the negative forces try their
hardest to stop us. With their power, they want to control the
whole world. But we will not let them. That’s big. The way we
are doing it is by being conscious of the “Power of
Togetherness.” The negative forces do not have that. They are
an elitist minority, dipping their heads in arrogant
madness. They always play the same game – using violence,
changing laws for their convenience, and seducing us with
words to get what they want. They say if we do things their
way, we will all be rich. Well, that’s not happening. It never
will. Once there is great wealth, they will want to keep it for
 themselves. They also use fear tactics, saying the world will be
in a great mess if we don’t do it their way. Well, the world is
already in a mess. Why? Because we followed them. It’s Time
for Action. It’s Time for Change. We, the people of the world,
are not dumb. We understand what the “Blue Meanies” are
trying to do. We just don’t know how to stop it. And wonder if
we can at all. But we can! We are doing it. Take a look at this
map. Each dot represents millions and millions of people who
are all, right now, thinking of Peace: wishing it, voicing it, and
hoping that their dream of peace will become a reality. The map
expresses what my husband John Lennon and I envisioned. I
know he is smiling, thinking of how little time it took for all of us
to Come Together. IMAGINE PEACE is a powerful, universal
mantra that we should all meditate on. With it, we will achieve
the impossible. Hopefully, without bloodshed. Look at all the
courageous people who are now being hurt in marches and
thrown in prisons for no other reason except for carrying
“Peace, Love and Freedom” in their hearts and voicing it. I don’t
want you to get hurt. You shouldn’t have to. 7 billion of us,
people of the world, have the birthright to live with a healthy
mind and body at all times. You should not even get one
scratch on you, and you won’t, if you don’t allow it. So keep
IMAGINE PEACE in your head. Have a clear picture of where
we stand, what we are doing, and where we want to be. Know
that we are connected in our hearts and minds. War Is Over, if
you want it! I love you! i ii iii yoko Yoko Ono Lennon18
February 2011

We, the people of the world, are not dumb. We understand

what the “Blue Meanies” are trying to do. We just don’t know
how to stop it. And wonder if we can at all.

Although this line appears towards the end of Yoko’s text

it is worth examining first as it provides the least ambiguous
code word. The people of the world are not dumb. They
understand the underhanded activities of the Blue Meanies but
have no idea how to stop them. They are demoralized. Who
were the Blue Meanies in the Beatles movie Yellow
Submarine? In the DVD commentary track of Yellow
Submarine, production supervisor John Coates stated that
"blue" was a play on "Jew." He claimed it was not as a reflection of any
anti-Semitism on the part of the filmmakers, but rather as a commentary on
the stereotypical casting of Jews as villains. There is also a scene where a
Blue Meanie questions some disguised Beatles, asking, "Are you Bluish?
You don't look Bluish..." Sounds like “You don’t look Jewish.” With this in
mind let’s see if there is other words in this ad that might refer to Jews.

With their power, they want to control the whole world. But
we will not let them.

Who are they? They are the Jews. Who has been accused of trying
to “control the whole world?” Put “Jewish world control” in quotes and run a
search in Google and you get 31,000 hits. For centuries, anti-Semitic
propaganda has demonized the Jew as a conspiratorial, manipulative
outsider with powers and designs of world domination. The Protocols of
the Elders of Zion was a forgery that supposedly laid out the blueprint for a
Jewish world government. Yoko’s “Peace” ad is no different.

They are an elitist minority, dipping their heads in arrogant

madness.

Elite is defined as a group or class of persons or a member of such a

group or class, enjoying superior intellectual or economic status. Elitist is a
term that is often applied to Jews. The Soviets’ code word for Jews was
“rootless cosmopolitans.” Minority is defined as a racial, religious, or
national group thought to be different from the larger group of which it is
part. This is also applicable to Jews. But the key word here is arrogant an
even more frequently used code word for Jews. The Prime Minister of
Indonesia stated, "Israel is a small country. There are not many Jews in the
world. But they are so arrogant that they defy the whole world." People
who express hatred, resentment or fear regarding the Jews almost always
focus on charges of Jewish arrogance, elitism and lust for power - all
elements in Yoko’s full page “Peace” ad. Although not a run of the mill
code word for Jew the use of the word “dipping” here is significant. On the
Jewish holiday of Passover it is asked, “Why is it that on all other nights we
do not dip [our food] even once, but on this night we dip them twice?”
 They always play the same game – using violence, changing
laws for their convenience, and seducing us with words to
get what they want.

The Jews use in the sense of exploit the violence of the

Nazis during the Holocaust to rationalize the existence of the
State of Israel. Changing laws for their convenience is a
reference to Jewish Congressional lobbyists like Jack
Abramoff. “Seducing us with words to get what they want”
is another way of saying that the Jews control the media. This
is classic anti-Semitism. Type “Jews control the media” in quotation marks
into Google search and you come up with 76,000 results.

They say if we do things their way, we will all be rich. Well,

that’s not happening. It never will. Once there is great wealth,
they will want to keep it for themselves.

The Iranian Hitler Mahmoud Ahmadinejad stated:

"Although they are a miniscule minority, Jews have
been dominating an important portion of the financial
and monetary centers in a deceitful, complex and
furtive manner." Part of the Jewish stereotype in
America is that Jews are rich. “keep it for themselves”
Another trait attributed to Jews in general is that they
are greedy and want to keep all the wealth of the world
for themselves.

They also use fear tactics, saying the world will be in a great
mess if we don’t do it their way. Well, the world is already in a
mess. Why? Because we followed them.

Israel has nuclear weapons and according to

Ono uses them to intimidate the world. Ono gave
journalist Seymour Hersh the $50,000 John
Lennon Peace Prize award. Hersh is the author
of The Samson Option, a book that claims that
the famed U.S. airlift to Israel during the Yom
Kippur War was only undertaken because Israel
blackmailed President Nixon, threatening to use
its atomic arsenal if supplies were not sent immediately. Ergo “fear tactics”
and “the world will be in great mess.” In a recent speech at the Georgetown
University Hersh blamed the war in Iraq on a coup effectuated by a small
group of neo-con Jews and claimed that many high ranking members of the
American military were secret members of the Knights of Malta, a group
that plays an important role in the mythology of the wanna-be Hitler,
Lyndon LaRouche.

In 1972 Abie Nathan, who advocated

the expulsion of settlers from Judea and
Samaria and the destruction of the
Israeli State bought a 188-foot, 570-ton
freighter, which was financed, in part,
by the sale of posters signed by John
Lennon and Yoko Ono. In 1973 he
anchored it off the coast of Tel Aviv and
turned it into a pirate radio station, The Voice of Peace, with a mix of pop
songs and peace messages. Had he really been for peace that would've
been great. But he wasn't. He was advocating disgraceful surrender to
Arab terrorists, expulsion of Jews from the Land of Israel, and other such
atrocities. All of that was pimped up by a nice assortment of popular music.
Nathan was sent to prison on two occasions for meeting with Yasser
Arafat, a terrorist who orchestrated the murder of numerous Jews.

Yoko Ono gave Israeli nuclear

whistleblower Mordechai Vanunu the
same peace prize. She stated: "It's
possible that somebody might attempt to
murder Mordechai, that's the main
concern." She wanted to keep him safe
from the Mossad. Vanunu, a former
technician at an Israeli nuclear reactor,
served 18 years in prison for divulging information about Israel's nuclear
secrets. Yedioth Ahronoth daily reported that Vanunu had advised
Palestinian fellow inmates on making bombs while serving his term for
treason. He also cheered every time a suicide bomber killed Israeli
civilians.
 The Center for Constitution Rights, founded by the
self-hating Jew William Kunstler was also a recipient
of the John Lennon Peace Award which should really
be called The Destroy Israel Award. The extreme left
Center for Constitutional Rights (“CCR”) attempts to
use our federal courts to punish Israelis who have
helped keep Israel free against terrorists determined
to destroy it. Israel is defined as the enemy because
it is one of the closest allies of the United States and
is in the foreground of the war against the kind of
terrorists whom CCR loves to represent. CCR is the
same organization that represents al Qaeda suspects in cases against the
United States government. Not content with advocating on behalf of
America’s terrorist enemies, however, CCR decided to get the U.S. courts
involved in rebuking Israeli policies and military operations in its continuing
fight for survival. One of CCR’s key allies in its judicial war against Israel is
the Palestinian Center for Human Rights, an anti-Israel propaganda mill. As
NGO Monitor reported, “CCR consistently disregards the context of terror,
denies Israel’s right to self-defense, and accuses it of deliberately targeting
civilians.”

IMAGINE PEACE is a powerful, universal mantra that we

should all meditate on. With it, we will achieve the impossible.
Hopefully, without bloodshed.

Imagine Peace is a piece written and published by Yoko that is quite

ambiguous. With it she hopes to defeat Israel, hopefully without bloodshed
but if that is what is takes Yoko is ready to approve of violence.

I knew John and Yoko quite well in the early 1970’s. It was
many an hour I spent with them on Bank Street. When
John left Yoko she would call me for consolation and
advice. What caused Yoko Ono to adopt this left/right Jew
hatred? Could it have been her ex-husband Sam Havadtoy,
the son of Jewish Holocaust refugees who were forced to
move to England from Hungary? I first heard of Sam
Havadtoy from a sleazy druggie and floor-tiller named
Bruce Kirsh whose motto was “I never met a drug I didn’t like.” Long before
Yoko hooked up with Sam Havadtoy Bruce told me that he had worked for
him on a job that entailed renovating and decorating a town house owned
by the King of Morocco. Sam would form a dummy company wherein
everyone would have phony social security numbers then fold the company
at tax time then start anew with another bogus company. When Albert
Goldman told me Yoko was going out with this bi-sexual interior decorator I
could not freaking believe it. Yoko got into this Jew-hating bag after Sam
divorced her and Yoko had to make a huge divorce settlement payment to
him. Another possibility is that fascism runs in her blood.

YOKO’S FATHER WAS JAPANESE WAR CRIMINAL

Yoko had a rather naïve way of looking at World War II and in the early
1970’s was quoted as saying: “If I was a Jewish girl in Hitler’s day, I would
approach him and become his girlfriend. After 10 days in bed,
he would come to my way of thinking. This world needs
communication. And making love is a great way of
communicating.” Yoko Ono is the daughter of a Japanese war
criminal who worked with the Nazis during World War II. It
seems to me that Yoko has not escaped her fascist heredity.
Yoko was born into power and wealth on February 18, 1933 to
her parents, Eisuke Ono and Isoko Yasuda Ono at her great-grandmother's
palatial estate overlooking Tokyo, with the emperor's compound located
nearby. A staff of thirty servants attended to the family's every need. Yoko's
paternal great-grandfather, Atsushi Saisho, was the descendant of a 9th
Century emperor and a member of a powerful family which played a role in
overthrowing the shogunate system in Japan. Yoko's mother came from a
very wealthy family. Isoko Yasuda Ono's grandfather was Zenjiro Yasuda,
the founder of the Yasuda Bank and head of one of Japan's richest
business cartels. Zenjiro Yasuda had amassed a fortune of more than one-
billion dollars before his death by assassination in 1921. It was this cartel
that profited from the Rape of Nanking as it was his industries that used the
slave labor from Nanking. Following World War II, the Yasuda Bank was
dissolved by the Supreme Commander of the Allied Powers, Douglas
McArthur due to its complicity in Japanese war crimes. Downtown Tokyo
contains an entire block seized from Ono’s family after the war as
reparations and given to the Philippines. Ono went to the exclusive
Gakushuin school, for the Japanese aristocracy. One of her classmates
was the Crown Prince Akihito, now the Emperor of Japan. She was in
Japan when the bombs fell on Hiroshima and Nagasaki and told this author
that she had to eat grass to survive. Her father Eisuke Ono was working in
America prior to Pearl Harbor and left the country possibly fearing that his
role as a Japanese spy might be unearthed or that he might have been
placed in an internment camp along with his family. During the war he had
been working in occupied Hanoi, Vietnam and was imprisoned as a
Japanese war criminal after Japan surrendered. The fascist’s wife and
children were in Tokyo when it was razed by American firebombs in 1945,
killing more than 100,000 people many of whom had taken part in the war
effort. Afterwards Ono and her younger brother were evacuated to the
countryside.

MY PREVIOUS INTERACTION WITH JOHN AND YOKO

I first met John Lennon and Yoko Ono after the group I headed, the Rock
Liberation Front, started a mini-riot in the offices of their manager, Allen
Klein. "Klein come clean / Where's the buck fourteen?" "You'll wonder
where the money went / When Klein runs a charity event" shouted 20 sign-
carrying members of the Rock Liberation Front as they marched in front of
 "Klein the Swines" plush offices at 1700
Broadway. Some RLFers were carrying
bushel baskets of rotten apples, tomatoes
and lettuce in order to implement their
organization's FREE FOOD FOR
STARVING MUSIC EXECS PROGRAM
which was based on the assumption that if
Klein and Co. had to rip-off the starving
people of Bangla Desh for bread, they must be a bunch of hungry mothers.
This RLF action was inspired by Rolling Stone ex-editor Peter McCabe,
who, about a week before the demo, had pointed the finger at Klein in an
article in New York Magazine. The piece concerned the rather obvious fact
that the cost of the Bangla Desh Concert Benefit Album was highly inflated
and implied that ABKCO (Klein's Co.) was pocketing $1.14 per album sold -
and considering the LP would probably sell 3 million copies, that wasn't
chicken feed. McCabe broke the costs down on the "non-profit" disc this
way: (roughly) $3 to produce and distribute it etc....$1.14 profit to Klein;
$2.54 to Columbia for Dylan's appearance and $5.00 to be split between
the writers and publishers. 3 million discs sold - 6 million bucks of non-
profit. A few days after McCabe's story hit the streets Klein called a press
conference in his office on Monday, Feb. 28, 1971. He made sure the
underground press was notified cause the McCabe article had accused him
of excluding the Underground Press from other conferences. Allen's big
mistake was sending a telegrammed invitation to the NY ACE, since they
tipped the RLF to what was happening. Five RLFers showed up on
Monday, including Ann Duncan, Minister of Art, Frank Rose, Minister of
Information, two photographers and myself.

After casing the place and finding that everything worth stealing had been
removed we began to listen to Klein do his thing; that is, lie like a
motherfucker. "I didn't make a cent; in fact we actually lost money on the
disc. We did it for the starving people of Bangla, Desh. I'm gonna sue New
York magazine for $1 to 6 million." He came up with some real winners -
$7.50 apiece for the box and booklet - although he produced a million units
of each and this price did not include color separation. Repayment of the
cost of the concert which he had originally claimed would come from the
profits he made on the movie - $1.00. The about $2.00 an LP to Phil
Spector for studio (it was recorded live) and mixing costs-multiply that by 3
million and you've got 3/4 of a million smackeroos going to Phil who
already is worth-twice that.
PHIL SPECTOR

In the middle of all this bullshit Spector wobbled in and began a super
indignant riff about how the press was trying to do a number on his
righteous employer. When a straight reporter dared to question Klein, he
was met with obscenities from Phil who soon challenged him to a fist fight,
but just as the guy was about to slug Spector, an ABKCO heavy moved in
and grabbed him. Then Ann began to cross examine Klein - "How are we
supposed to take your word on these figures - are we going to believe
capitalists?" Phil went over to her and began to harass her. Ann moved
somewhere and Phil followed her, then began to literally step all over her.
"YOU SWINE," Ann screamed and Spector couldn't believe his ears, "Did
you hear what she called me?" he demanded of everyone. Meanwhile I
began to grill Klein about what I believed to be the album's inordinately high
production costs - "You sure you ain't gettin a kickback from the printers,
Al? Maybe on the next deal with them they don't charge, eh?" "Stay in the
garbage can!" yelled Phil. "Go back to the 50's Spector," I retorted. "Why
don't I you sell some more hotdogs in front of Dylan's house, Weberman?"
he whined. That fool. Accusing me of selling hotdogs with Al Moronowitz in
the sameroom. [It was the Post's pop columnist who passed out the franks!
- Ed.] Finally Klein told me to shut up 'cause I know nothing about the
business.

Then a Capitol Records exec, who was there to deny some info given
"by mistake" by a Capitol VP to McCabe, pinned the press release
regarding the upcoming RLF action against ABKCO. This dude recognized
me from the time we picketed Capitol over their refusal to press the Bangla-
disc at cost. I had told him we were holding a tribunal for his company
downstairs and they'd better send their best attorney or else we'd have to
assign them a legal aid lawyer who would plead them guilty. He didn't dig
my humor. He showed the release to AK who said, "I think it's time to show
Mr. Weberman out." Suddenly 2 of his heavies came out of the woodwork
and grabbed me. I broke loose and shoved one toward the window. If not
for a ledge, in front of it, he would have gone thru it - then 20 flights down.

Meanwhile, Phil had grabbed Ann and was holding her up against a
wall by the throat yelling "Call your man off, those are feds he's fighting.
Call him off or else I'll karate chop you in the throat." And this is the man
that YOKO ONO, author of Sisters Oh Sisters, hires to produce her
records? Finding Ann intractable, Spector came over to me and announced
he was gonna do the job the heavies had failed at. I grabbed him by the
collar, then slapped his face - "The next time I hit you, capitalist scumbag,
it'll be a punch in the nose AND YOU’LL NEVER BE ABLE TO SNORT
COKE AGAIN!" Then I felt this tremendous hand clasp around my wrist and
a big dude pulled us apart. Four more "heavies" appeared and they
escorted me out peacefully ... up until Phil came from behind screaming
how he was gonna do me in. I tried to break loose again to "waste the
mother fucker" when the Capitol exec flipped. "We gave you the
opportunity to go quietly but you wouldn't take it," he screamed. Then he
turned red, unsuccessfully attempted to knee me in the groin and took a
karate chop on the neck. "We saw you hit him," yelled Klein's heavies as if
they were gonna take me to court and were getting their testimonies
together early. Eventually they shtupped me in the elevator and I waited
downstairs for Phil. After ten minutes of shadow-boxing the weasel
appeared - he tried to come at me but his bodyguard held him back. After
some half-hearted attempts to elude his employee/captor I went over to him
and called him a chicken. He answered, "You're nothing cause you can't
afford the luxury of hiring people to protect you." I told him Amerika also
hires mercenaries in Vietnam. Then he told me that I shouldn't go after
stars. "Are you kidding man, that's my specialty."

We came back a few days later, picketed, then went up to ABKCO,

losing the cops who were supposed to keep us out. We threw a lot of rotten
lettuce and tomatoes all over the front office, but some RLF dummy forgot
to bring the salad dressing - he'll be purged next week.
“CHESHIRE CAT CRY,” YOKO ONO’S SEPTEMBER 29,
2013 FULL PAGE AD IN THE NEW YORK TIMES IS
ABOUT THE U.S. ABANDONING ISRAEL

BY A. J. WEBERMAN

I first discovered Yoko believed that there was an International Jewish

Conspiracy afoot that is responsible for all the world’s ills when I read another of her
stupid New York Times ads. I wrote about it. You can read it here.

http://www.scribd.com/doc/49565061/YOKO-ONO-HATES-JEWS

So an anti-Zionist poem comes as no surprise. Now Yoko can claim, “Oh I like
Jews, but I dislike Zionists.” Anyone who opposes the existence of the State of Israel in
light on the history of the Jewish people hates Jews. Without Israel the Jews would be
subject to the whims of the non-Jews – expulsions, Holocausts, Pogroms, Muslim
terrorism on and on.

I’m rolling in your dreams

Listening to your screams
Cheshire Cat Cry
The River is dry

“I’m rolling” I am working and succeeding in a sustained way; gaining momentum: The
political campaign against Israel finally began to roll “in your dreams” and it is
diametrically opposed to a condition or achievement that is longed for by you; an
aspiration: the dream of the Jews having their own country. “Listening to your screams”
listening to Israel speak or write in a heated hysterical manner about its Arab neighbors
“Cheshire Cat Cry” Israel complain – Cheshire is a county in England and Israel was
once a British Mandate “The River” a stream or abundant flow: a river of armaments “is
dry” is unproductive of the expected results: an arms embargo against Israel will be
enacted.

We are the expendable people of the United States

Digging our own ditches
While the Dead in the trenches
Are covered with sand
Covered with sand

“We are the expendable people of the United States” we are the non-Jewish population
of the United States, the goys who only have to follow the Laws of Noah to go the
heaven “Digging our own ditches” digging our own graves by supporting Israel. “While
the Dead in the trenches” while the soldiers who verged or encroached on Muslim land
were killed for doing so. Often used with on or upon. “Are covered with sand” are on a
tract of land covered with sand, such as the Negev desert or other parts of the Middle
East “Covered with sand” that is immersed in history, sands as in the sands of time.

Stop the violence

Stop all wars

“Stop the violence” stop Israeli violence against the Palestinians “Stop all wars”

We are the expendable people of the United States

Ask to stop the violence
Stop all wars

“We are the expendable people of the United States” we are the non-Jewish population
of the United States “Ask to stop the violence” ask your representative to pressure Israel
into stopping the violence “Stop all wars”

The sand is still moving

They can’t die
Cheshire Cat Cry

“The sand is still moving” history is progressing toward a particular state or condition:
“They can’t die” the Palestinians must live “Cheshire Cat Cry” even if it means Israel
suffering.

“Ma, they told us that

Our blood money will give us
Independence, freedom and power”
“Ma, they told us that our blood money” money obtained at a cost of suffering to others.
“will give us Independence” Israel declared independence in 1948 “freedom” freedom
from Nazi genocide “and power” and the power needed to prevent a reoccurrence of the
Holocaust.

This is my blood money

30 thousand dollars!
I want you to have it
And I want you to quit your job
All these years
You’re standing on your feet all day
Don’t worry, I’ll be back
I’ll be back soon.
to take care of you”

“This is my blood money 30 thousand dollars!” in Israel, the average salary is about
$2,572 per month, and the average income for a family with two wage earners is
approximately $3,428 per month, according to Israel’s Central Bureau of Statistics. “I
want you to have it” I want my family to have it while I serve in the Israeli Defense
Forces. “And I want you to quit your job / All these years / You’re standing on your feet
all day” stand on one's own feet to be independent “Don’t worry, I’ll be back I’ll be
back soon. to take care of you” I will come back and support my family “He came back
with no arms and no legs” after an Islamist detonated an IED.

A guy with fat hands

fat fingers
Counting my money
Over my dead body

“A guy with fat hands” the wealthiest Israelis “fat” as in the best or richest part: living off
the fat of the land. “fat fingers” to designate, especially as an intended victim. “Counting
my money” determining my income “Over my dead body.”

Cheshire Cat Cry

Cheshire Cat Cry

We the expendable people of the United States

Ask to stop the violence
Stop all wars

We don’t need it
Who needs it

Cheshire Cat Cry

Our hearts are dry.
“Cheshire Cat Cry” Israelis can protest all they wish but “Our hearts are dry” our
sympathy is played out.

Yoko Ono 9/15/2013

https://soundcloud.com/yokoono/yoko-ono-plastic-ono-band-cheshire-cat-cry

Go to this page and listen. What if this was not Yoko Ono? What would you think?
Would you purchase this download? It sounds like children hitting glasses with kitchen
utensils. It is discordant and disconcerting. It is torture. During her Woman Is The
Nigger of the World time Yoko was pretty hip. But now there is really an inferior intellect
there. There are genes that trace back to Japanese war criminals – her father. Yoko,
the Jewish Defense Organization is fed up with you. We are coming to the Dakota for a
legal demonstration against you and your hatred for Jews and Israel. I am not going to
waste my time translating the long version of this poem. There are a few really brilliant
lines "We the expendable people of the United States / Hold these dreams to be self-
destructive."

CHESHIRE CAT CRY

I'm rolling in your dreams

Listening to your screams
The memory is covered by the rain of pain
The boat will float
to end of seas
Taking your memory of pain
When the Cheshire Cat slowly smiles to us
Cheshire Cat
Cheshire Cat
The river is drying
Faster than your memory of pain
"We the expendable people of the United States
Hold these dreams to be self-destructive"
Cheshire Cat
Cheshire Cat
Taking your memory of pain with it
Cheshire Cat
Cheshire Cat
And the boat will float
to end of seas
"We the expendable people of the United States
Hold these dreams to be self-destructive"
Cheshire Cat
Cheshire Cat
Blood is creating
A lake of tears of pain
Rain of pain
Stop the violence
Stop all wars
Stop the violence
Stop all wars
Taking your memory of pain with it
"We the expendable people of the United States
Ask for the violence to disappear"
"We the expendable people of the United States
Hold these dreams to be self-destructive"
Blood Money will give us independence and power
Stop the violence
I’m rolling in your dreams
Stop all wars
Listening to your screams
Stop the violence
The memory is covered by the rain of pain
Stop all wars
Cheshire Cat
Cheshire Cat
Cheshire Cat
Stop the violence
Stop the violence
Stop all wars
Who needs violence?
Who needs war?
Who needs it?
Who needs it?

-------------------
Words and Music by Yoko Ono
© Ono Music (BMI) 2013
-------------------
YOKO ONO PLASTIC ONO BAND
Yoko Ono - Vocals
Lenny Kravitz - Drums, Clavinet
Sean Ono Lennon - Bass, Electric Guitar, Synth

YOU DON’T HAVE TO GO TO UNIVERSITY IF YOU HAVE SAM HAVADTOY TO

TEACH YOU PERVERSITY

What kind of perverse sexual practices was Yoko forced to endure at the hands of Sam
Havadtoy (born August 4, 1952) to make her hate all Jews? What STD did she catch
from him? How much did it cost her to get this parasite off her? She was on the rebound
and picked the first scumbag that happened to turn up renovating the Dakota and Palm
Beach cribs. Sam gave a lot of people work doing renovation – all under false names
and false SS Numbers. When it came tax time Sam’s sham company disappeared and
a new one was started. My friend Bruce Kirsch told me about this long before Yoko and
Sam united. Yoko had such a bad experience with him she started to hate all Jews?

YOKO’S FATHER WAS AN ALLY OF GERMANY DURING THE HOLOCAUST

Another possibility is that fascism runs in her blood as her father was a Japanese war
criminal who was arrested in Vietnam after the war for stealing that countries wealth and
sending it to imperial Japan. That was why Yoko told me she had to eat grass when
Japan started to loose and she was with her mother. Her father was locked up.

There is such a thing as real politics. Could a performance artist like Yoko Ono exist in
an Islamic Republic or could a Yoko Ono exist in Israel? Who did Yoko call after John
left her? Me, a Jew. Who consoled her and told her that she was a stabilizing influence
in John’s life because like those he hung out with during his working class hero days he
was way way way out there. And that he would be back. Who held her hand during
deportation proceedings and who spoke with her about her miscarriages? Me, a freakin’
Jew. Shit Yoko and I worked together on letting thousands of flies loose in the RNC
headquarters in Manhattan. We worked together along with John on Smokes Ins,
concerts, riots and revolution. Now this b---h wants to deprive me of a homeland?
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 •

Lennon Accused of
Backing Terrorists
By Davit/ Duffy ......-....
While Brit rocker J ohn Lennon was living the Amer-
ican Dream in a Manhattan palace, he secretly backed ter-
rorists and shelled out $14,000 to help arrange a NY riot.
That's the sensational charge political activist A.J . Web-
berman makes in an upc.vming British TV documentary
- which also reports that "Give Peace a Chance" Lennon
funneled money for bombs and guns to the bloodthirsty
Irish Republican Army.
Mike Tyson scored a l:nockont punch with a lovely gal
who was eyeing pricey w:itches at a Vegas boutique. He
had the clerk clear the store of customers - and invited
the girl to pick out any watch she wanted. Then he put the
diamond ticker on her wrist, shelled out $20,000 - and
waved bye without even getting the gaga gal's name!
Christina Onassis is barely cold in her grave, but r
~

...-·. · -~ ' ': ;,·•··

·p••'
, .~

....
Meryl Streep has agreed to play her in a big-screen bio
next year so long as she gets script approval. Pals say
packing on the pounds to star as the ove rweight heiress
/;
1l A •
.•,.. ti ·11 ·--... '"..." . will be one of Meryl's mosr. challenging rolls ... Motoring
by a billboard of herself ,m Sunset Blvd., Liza Minnelli
SongL rd Olivia Newton-John proudly Olivia's debuting in her nationwide was aghast to see her fr$t teeth blacked out! A quick
poses with Tournament of Roses Pa- chain of Koala Blue boutiques. The paint job replaced 'em, b t the phantom dentist struck
rade Q11een Charmaine Shryok (on girls will wear the clothes at official again - and Liza flippe . The sign company hired a
Olivia's right) and her court, aU pageant functions. The parade airs on guard to foi l further extra tions.
dressed in a new line of floral clothing New Year's Day on the Fox network.
Sexy Ann-Margret en 1oyed her first reunion lo five
f~~1 ~~e ~~~tim:n~e~t~ ~~~~ 30 Sfteaf·
cllla Presley's blessing. In- I''
Wielding Midgets Take years with one of her bigt est fans, Col. Tom Parker, 79,
who's NEVER missed an Ann-Margret opening in Las
Siders say super-excited net-
work brass are about to start
•n,.~LillltltLJ I 'a'~t
11.,~"'6llllfli "~ ~
& Irk
'•LJw ni
uo.1~tarn!!J
fli ~
:I"
Vegas - and who dubbed her "the female Elvis" back
whe n she and The King costarred in the 1964 flick "Viva
11\ \1
casting - an_d two hot picks nearby park, where Ro- Dodger star Orel Hersbiser.
to play EIVIs the lad are seanoe Barr - who'd <:taged * * *
"Family Ties" costar S~ott the gag _ had arranged for If you wonde_r ~hy there
Valentine and smoldenng a tasty picnic lunch. Now are so many Poltsh Jokes, get
screenthrob Matt Dillon. THAT'S show biz folks! this: Old "Dallas" episodes
"Newhart" cupcake Mary
* * * * *
-ir have started airing ia Poland
Here's a gold medal and the voices of EVERY-
Fraon shrieked and nearly SCOOP: You'll see the start- BODY - J.R, Miss Ellie, lit-
~ainted w?en she reac~ed ing kickoff of a dash for tie John Ross, Bobby, Sue
into a pal s freezer for ice singing stardom when gor- Ellen, etc. - are dubb~ by
cream .- _and pull_ed out a geous Olympic superstar just ONE guy. Can you _ima-
·,~~~~
dea~ bird ma bagpe! Turns Flo-Jo Griffith-Joyner war- gine? (Deep ~ale Voice) : y ., ·.
~I
out it was the pal s ~ecently bles for the very first time "Give me ~. kiss, Sue El-
deceased pet ~ocka~iel, and on Bob Hope's NBC Christ- Jen_. ho,?ey. Q ~~ -
(Deep . Male
she was ~eepmg it f_resh- mas show (December 17 at 8 Voice) : J .R., you devil, _stop
·~J~~r: ~
frozen until - get this - p.m.). Flo-Jo, who considers that!" (Deep Male Voice) : VIV A VEGAS! Ann-Morgret with hubby & Elvis' boss.
she moved. out of her b~ach this her debut as a vocalist, "Mommy, Daddy, open your Las Vegas" . .. Splitsvllle's an expensive stop for Elton
house and mto a home with a will sing orie solo and vocal- door ... I had a nightmare." John - soon-to-be-ex Renate's demanding $25 million.
backyard so she could give it ize with Bob Dolly Par- (Two Deep Male Voices) :
a decent funeral. (I don't too Don Joh~on and LA "Beat it, John Ross." Early Christmas present from Jack Nicholson to gal
~~~~~t~ -t~l~yo~ -~s !!~~lll•'illl............,....................._.~~~ pal Anjelica Huston - a $20,000 diamond-and-gold pin
 Lennon Accused of
Backing Terrorists
ByO.-Dally ~

While Brit rocker John Lennon was living the Amer-

ican Dream in a Manhattan palace, he secretly backed ter-
rorists and shelled out $14.000 to help arrange a NY riol
That's the sensational charge political activist A.J . Web-
berman makes in an upcoming British TV documentary 1

- which also reports that "Give Peace a Chance" Lennon

funneled money for bombs and guns to the bloodthirsty
Irish Republican Army.
Mike Tyson scored a knockout punch with a lovely gal
who was eyeing pricey watches at a Vegas boutique. He
bad the clerk clear the store of customers - and invited
the girl to pick out any watch she wanted. Then he pnt the
diamond ticker on her wrist, shelled out $20,000 - and
waved bye without even getting the gaga gal's name;
Christina Onassis is barely cold in her grave, but
Meryl Streep has agreed to play her in a big-screen bio
next year so long as she gets script approval.- ~als say
packing on the pounds to star as the overweight heiress
will be one of Meryl's most challenging rolls . . . Motoring
by a billboard of herself on Sunset Blvd., Liza Minnelli
er nationwide was aghast to see her front teeth blacked out! A quick
~tiques. The paint job replaced 'em, but the phantom dentist struck
bes at official again - and Liza flipped. The sign company hired a
parade airs on guard to foil further extractions.
'ox network. Sexy Ann-Margret enjoyed her first reanJon in five

Jets Take fans. Col. Tom Parker, 79,

years with one of her biggest
who's NEVER missed an Ann-Margret opening in Las
Vegas - and who dubbed her "the female Elvis" back
Hostage when she and The King costarred in the 1964 Oick "Viva

Orel Hershiser.
* *
inder why there I
Polish jokes, get
Dallas" episodes
airing in Poland
ces of EVERY·
L, Miss Ellie, lit-
1ss, Bobby, Sue
- are dubbed by
y. Can you ima-

..
 1·· !lll flll

then you see all these people saying

something, then you tum the channel and
films, antiques, tape files, letter files, court cases a lot of court cases . ..' some guest is saying something, but not
any special guest, just people son of say-
ing things. It's that kind of age."

THIS IS WHAT WE FIND

During the ti me when Yoko was hanging
~ out with Abbie Hoffman and Jerry Rubin,
the fa med garbologist A.J . Weberman
~- ~-~ ,----~---------
:z:·
- -
~ ~1 paid a visit to her a nd John's Bank Street
loft. Inspecting some art pieces that Yoko
was preparing to put on the market, A.J .
exclaimed, " Why are you selling these
things, Yoko? You should be giving them
away."
"Why shouldn't I have the right to
make money from my art?" Yoko asked
,_ when relating the story. "Would he say
II.... that to John? 'Why don ' t you just give the
records to people instead of selling
them?'"
If John and Yoko are wealthy. in fact,
it's because people like you and me gave
our money to them. The fact that they put
it into real estate rather than into drugs
and booze can hardly be held against
them. And it's quite possible that without
; Yoko. John might have done just that -
as his famous 18-month lost weekend in
L.A. indicates. >
Although she has received li11le public
credit. the fact remains that many artists
and musicians have benefited - both
creatively a nd financially - from Yoko'.'>
innovations. For all her resentment al be-
ing perceived as the MachiaveHian Mrs.
Lennon. she kept her experimental
material off Double FtmtaS)' "so that John
would have a better chance for a hit re-
.......... tT cord. He's used to being Number One,
you know." The radical feminist with. a
D ------ D heart of gold .
She's also vulnerable. "We were in the
studio," she said, recalling how she re-
~ corded theJinale of "Kiss K.i.<i.s Kis." ·• ._, .. ..~
Was John Lennon a violent man?
.LBERT GOLDMAN
n 1971, John Lennon and Yoko
Ono had supper with Yippie
leader Jerry Rubin at Serenclip·
ity in New York. Sitting in a
·oom that looks like a cross be-
twe. 1an old-tinfe ice cream parlor
and run1mage sale, the famous
J.llU~ e laid a proposition on the
bear led little coxswain of the New
Left, hat blew his mind. "Yoko says
thij i. they want to live in New York
a11d do things."
{That winter John and Yoko held
1eourt lying naked in their bed of
t>tate, while their honored guests
oerched on its sides. The king and
;Queen of the counterculture showed
'no sense of shame. even when they
had to exhibit their nuclity. (One of roughly clad worthies arrived at the dacious note: the decision to star
these guests, Bohemian throne room like a re- John and Yoko in a "revolutionary
Joe Buller, prise of the Chicago conspiracy tri- road show" that would meld rock
was aston- al: Dave Dellinger, who would soon music, avant-garde happenings, rad-
ished by Len- defect to the boy guru Mahari Ji; ical rhetoric and protest demonstra·
non's body: Huey Newton, who would trade tions in a hippie jamboree. The tour
"John was threats of murder with Eldridge would kick off on the East Coast ear-
amazingly Cleaver in Algeria; Bobby Seale, ly in the summer and rock across
flabby.Even who had been bound and gagged in the country, until it wound up in Au·
though he the Chicago courtroom; and Rennie gust at San Diego, where the Re-
wasn't heavy, Davis, the movement's greatest or- publican Party would be holding its
he didn't have ganizer, whose group had been infil- presidential nominating convention.
any muscle THE LIVES trated recently by an FBI snitch, There, the revolutionaries,
tissue.")
Jerry Rub- OF LENNON "Crazy Annie" Collegio. Soon John
Lennon could say that he had been
charged up with the excitement of
their triumphal progress and acting
in, acting as LAST OF A SERIES to bed with the entire leadership of as the spearhead of a great youth
the royal cou- the New Left. crusade, would have their final
ple's majordomo, began introducing The political jam sessions, which showdown with the Nixon adminis-
his radical comrades into the pres- sometimes raved on for 10 hours at
ence. These heavily bearded and a stretch, concluded finally on an au- Tum to LENNON I 2C
 Rubin teaches Lennon Steve Gebhardt had finished editing
the picture, Leoi; Wildes, the Len-
non immigrationJawyer, reviewed
it. He told John :ind Yoko that it was
to be a revolutionary poison as far as 1NS was concerned.
Instead of explai.'ling this verdict to
John Sinclair, who would have sym-
pathized with the Lennons' plight as
LENNON /from IC With no firmer toehold than that a fellow victim, Yoko contrived a
provided by a 60-day visa, John Len- phony scheme to take her and John
tration. When someone inside the non had set out to make a revolution off the hook.
Lennons' circle tipped off the gov- in America. That the government Having summoned the impover·
ernment to this plan, the adminis- should seek to get rid of him - not ished Sinclair and his wife to New
tration saw it as the work of the Chi- as a dangerous political foe but as a York, Yoko kept postponing the
cago Seven, who were merely using powerful lure in the hands of the meeting until two hours before the
John Lennon. same people who had incited the ri- couple were scheduled to fly back to
The officials in Washington ots at the Chicago convention - Detroit. Then they were summoned
couldn't have been more wrong. was such a natural and inevitable de- to the bedside. When they arrived,
Those present at the sessions testi- velopment that one wonders why all Yoko greeted them with a long ha-
fy that the leading architect of the the politically hip people around rangue about the oppression of
plan was none other than John Win- Lennon didn't anticipate the prob- women. "We couldn't figure out
ston Ono Lennon, who was the only lem..beforejtar:ose~ where shEU!.as coming.from "re-
man among them accustomed to At this point in their career, the called Sinclair. "John Lennon hardly
projecting actions on such a grandi- Lennons could have taken off their said a word during the whole meet-
ose scale. peace symbols af!d seW!l on the dou- ing. Then she announced that we
The Lennoos appeared in · bad to pt that all the money was
succession ara'Oenefiff0r1b~e,;::)'VI:.;,;c-.
- -~....;.
tims of Attica prison uprising at the Justrate their business morality. In dumbfounded."
Apollo Theater, at the trial of the 1971, A.D. Pennebaker wanted to This was an outrageous ultima-
Harlem Six and at a street demon- put into distribution his documenta- tum because scores of people, in-
stration on behalf of the IRA. ry record of the 1969 Varsity Stadi- cluding all the other entertainers at
Lennon's growing infatuation ~ um show, Sweet Toronto.
, with revolutionary violence was
most clearly revealed in his friend-
a The Lennons had cut a quid pro
quo deal with Pennebaker, autho-
the rally, had donated their services
on the assumption that the proceeds
of the film were to be divided equita-
ship with AJ. Webberman, the lead- rizing him to make use of the foot- bly among the various charitable or·
ing member of the Rock Liberation age he had shot of them in exchange ganizations that had organized the
Front, a group dedicated to saving for the right to release his sound event. Sinclair was infuriated not
rock from commercialization. track recording as a John and Yoko only by this unilateral decision but
The relationship between Lennon album titled Live at Toronto. The al- even more by the Lennons' obvious
and Webberman blossomed swiftly bum made a lot of money, selling an condescension. "It was just like you
into that between a social subver- amazing 750,000 copies, but when were the peasant and they were
sive and a wealthy sympathizer. Al- it came time for Pennebaker to prof- royalty. It was humiliating!"
though Lennon preached publicly it from his end of the deal by releas- What Sinclair didn't recognize
against violence, he had no scruples ing Sweet Toronto, the Lennons was that John and Yoko were in pan-
about supporting it privately. When went back on their word, demanding ic flight from their political commit-
an IRA man, smuggling hashish into a sizable sum to release the footage. ments. They didn't care whom they
the United States to pay for terror- Too poor either to pay 6r to sue, trampled upon just so long as John
ist guns and bombs, contacted Len- Pennebaker had no choice but to saved himself from the unbearable
non, who introduced him to Webber- withdraw his film. It was finally re- fate of being deported from the
man, who reciprocated by turning leased two years later, without the 1United States.
Lennon on to Northern Irish Aid, a Lennons, as Keep On Rockill'.
front for the IRA in New York. An even worse instance of 1:8'
• From the book "The Lives of John Lennon" by
Albert Goldman. Copyr!S~~ Albert Gelid·

~
Wben the political conventi.ons ~ double-dealingwas ~ fi T 0 th man.R~1nted~·rn lnc.; 01strlbuted11yfhtt--
ien or W • e w1mamMorrowandCo. t.be,publlsllf'r. -~
commenced in the summer of 1972 film of the John Sinclair rally. When 1Los Angeles Times Syndicate.
in Miami Beach, Webberman ar- __
ranged to take two bus loads of Zip-
. · · i;upt~=--v
proceedings- precisely the same
act for which the Chicago Eight had
been indicted. Lennon paid for the
expedition. }
Lennon would doubtless have
gone much further in this same di-
rection if he had not been braked to
a halt by the Immigration and Natu-
ralization Service, which demanded
bis deportation in March 1972.
Ovenµght, John found himself in a
highly precarious situation. His sta-
tus in the United States was that of a
guest for whom an exception had
been made.
Although legaJJy ineligible for a vi-
use of bis drug conviction in
En~ • d been given a special
Winer after in had pre-
vailed upon his congr , Jona-
~han Bingham, ~ some ·
-•tile-State De~ - ·<> '--'
 JOHN LENNON-PLASTIC ONO BAND-RIGHT ON JOHN
·sy A. J ! Weberman, Djlanologist
When I interviewed Dylan recently he tolfi me-"You 1 re gonna 11}5e the · new
Lennon aHmm" - ami be was wrong-as usual-1ike ! LOVE the new Lennon a l i ua.' Johh
seems to he one of tke few cats who is together enough to retain his humanity
wnil~ experiencing the insanity of be1n& a rock superstar sinee he a1nt afraid
to aemit tnat in many way~ he aint no different than the rest of us. Most of t he
other rock poets are into intellectual elitist iage & cons14er it 4egra4ing to
talk abo ut their private lives, intimate experiences etc. Dylan (the Howari Hughes_
of rock) is the leader of this school. Jrut John is willing to share- in MOTHER
he relates the Oedeopal para4ox to his fucked-up chdlahoo•-"Mother, you ha 4 me
but I never had you" (this song is probably a iirect result of the psychoanalysis
John & Yoko recently underwent in Calif . ) Jonn then tells us he had to break
these psychological chains of the past in orcier to get his hea4i together- "Goo4ibye "
After a literal rap about his father who left him when he was quite ~oung (see
his bio.) . he advises his listeners to get their own heads straight- 'wa lk" - before
trying to change the world-"run" & then John encis the song by verbalizing part
of his subconscious personality-"Mama dont go / Daaciy come home"
Unlike most of the rock poems be~ng written nowerdays, the next poem, HOLD
ON JOHN, is easy to understand. Everything 1 e gonna be cool, John tells himself
and Yoko, the world is gonna git it together, because there are some together
people fighting on the siQe of life ( & it aint gonna come together magicall y ).
The firs t verse of the next riff, I FOUND OUT, can use soma. interpretati on; I
think it's written from Dylan's point of view-"I told you before stay away from
my door" I told you before .John, I dont want you trying to change my mind a bout
life ('door' is 'mind' in D's symbology-in a tJiff about .acid he calls it "a door
enlarger") "Dont give me that brother .. ," dont give me that political bull shit
(like in INSTANT KARMA , a song to D, Lennon te lls him to "Recognize your br ot her ,
everyone you meet 11 ) ''The freaks on the phone " the other rock singers (the phone
is the mass media-eg-"It's you and me and the telephone "-it 1 s D~ his cb and the
media-"Our destiny is quite well known") "wont leave me alone" wont let me en-
~oy my current bag ('to be alone' is to be in D's cb-like ''To be alone with you,.)
'I found out" Lennon found out what a creep D is. In Verse 2 John tells u s that
it's up to us to define reality so that things get better & that he' s gonna t r y
doing it by writting poems wf.lich 'cry-out• against injustic e - "Now that I found
out I lmow I can cry" The rest of this song is quite literal and also quite
radical. ... it deals with co-optation- "Didnt want me so they: made me a star ";
reactionary re legion- "Hara Krishna"; & control drugs- "dope & coke" RIGHT ON ~T CHN .
The next poem, WORKING CLASS HERO, (melody-NORTH COUNTRY BLUES) ...... ho l y
shi t man what a poem! Aint nothing I can say about t.li.i s one except I'd like to
see a 3 album set of poems like i t . RIGHT ON JOHN.
ISOLATION is another scharker ..... capitalism, with it's class s t r u c tur e and
inherent racism makes us afraid of ourselves and one another-WE'RE ALL FUCKING
VICTUMS-even Dylan- ''I dont expect you to understand / After ¥ou 've caus e d s o much
pain" ( D pu i-; a lot of people uptight b y getting into hi s cb) r:But then again
you"'re not to blaru.e /You 're jus t a human vic tam of the insane" (it really a int
D's fault since capitalism has flipped him out a little)
Side 2 (what a drag, side 1 is already over) begins with REMEMBER, a plea
to John's listeners to get hip politically and culturally ... it 1 s an easy poem to
unders tand. The next cut, LOVE, is impressionistic rather than symbolic so every-
one can get their own thing from it, while in WELL WELL WELL ("He smiled when
hP <Jaw me comin and said WELL WELL WELL") Lennon tells us that hl:s eroti c ciraw--
ings of himself ,and Yoko come· from.his ·experiBnce rather"than from his imagin-
a tion when he tells us-"I could ea;t her" Soon a DANGLING eONVEllSAtfION ensue s
regarding liberals, Woman's Lib. etc . .But later on, John & Yoko feel ner vous and
guil ty about tr1is rap since they knew they were making excuses for their liDer-
a l ism and pacificism ... like it's much easier and safer & you can enjoy more com-
f orts by 9ein~ a liberal-pacificist than 0y throwing your lot in with the 1najor-
ity of humanity-who are like starving- and who ar:"e fighting PIGAMERIKA• .. .' · ·· ·~ c;
 LOOK AT ME 1s probably about a - ~oment of doubt in John's l i fe while GOD
(David Peel has a song w~th the same title) is definitly far-fu cking out. Lennon
begins by telling us that the bas!£ of all relegion is fear-"God is a concept
by which we measure our pain & that he ont go for it-"I Clont eelieve in Jesus ,
The ~iltde ete. 11 Lennon also oesnt go for trad141onal polit1oal lea4ers- "H1tler,
Kenned)'i or rdlck poets-"Zinmeman,, Th.e :Beatles" (calling D Zimmerman is a stoned
insult John just believes in John. And like who Jomn is will Deeoae more and.1
aore oavious since he's thru l1I'itting abstract poetry~ 11 The d ream.i s over If ( II .ream I'

sym:bolizes •poem' in most of the rock ~oet 'a sym1'ology eg in DEAR LANDLORD
11
Dylan
tells his interpreters to take a rest- 'My clreams are beyond control ) J ohn goes
on to say ~I was the tralrus" Man, li.ke I've seen saying Lennon was the Walrus
f or years in my articles--everyone thought I was wrong when GLASS ONION sa1a-"The
Walrus was Paul" 'Dut ig 1tf it was Paul from the :Bible (Lennon the preacher)
s1nce he was standing on a 'cast iron" (moelern) "shore" (lUlalical Paul was a
fisherman). MllMMY'S DEAD, 11lce MAGGIE MAY (anotrier shortie) is a9out D and. his
cb & what its done to his tlea .
Anyway you look at it ( ~sically, lyrically) tnis alaumiis in-fueking-
creaibl e and is probably THE EEST AL1'UM OF THE ·YEAR. 1'UY IT. you'll dig it ...•.
.•. .. . . (and dont forget Yoko's LP, it's some farout musie)

DYLAN ARCHIVES PRESS RELEASE-AJ WEBERMAN MEETS 1'01' DYLAN

On 12/9/70 at 8PM, A.J . Weberman, accompanyeQ by about 50 Of :. is s tudents
from nis Dylan Class a t Alternate University (along wit.i about 10 memliers of t he
DYLAN LI:eErtATION FRONT) went on a 'field trip' to Dylan's ToWfihous e on 11 MacDougall
St ree t in NYC. Tne group aegan to yell to :Bob to "Open t,·1e 4ioor, 1'o8ity arni to
"Please Crawl Out Your Window" & received no response. Wi:1en A.J. 8egan t o anal-
ize D's gar~age - a nigntly ritual for AJ- witn his class in a circle a•anadng
at!ouna nim-wnen someone said- "Tnere 'a someone aceorss t11e street you look JlJST
LIKE DYLAN' ... and sure enough it was. 1'y that time David Peel {DLF ) began pro«-
iing A.J. to move & confront the rock superstar recluse. When they Meet t ne lat
t n1ng 1'oD saic was-"Al, why 'i ye lDring all these f'eople arouml •Y house?" Then
ne t ook A.J. by the arm (I lmew that very instant ,1e meant dlo cio me harri) ami
we walked off & D€&an ~eace negotiations. (A.J. made certain 4emani s on ~ob in
t 11e name of the people)" The next day 1'08 & AJ rapped for 3 nours & The Dylan
Arc h6vea will soon ee mailing out a very interestin~ Dylan inter view to all the
underground. .papers for FREE. t i\t tl:ieDertCFn6f!l:fh~ ~i°'ap a(!s"BI6n'1'Eba e- aay Dylan was
quoted as saying-"Al-1 if I let you into my life I might «iain a soul 11
ALL POWE~ TO THE GOOD DY~ANOLOGISTS
FREE D FROM HIS C~

note to underground ed1tors-

Th1s D freak I hardly lmo'tt,, STEVE PICKE~ING, .1ae «eeicieci to «o a nua8er on
ae tfiru tne underground preea. He's gonna send you an( article aeeus1ng me of
leing a ripp-off artist in the Dylan tape worle. 1'ULLSHIT-I woulant have t he
bes t col leet1on in Amerika 1f' this was tne case & I let anyqne who wants to make
dubs of any of my tapes do ao for free at tne Alternate Universit y . Then he gonna
expose the nature of D's ce in prose since I wrote hi a letter tel ling him where
it was at in no uncertain terms (he's also gonna quote fro• tnis private corres.)
I've been hinting strongly at what it is for years an• see no r eason to libel
D ou tright. E'ickering nae lteen a D freek for years & 1s very jealous of me. ~[2
f~ea se «ontil!lnju:te. yf~eproa-tllsa Dyl.an tape tratler ay pu':>lishtlng Steve's nonsense
& cont fuck-up ay cnances of getting' more fr~~~oB (b~bef1ts f or tne aovement.
etc) by liaelin& nim ...• we already *ot an interview witn is worhh soaethin' in
terms of e1reulation .•• tl'l.anks sisters and •rothers .•. aj
 GEORGE HARRISON -ALL THINGS MUST PASS (Ancludinf this lp)
' by .J. Weierman, Dylanologiet
Rack ehangfng:abJectiV~ neality. Fuck all tae hungry, homeless people,
fotget'abo ut the piggies gor~ing themselves in their suburban stt s 3 with all
their oacking (George has a 100 room sty an;yway) and FORGET aeout giving th~m
''a damn good wacking 11 (GH aint no masochist). Gedlrgie' s founi the answer. Just
chant the name of the lord (Hara Krishna) and you'll ~e free. Simple as thaL.
Eut Harrison really dont believe that s hit. He's just using .it as a genre.
Unfor tunatly not many people pierce thnu the metaphob & so a man hears what he
wants to hea~ & the message is reactionary.13U~ let's look at the lp thru the eyes
of a Dylanologt1.st (&-ex-]3eat1elogist) c ut by ~ut.
The album begins with a Dylan song in wh~ch Bob tells us ho~ great his cur-
rent oag is "Let me into your heart 11 (from other contexts in D - Now heart is
fillea with gold" "Take it toyer heart" - I'm hip that 'heart' is one of D's more
literal symbols) "Let me roll i t to you'' (when 5 1s •rolling' he' s into his c b.
dig "Wheels on fire rolling down the road" "I'll be rolling in" & when D asks
"Is it rolling :5ob" on Nash.Sky. it's actually a r hetorical ques tion) 11 D also wants
to 'Hold you in my arms 11 ("Open up your arms ... 11 D gho sting for Ba.?.a I once held
her in my arms") and admibs that his c .b. aint easy to get out of Le~ ~e grow on
you" ("No matter what -you think about it, you just cant G.o :'1:bthou~ :t.t I find it
so difficult to leave 11 ) When I spoke with D about his c . b. ne c!lenyet4. it' . offered
me evidence I was wrong & told me that his poetry often reflects t he way ne was
thinking Jears ago.
MY SWEET LORD seems to be to D ("Sweet" is a D symeo1: 11 I'm a ~weet burbon
daddy" "Sweet Marie "such a sweet melody" etc.) G cla·ims hec\ like to get close
11

to Bob but it aint easy & "Take s so long 11 Could he reach D he 1 .1 s how him t iat
11
it wont take long" for 1'ob to get out of his c b. -THROW IT ALL AWAY . The next~,
WAH-WAH, seems a little out of place next to MY SWEET LORD since i t is ostensibly
a song about George's wah-wah11 pedel. It's anohher one to D sometiaes written 11 from
:P'§ distorted point-of-view- Wah-wah
11 11
11
(that ;tmportant compoent of D 1 s c . b . ) • •
you helped make me a big star •• cheaper t han a dime " Wah-wah is responsible
for D s[l.uting up-"You dont see me crying 11 (prying out against the pigs-protesting ,
-"We dont cry no more gonna bolt the door") Fina:t'.J:y ('.}H concludes that he knows
how SWEET life can be with Wah-Wah (sarcastic) & so he'll keep himself free of it.
Right-on. .
ISNT IT A PITY that GH believes the reason why "not too many people can see
we're all the same" is because their though t s get in the way "And because of all
the tears their eyes cant hope to see" ('eyes• is mind from naany other contexts
& sdnce teans come from one s eyes they are thoughts) He's got it backwards- it's
tkought which leads to ~evolut ionary action which in turn will libera t e man.
Side 2 starts with WHAT IS LIFE in which GH tell::_; D that if t:1e night ever
ends ( 'nignt' is when D Ills tll1 c . b eg ." To be wi th you at close of day" "Night -
time is rie;ht ~ime to be with love" ''l ay awake all. night :r etc.) and he decides
that it's not love ('love' is yet another symbol for that thmportant com:ponent of
D's c b - ''Love is all tnere is~ "true love can make .. " "Father of Love ~' ) that he
needs ~D's reality is determiiij;"by needs vis a vis wants. Jagger writes, in a song
to D, 'You cant alway get wnat you want but if you t r y some t ime you just might
find you get wnat you need'.' or in Memphis Blues- "She ju st knows what you need /
I know w,1a t you want" )°SOif 1 t aint love he needs he .S~u11b:i become polical a ga:!n n
"make everytning suceed "
IF NOT FOR YOU is the achaZ?lfer con this disc. It's one of the beat D interpre-
tations I •ve dug in a long long time. As you probably have dis·c overed already
there's a bit of a word change wnich :o1lows the logic of D's s ymbology (see my
day-night riff in WHAT IS LIFE ) but I swear I hear Harrison sing "Then 11e would
truely have to pay( nis dues to the people?) instead of "The day would surely nave
to· break'' Quien sabe? Shit> I even hear D sing a line- towards the end he cr1imes
in 11 Rain would cather too" t1e ~ GH sings "Without your l ove .. 11 This type of duet.
renutnda me of Sunn,y & Cher & Folk Rock (the music sounds 651sh -a t amborine & D..
on harp) Maybe that's wn.y I dig it s o mti ch. BRING BACK THE OLD DAYS bring back
tne ola Dylan .... Just call me A.J. ~ranklin (Ed.omit this last phrase in a~eas
where the Joe Franklin Snow i snt seen-aj}
BEHIND THAT LOCY.ED DOOR (melody-WI~H GOD ON SIDE) is GH 1 s plea to D t o 1 open
 the door Bobby 1 wnich D shut in BABY .TONIDHT-"Snut ;your eyes s hut the:.. door 11
"lamely Dylan's mind. Dig it- 11 It 1 s time &<~e._ start smiling'' (it's time we start
writting ag~in- 1 smile' is 'write• aa l'Je"ZBaon see) riw:1at else can we do? 11 (Dylan
sure can write!)~ana since lifs ·~s aaorlt,·Harrison is gonna continue to •work '
on D .. "With this short time I 1m gonna be {staying? ) here with you 11 "And the tale s
that you taught me (and D's pre-c.b. poems) 11 From tne things that you saw " (which
were airawn from D's experience) "Makes me want ~:mt your heart from behind that
locked door 11 (encourage GH to continue to 'do i1is thing 1 wi i:;h D1 i1op1ng to get
him. out of hi a c h. ) Yeah I can relate to this - get D to get nlmse lf together--
eo that. he 1 a1~go bacltsto being a force for life .... but what's Harrison going?
Mystical bullsnit, 11k:e this lp. (when I told D that I thou~ht a lot of people
who were't-rl'±tt~ng-songs to hil1Lin hia~~wn symbology te£ling him~to.become politi -
cal again were full of shit since they~werent political ne denyed that this was
happening but added 11 Rememeer I'm not them" AND HE AIN'T.
LET IT DOWN is somewhat of a letdo~m while RUN OF THE MILL is a run of the
mill song to D telling him he rias 11 freewill-' Everyone has choice •· and can prote s t
if he s o chooses "raise his voice and that it's up.\ to him to get out of his c . t
11
throw it all away", Side 3 begins with BEWARE OF D~RKNESS, Like marly . . . of trie cuts
on tb.ia ·a1sa_ I firlld this song-.ratlaer ~depressi ng due to it's relegious genre .. I
mean man I became nip to get away from that shit.
APPLE SCRUFFS, a cheerfull number for a change, is easy to interpret; 11 }: 1-ve
watched you sitting there'r (•to sit' means •to live' in GH11 1 s & D's symbology-in
LET IT DOWN George wrote-"Though you sit in ahother chair -D is down in that
easy chair- as he says in GOIN NOWHERE & this is his life) So GH has dug Bob in
his c.h. and has also dug the people digging D- 11 Seen the paaaerbys all stare"
(in Ti.ME PASSES SLOWLY D describes his teenaged fans as "staring at the (rock)
stars .~) Although many df D's fans thinlc he's a groove the way ~he 1st.Like you
have no ~lace 1
to go 11 ( 1 place' means •position ' in D' a symb. EG in+ 4th St . he
writes- • • • dissatisfied with position or place'' since they aren't hip to D's
poetry & his c.b.-"But there's so much they dont lmow about Apple Scruffs" 11 Youve
stood around for years" {'to sit' is just to live•i 1 to stand' is to be committed
to the revolution e.g. in RESTLESS FAREWELL D dee ares he will reaain committed
despite the ~stab. press- 11 I 1 ll make my stand and remain as I llll")-so D 1 wa s polit-
ical for yeaDB arid ~was;~int'1lhenoed 'by(Tfle :eea:tnes :' ·~seen GlllY a~l.es 11 :S (,flci~ I smiles I
see LOCKED DOOR) &.o~ten expressed what was on George's mind better than he could•
"and touohed my tears" (for 1 tGara' see ISNT IT A PITY) But that was a long t ime
ago "It's been a long loni;: time and how youve 'been on my mind my :Bobby Scruffs."
l'.ili!iDt:s:c~&-:·'. In the fog" · (.ti.Let tile ~og roll in 11 -D ghosting for-!'and) and during
11

Vietnam-"And in the ,111a1n" ("rain is violence from HA~ RAIN & many more~1 "Through
tile pleasure and the pain {literal) Dylan has remai~n the mass media- -0n the
step outside you stand" (•step• is raass mediar from other contexts) #ith his
recorlls-"Witl1 your flowers in your hanc1 11 ( 1 flowers 1 are 1 recorG.s 1 • Dig liner
notes to TIMES CHANGIN where D says ne's been influenced by flowers like Seeger 1
Guthrie etc.) Tne rest of this poem is fairly literal .
::!AI.LAD OF FRANKIE CRISP (and Albert Priest?) has that roll thing again while
AWAITING ON YOU, with it's reference to Jesus, is stoned reao:t!"onary on it's
literal level. I think it needs a verse like-You aont need no fooa, you aont nee•
no pad/You iont nee no fruits of' technology to be glad/Just chant the name of
the Lord and -u ut4il el . At cool/wars of natioaal liberation' are just for fools"
ALL THINGS11 MUST11 PASSING is depressing while I DIG LOVE is a parody on D 1 s
recent songs. Love is that important component of D's c.b. (see WHAT IS LIFE)
wh1elt is all tut 1'le sings about lately. When GH sings !I love dig" he's making
fun of D's PEGGY DAY- 11 Love to apeni night with Peggy Day / Love to spend •ay with
Peggfi Nipt" No utter hmf you a:ookiat!litt!i~sd"igs it. ~1g love, small love, rai'e
11

love 1 "Ras~r~, Staawherry, Leaon1. ~\ Wliae does Dylan care. THE ART OF DYING, a
variation on PAINT IT BLACK sucks while GH's 11prayer" HEAR ME LORD is relegious
gar1'age of the lowest or!fler with some Simon & garf'unkel type arrangement -J.hro.., "'·
I USED TO REALLY DI(} GEORGE~ HE WAS THE MOST RADICAL M;ATLE. TOO MD HE 1 S
MovEn TO THE ftIGHT. !IDT ALL 'J.WNGS MUST PASS ••••••••
 Paul McCartney wrote a poem about Dylan-Weberman myth
entitled, In Liverpool:

By the sports field of the Institute

Lives Soft Sid, the harmless village fool
Greeting kids who pass the other side
Saying Hello Children

“By the sports field of the Institute” on MacDougall Street

where a representative of the National Institute of Dylanology stole
Dylan’s trash for sport “Lives Soft Sid, the harmless village fool”
lives Bob Dylan the Greenwich Village a harmless heroin addict as
he has enough bread to support his habit “Soft” as in The Soft
Machine by William Burroughs, a book about heroin “Greeting kids
who pass the other side” greeting an audience that thinks the
opposite of the way he does “Saying Hello Children” conning them.

Listening to the bin man holding court

Promising to buy a brand new bike
King of little children for a day
He gives them money

“Listening to the bin man holding court” listening to the

garbologist expounding on various subjects and at the same time
“Promising to buy a brand new bike” still copping smack. “Brand
new” as in Brand New Leopard Pillbox Hat that contained these
lines:

Well, you must tell me, baby

How your head feels under somethin' like that

Honey, can I jump on it sometime?

Yes, I just wanna see
If it's really that expensive kind

Well, I asked the doctor if I could see you

It's bad for your health, he said
 A. J. WEBERMAN: LISTENERS GUIDE TO TEMPEST

“King of little children for a day” king of the naive fans,

Queen for a Day, a 1950’s TV program “He gives them money” he
gives them his imagination, talent.

McCartney also made reference to the Dylan / Weberman

relationship in a poem entitled Give the Man a Break

Workers on the picket line

Picking up the trash
Executive negotiators
Shout about the cash

“Workers on the picket line” a member of the working class,

a Communist, protesting against Bob Dylan “picking up the trash”
going through his garbage “executive” men interested in the conduct
of national affairs “negotiators” who are trying to bring about
something through conference, discussion, “shout about the cash”
shout about how much money Dylan has and shout about having
found a letter to Johnny Cash in Dylan’s trash.

Give the man a break

Give the guy a chance
Ain’t no law say a man can’t dance

-2-
 A. J. WEBERMAN: LISTENERS GUIDE TO TEMPEST

“Give the man a break” give Bob Dylan an escape: a prison

break “Give the guy a chance” Give Bob Dylan a favorable set of
circumstances; an opportunity: a chance to escape “Ain’t no law say
a man can’t dance” what is wrong with getting high? What is wrong
with singing what you want to sing rather than what someone tells
you to sing?

Doctor’s gonna operate

Wants to know if you’d
Like to buy a kidney
Mustn’t eat the food

“Doctor’s gonna operate” suppliers of drugs are going to

push dope “Operate” informal to conduct business in an irregular or
devious manner: drug dealers operating in the projects. “Wants to
know if you’d like to buy a kidney” wants to know if you want to buy
some smack “mustn’t eat the food” sarcastic: mustn’t give it a try
food - anything that provides mental stimulus for thinking.

Later in the hospital

While he’s on his job
Poisoned in the kitchen
By a dirty slob

“Later in the hospital” later having made the jump to insanity

“While he’s on his job” “job” informal a criminal act, especially a
robbery: a garbology job stealing trash “Poisoned” and I used
garbology to poison people’s minds about Dylan “in the kitchen”
cooking up fixes “By a dirty slob” by A. J. Weberman.

Yeah I did go round telling everyone Dylan’s poems were

about junk. That was a new one in rock and literary history. Hey wait
a cotton pickin’ minute. Paul McCartney called me a dirty slob. But if
you call someone a dirty slob in the forest and no one hears it, has
the event actually occurred?

-3-
 A. J. WEBERMAN: LISTENERS GUIDE TO TEMPEST

I am putting an end to this book here. I suppose I could go

over my work and find errors, find new embedded meaning and
compile more derogatory information about the hopeless case, Bob
Dylan. But I had enough until his next batch of poems comes out.

-4-
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25
'-"' \!.; 1971.
N<>w Yock
(.cpynght crty, '.u,s. Voice
The Vi!lag<? . Inc. 'THE W 0c.. EKLY NEWSPAPER ..,OF NEW YORK '!>Vol. XVI, No. 35 0 New York, N, Y. o 'Thursda.y, September 2, 1971
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i FALL Al'PHOACH~S and llic demonstration season begins. New York last WCl'k: YciuUi · ~\
I . -Abner Symons

\ . /" Against War and Fascism rallied at the '1'6mbs (left); A. J. Wchcrman mounted a·
j.,''burying Paul McCartney" dep1o(aboveJin froiit of the Park Avenue apartment house of . ~
)

\ r;:-lhe Bealle's father-in-law (see story, page 27); all(! NOW had its big rally for women : "1 ·
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{-11•11ae-1VJJCC~'.1°t~ey B~rialg 'l:ll.is ·e~® wq,is hii(·a~RiiJj®•-- .. -1
by BloirSabol ' r

_ Mnf•be it's time for A. J. \Veberman to change ~f!l~:U:: Ah-;~ ...... o~ Life·rvragazi.ne I ~nd broke up. the Bea~le.s I .Yea I
his scr1pt--0r better yet, to get off. the stage al- P· }.'-'fj '\~~ , 1' , his ego \Vas his amigo so he srud cheerio'· )1 then
together. Being the foremost Dylanologist 1 or gar- ~5'.~---r-... . 1 .: ·pulled a coffin out bf his hearse for a rather lifeless
, bageOlogist~ '.V~s brilliant for last year's .routine,.· ft"'\,;;_,,.~'·"'~·: ·~~..t·,,~:'\-;;{1 .. _ , special :ffect 1 and ~inalJy launchc? in~o lh.e secc:nd"'
~·

' but revamping it for Paul l\1cCartney as this year's ~ , .::;~~~ act of his persecution and assassrnation.melodra-
' "capitalistic pig" catnpaign is like giving an encore ;.,~~- . ~ ma 1 charging R.olling Stone ne\vspaper \Vith various
~~
t- after. the audience has gone home. ..
~
·
!'"" ,,A'~~
\
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and sundry acts of establishment piggery.
After the media dispersed, Louis Abolafia (tall'
i
'
. . There was the pathos of an empty house about
Weber1!1an's "IvlcCar~ney _Buri1al" last Thursday. in·
"'"" ""'
J;f!)~;~~~ -> . t: ~ about old shticks) took off with his "Love Candida le
fat 72 11 press releases \Vhile the videotape cre\vs
1

'
!"
- front 01 LccEastn1an s (Linda s dad) Park Avenue
ap 1ar~1ncnt. Not only \•;as Paul. absent. (eve~ \Vhen
, hes m town he never stays .Wlth the m-la11s) a~d
. !h~ Enstn1an fa1n1ly conveniently tuck~d, a\vay in
. 1ts Southatnpton retreat, but there \Vasn t even a
0.
£'

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stopped taping themselves and decided to follo;v
.\Veberman dov;n to the H.olling Stone office~ 0 ~
.
East 56th Street for an office looting and that tirea
ro~Une of pie thro\ving. (Al least they J1ave eco-
nomically changed their flavors frorn last year's
street corner g~rba~e c~n avai.ln?_Ie for analysis. }!!;~ '$ % ,~'
f!:._,;:r~ !_ · 1,~~. .,_ " ~-:"' lemon cream pie .to a plain plate of !{eddi \V~ip.)
. As for on-looke1s 1 ~\\ cber man dr e\; onl~ t\vo blase .-;~;.:. l' ~;\'~·l:."' . . , , ·.,, -~·~;-.·:·~·,/~..,. r • \Veberman, his tape er~\\> and his R?ck Ltbera-
d~o.rmen, three sn.artly ~ec.ked _Bergd?1 f belles on. ·~-~'.~,. _,!o/<_;::..":::.3, f.·?:.~ ...,,. ; , J;·. ,' ~' hon Front entourage \Vere fmally .admitted, some

.
<
t~;1r way to lhe ~vomen.s.lib.pr.oc~c<lmgs (appro- t:~'-".r-. :~·--, 1 "'.' .~' J~ minor "n1an-you-n1otherfucker11 fist. fights v:ere ~
pr1at.e~y tagged \VJ th. f enun1st 1n~1gr11a. and 14~ gold ~ , . ;;;?· ~ ,,' '\:-, ·~ ~~"'""·••4U';\.:."'.: "1 fought 1 and a fe,v "you-pig-pricJ::' 1 pu!1ches 1,vere
re~d1:1o~s, ~f th~ s~nle. bu,tto.n- ls this a f~c.tion of ,..~; ~~. \\1),,, : ~-·~'\' efi> ~~ pulled, after \Vhi~h \~ebcrz:ian lc~l with .an unim~
'!""·
FI 1ed,1n. f11e Tun .. s d1dn l hsl a demonstrdtion for
2:.
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,,,.~"'\';," . portant set of offlce "iles (filled with Rolling Stone
' and miscellaneous
.

1
t us .ioca I e ") , an ct one· th rea t ened-I oo k"1ng nurse
. <h" .. ,'1"'. ·r ,A':"'"'.·\' •• ~ ~~~;~,~~ ~'"~ adverlising rate cards mundane·
' off"ice win. d O\Y.. ~ 1• i'Ni· " ~ "
l .
Paying '
peert-a- oo ron1 a d oc t ors
b f <•-
i~tL~ , ..~ ,,~'~'"'t'- t', , ...J,,- ';:')~;>!"l· ,
' I
', t memos). Perhaps all this was done in hopes of
The ren1aining 30-odd consisted of the full ~l·- ~ :;-:·,,.\,... .• ~ ""~~ ~N' , " publishing "the Rolling Stone Papers 11 ? \Vho
~ , J.J.Jhi .f j "- ~ ft\~ ~ """"~

·1.~~'.i~ }i;~.'~;'. <"'¥'., ~~ ~1

range of tnedia, including a good CfOSS-Section of , knO\VS?
videotape artists. Evidently S?ny video cameras · f -: .~ . , .1f(~¥.~_:'._,1,V'i\<;,.~·'.;;.:h~£:r~...; ~,;,.·.,., ..~\ . But \Vhat's \V?rse . . . ~ho cares? At l~st
slung over the shoulder are takmg the place of gas , '' L.;:iJ·.· .. Weberman and friends got olf on the day's ouhr:g
,
~·ask bags and back packs as this year's acces~or~. . · "~£tf ~ ,.\l,~~::•"··~~'~)l. ~- e ,
·.'r;;.· ..

and s~rrely they'll have one hell of a home. movie in

("
,,. · ..· \Veber1nan gave t\vo _performances (thats in £( ' li ·'"!'·'"'~~~:..!.k · l~ ~. the vtdeo footage alone. But after all, isn1 t that
. ·.c·ase you caine late or you1• tape broke) of his poem - -Abner Symons \Yhat it was all about? In ihe end it ·was home ·mov-
"A. J. Weberman's Funeral Oration for Paul Mc- A. J. WEBERiViAN ies more than theatre. And usually oniy the'family
Cartncy"" ("Il is time he catered to the lame tastes enjoys its ovm show. -~ ·
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~"! 14 r· Disc .<ind Mus:it·Ech0..:...:.Scptambar·11; 1971

·& · m . Bi~
f?au u rea~ ~Y
dead~ screams . .

the ~a,test.
B~at~e ·basher
_p·AUL McCARTNEY really is dead!" screamed the
title on a release sent cmt to the Press last week. The
pan1phlet, \Vhich \Vas also tacked up on \Valls around
Ne,\· Y ork_'s Io,ver East Side, \Vent on to say that Paul's
tyr'o solo LPs seen1ecl to be the \York of someone \Yhose
"brain _just ain't function-
ing," AND that M cCart- ..
·ne.y had _never .gi.v'en .any
money to "progressive or- "1vfcCartney" and "Ram"' LPs hope of a generation is gone."
inside. People were milling "I don't understand this,"
giniSations," lmsn't done about, and \\'eberman \Vas said the kindly, elderly door-
a benefit in years, and attempting to stir things up man of the elegant apartment

r
ViT-Ote lyi"ics 'vith a com-
plete lack of "social com-
mitment."
So, the "Rock Liberation
. Front" had decided to hold
a· demonstration-ftineral in
front of Paul and Linda
I\1cCartiiey's Ne\\' York
residence.
The Rock Liberation
· Front is an offshoot of the
"Dylan Liberation Front."
Both are headed by A. J.
\\7eberman, and both are
concerned with the cultura(
(as they see it) rip-offs of
successful rock s ta rs .
Recently a birthday party- .
demonstration was held in
.front of Dylan~·s: house' to
protest against his status as
a "capitalist pig."
'11hen I arriVcd in front of
895 Park Avenue (actually the
·residence of Linda Eastman
lvfcCartncy's parents) last
Thursday afternoon at 1.00,
there \Vere no\vhere near the
500 or so people expected to
attend. There \Vere more like
60, and most seemed to be
members oI the press, as \vell
as several vidccitapc cre\~'s.
.> speech . . . "I come here to
(Weberman is nothing if
not a good Press agent for
himself; in a town where self-
promotion is an art form, he
is among the best.)
r\. hearse v;•as in front of
the building . with photos of
Paul pasted on the \\'indows.
There \Vas a mock coffin \Vith
be reading a prepar~d speech.
Even·· Louis Abolafia, a
· mini-famous· lower Ea~t Side
political personality of the
1960s (he ran for President
of the U.S. on the "Love"
ticket), \Vas there dressed as
an undertaker. No one's seen
Hif\-1 for years!
As everyone Stood around
not knowing exactly what to
do, \Vebcrman ranted his
lay lvfcCartney out, not to hip
you to him ; .. the Establish-
ment media hath laid a story
on you that it's cool to be
. Sinatra, and if this is so, art
is a sad drag and sadly shall
these pig mothers ans\\'er for
it . . . it is not time for an
artist to cop out . and.the
building. "'fhis is a fancy
building, why are they com- ,,.
ing here, this is not nice.
Anyv1ay, th.e 1-:fcCartney's
aren't here, the Eastman's
aren't even. here, everyone
goes a\var for the summer-
this is New )rork City!"
There were tho~c. who felt that
it was' a rather pitiful gathering:;
that \Vebcrman should -have
waited :>.bout another si.x: months
to m:ike a ne\Y public move,,~~. ,
and that he was quickly be"- ·.. : i -S
·e-0ming a joke. Others seemed ·- · ·
seriously angry and concerned
about Paul lvicCari:ncy's appar~
ent lack of "'social commh-
ment." As the dcmonstnt'tion
moved on downtown to protest
at the offices of a "pig" rock
magazine, we wondCred if Paul
/l.(cCartney, w'he1evcr he W3_s,
would be pleased to be called
..
the "Sinatra pf the '70s."
.:.: ...... .

\.
 New York, KY. 10017, Friday, August 27, la71*

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Is Paiil Dead? ligain?-
,,,hiJe \\'On1en's liberatiOn groups 1rere gathering in
rnrions pai·ts of the city in an attempt to raise the con-
. scionsness of the nation, a distinctively different type of
liberation n1ove1nent 1vas gathering-in front of a conscrva-
t.ive-looking apartment building at Park Ave. and 79th St.
The building, at §_95 Park Ase., is· tl~~ buil~ling that is cal.le.d
hon1e b,• ex-Reatle Paul )fcCnrtney and h!s fa1111ly \Yhcn they v1s1t_
t.'1is cit\•. A.ncl it \\'as in front of this building that A.J. :\Veliennan,
·a ~elf-Stvled DYlan'ologiSt \Yith a flair for publicity, liad called. a
lniceting Of _the ..JV-:ck Liberation Froi1t to Con1bat ?IIcCartnyi;;n1-as
1he spelled jt. - . .·-· . -- . .
-· The Dvlanologist, \Yho has gained "'hateYc~· fan1e or notoriety
he has hv" rollc:cting ·and sorting folk singer Bob Dylan's gar-
1b11ge-withour· charge-is uo longer quite ::o interested in _pylan.
_,.Ile c1:.dn1s the.siniter1s appearance at the Bangla Desh .benefit ~on­
. ' ·c('rt in J\l:'!.dison Square Garden last nHinth s110,ved t}1at D;lan's
hc-<ld is back \Yhere it should be, so he has te111poranly S\v1tched
targc.;s. No"' 1 the Front has tur;1cd on Paul l\'[cCartney. ; the hearse, \Vearing a Sand"•ich board ,,;•hich rct.d, HA_,,J, 1s Gonna
~ . ·Yesterday, its n1c111bers :1110 a group 6f interested and non-
.interested_ people gathered at ~he Park Ave. address to bury Paul,
'.
~.;;t ~r in·aise hiln, aI)d theY· b1:ought ~i~ng ~11 the·· aCcOii"tren;~1;t~tJ~
an outdoo1· \Yake. Everything 'iVas ·there bnt a corpse. The~· even had
a pern1it fro111 the police to hold tl1e den1onstration aiid t6 rµake a
movie. •
And \\'hile several nurses peeped fron1 bet\vecn the slats of the
ve11ctian blinds covering the \Yih<lo\\'S in the doctors• offices that
line the street level of the apartinent hou::;e, the liberation group-
arrh·etl con1plete· \\'ith a big black hearse "\\'hfo·h had obviously s~en
}Jetter clays and probably bettcl" funerals.
· The hearse ""a's decorated ·with huge posters of l\[cCartney 01~
. each side, and it contained a cardboard coffin, also decorated ~vith
I a poster of Paul. The ceffin, "·hich for so1ue unexplained reason \Vas
open at one end 1 \\'as lined with '''hite satin: Then it ,,·as carried on·
·the shoulders of n1en1bers of thC front who- acted as pallbearers
·while A. J. \Vebern1an read a _eulogy ::ind another of the groµp
brought up the reur1 playing a niOurnful ta111boul'ine. _ .
The n1ourncrs \Vere dressed "in- n1otley styles. A.J:; "'vith '''ild.,
uncon1hcd bro"'n hair, "'as "'caring a red tie-dye shirt and jean.s •
Louis ·Abolafia, the Love candidate for Pre~ident in 1972, \\'a's there 1
alsot but like a true politician, \Yas dressed n1ore appropriately for
.. the occnsion in "a black 111orning coat con1plete \\"ith a tie of a suitably
i dark colo1· knotted around }_lis ann in a n1ourning band. Others "·ere
, \Vearing bib-t.yp_e O\·erallS, \York 'shirts, tank top shirts and jeans..
/ A.J. and the Liberation F1:ont held this little cere111on~r 'for P::i..ul
to try to raise his consciousness, apparently. "I-fe's becon1ing the
Sinatra of the '70s, living like ·an aristocrat on a huge estatt> in Eng-
- land, never gi,·es any n1oner to a.ny progressiYe org:i.nizations and
hqsn't done a benefit in years,1 1 .t-\.J. clailned in c:ine of his less offen-
siYe S)Jeeches.. .
"\Ye're going to radicalize the rock 111usicians and stars. It
\Vorked on Bob Dylan and \\'c're going to \\'Ork.no\\' on Panl/ 1 he con- -
tinned, sh6uting through l1is n1ike "·hile standing on the back of
··Get Paul, 11 in hand-printed lettel's. Other board.<; said things like··
H?IIcC:.!rtney Groupies are Necrophiliacs,'.1 but there 1vere a gr_onp ~:
of girls ·there "'.ho \Ycre. ready to defend their .idol, and the~r tlid £0 1·:
loudly, trying to dro1Yn out the s11eeches by singing as often as pos-.
siblc, "\re LQYe You~ Paul/ 1 OYer and over. again.
•. 'fhe gathel'ing C'ausecl a traffic tienp for a .\\'hile on E. 'iDth St.,·j
·as could be expected, and dre\'.' quite a group of onlookers, includ--~
jng so1nc bic~·clists; a 11un1ber oi children and quite a fe\V dogs. . ~\
· People stood in the door\\•;_iy::; of SC\'cral of ·ihe. buildings to.t.
stare for n fc\v 1110111enis and n1ovc 01i; and 011c elderly \vou1an1
get6ng out of a car in front of nn· aparbnent house, looked Ove1-at.
J:
the_ Scene and turned to the .doo1·1nan, puzzled. '"
"\Vho's FUul ·1u she.ai:;ke<l hi111. · · ------ -. ~
- · \Vho, indeed? :..: • -=rATIHCfA O'llAIRE_~
.... __ .. _,.__,., __ ,.:r--,:.- ......,_.,_, ..: ...,·.:;-:;::.___ .. -.-.:._ ·: .. """''--~'"-~-:·';-· ..-i
'

'

/JEW.S photo bY tJlck Sorrenlln~

Cardboard coffin ·with pictu1·e of ex-Beatie Paul i\lcCnrtncy stands
upright iii. door of 'vcary-looking hearse ;.it mock funeral service
on 79th St.
"7 ':>....· - . ---..!_· •.•
, ..,
i'
 DAIL""."1{,,fil NE\V:S ·
'.~'~Ill'( TO~C~ ric:v~' IHWHM.H.~
. ·'

•.
·-·
-----·· rne-TOr>'i
Of Pop .,.

By LILLIAN ROXON ·
, ' Bcatle. '\\'Rs -
;r-;;~~;P~t;l J\IcCartncy. Ong.
year, .the prettiest face in
rock .and roll; this year, the
n1an everyone loves to :hate.
Everyone's at him. His old
friend 'oand \VOrkn1ate, John
Lennon 1 has a nasty song about
hiln ·in his nc'v albu1n: llis ·old
girl friend· and hous·e1nate 1 Fran
Schwartz, has 20 pages about hin1
in her just-finished and still very
hush-hush book. His n1ost devoted
fans get into fights \Vith hin1.
And 110\Y Rock .Liberation has
chosen hin1 as its next big target..
Rock Liberation? Oh, yes. If:
you think \Yon1cn's Liberation is
heavy, 1vait till Rock· Lib gets'
really stean1cd up lhis fall.
It· \\'as Rock Lib that staged
that big party in the street out-
side - Bob· Dylan's house on his·
birthday this su1nn1cr. Not that
he \Vas there or anything, but he'.
su.re a·s hell heard about it, andi
' the next thihg \\'e kn0\\'1 there .he l
\YJ:!:S liberated as all get out. Up.·
on str;,ge at the Banglu: Desl1 con-
cert \Vith George Harrison, sing-
ing· all his old songs a-nd pouring
nloney into the pockets of the
.:poor and needy. Incredible.
I\Iaybc Rock Lib had nothing•
t'o do >"lith it all, but you Can't
blan1C. them for feeling encourag-
ed. So, flushed \Yith success thev
;have _no"' turned to Paul: NOt
earl~· enough to get hin1 to 1Iadi-
so.n Square Garden, alas, but
still. -_ . .-
~ -rn \vhat ·nl'iiSt'""fla,:e· b-ecu.-n;ore
: 1than a .casual coincidence. the
. :- d~~:- the .liberators cbose to ~hake
up the foi?iilCr-·
the day the \'101nen of Ne\V York i
3.Jso'r
chose for their second annual :
inass inarc_h_ ull_ fifth~'};~~t..!£·_.....;....'
)\rhat I think the rock people
\\'ere trying to tell us \vas that
there are all kinds o.£ oppression
and that it's probably better to
he bo1·n fc1nalc than to haYe to
listen to another Paul :i'.iCCartncv
s~lo effort. ·
In any case, there they all
\\'ere at 79ih and Park \Yhere the
:!\IcCartneys son1cLi1nes stav \\'hen,
in to\Yn, waving placards· n.'nd
1naking speec11es designed to goad
Paul, like. Dylan, back into the- '
land of the liYing. -
It ;-·as ·no use telling the111 ·it's
not ince to parade noisilv outside
peo11le'.s ho1ncs and tha( besides
-Paul i;; getting a band tog·cthc~
(\Yith the talented and beautiful ·
Denny Laine). -
It \\'as no use pointing out that
anyone truly interested in liber-
ating iock n1ight do better to Use
that energy pron1otin0' ne\y fresh
artists instead of trYing t'o give
1Houth-to-n1outh recuscitation to· ·
old ones. . · ·
It "\\'as no use because Tiock I,ib
does have a point. Paul has been
, snotty and isolated. If musical
aristocrats lik-:! Eric Clapton
Steve ,\Vin,Yood, Bill \Vyn1an and
Charlie \Vatts can co111e out of
iltei1· isolation to back I!o\vlin'
>Volf in on: of the most 1nagrtifi-
.cent and important albu1ns of
the year ("'l'he London Ho,Ylin'
\Volf. Sessions") 1 then it1s harll to
see \\'hat Paul has been trying to
p,rove all alone t_here in Scotland.
'the sooner he's liberated· if yo1~
ask:.!1~~/. £hJ_ bettei:~.-~J·-~:,_, ';_.~~ .....,_·

By l~ILUAN ROXON
-... : :~Cnr01yn :intChe!l, a 2'-1.-j·e~r-old Pt\Ui -·
:.l[c~:;irl11~r fan fron1 Salt Like City, L1
'·."
;
);QI :;n11!1.11g. The ex-Bentle ortlet·ed hcc-
off his ltigh Park Far!n itt Ganrp!JaH.- l
to\\'n, _.l. rg~·llshire, Scotland, in a ntoAt
~ nngent,Ieu1anly arid rather i:iotent n1an-
, ncr. Pity she n11ssed yesterday's "Paut \-
I
I• ls Dead'' den1onstration on elegant Perl.: 1
f ~ __.\..venue-spons;>rc_<l b)' Y:cll· known Dylari .
h L1ber~~q,r _-?~ .''1. ~ ..•J~:e,q~·q~~n.,,_ ..y1ho .else 'l-:i
- - ·--··-...--"*
-···-; ...
..,, ~---·-·· ~·~ .. ..,-... ·.:..:·
 August 31, 1971
:rl
,.
I
Pt\ UL 1\IcCart ne.r's
in-laws, the i\cw
York fan1ily.
Ea.sln1nn, were
recently treated- to
the mncahre
spectacle of a ·n1ock ·'•;·
funeral. for ..him :, ~ .'
being cond1i_Cted .-
outside their smart ~:~,
Park-:t\'enu_c apart- :~i
mcnt; In charre or :-·l
the riles waS. ;_ \\'.
strange young man
called Alan J. : ..-
\Vebern1au, who ~"'
, prefers to be known ~~~
as just A.J. He llas -!:-'
turned his aitenti"on :~JAl
to l'\IcCartncy after ·J
~

1
a long period of
g~.r~~sii~f s?~rlar ;:~
fashion. JTe paid tor
adYertiscn1cnls that
~.'.7.·.
··brought a sn1an.
crowd along to the
ff.,,
.t
ri_tual. \\'h:1t has i<
V\Teberntan got . t·~
against l'\Ic()artnCy 1 ·.4
.. His lyrics lack
the sli~htcsi
sa~·s \Veberman.
•J If e's rapid Iv
-
,<;ocial ·com1niln1e.nt,"
{t
ii
•.:•.
?:
~~
becoming- thC Sinatra ·
of the SeYcnHes." ~-.
'Vebern1a.n ran into t'"~,
11
opposition from
young girls still cager ~
·to display loyalty. ~':.;
His followe1·s quickly {!
w~1ipped UJJ signs
with 1he last \\'Ord:
'f.~I
,.,._
"l'l1cCartney ~"':
groupies are
IRRITATION: WEDERMAN. WITH cor~HI. oe<:rophiliacs." ff;:,,
r·· - --- lt.~~~·~~;;'1.;~JM~l~t~ri.,,:;,',l'1
,., . C1'l'il.,!',.z"':fCl,if>?Z:fl•r.i;~"'~c:;"f!"tl" ~"-'"-•"' '", :;+"':.., :."'t.,'"-":.tl"-"",'"'1.•:->Jf!.f £ZJf'i•.. :;s:i ~ ?,j._~JJ
~ ""' ·~~ w cf:!;;&IP"~rC'<".n:o"'!~:;;<-.:.~·!l:.-~t.::.'?0\-...,~~
c!

I
i. 'tCI-1.I
.
CAGO-· DAltY-- NEWS
- -· -- --
-~ ... - - - -
,=, I~_c._~;a--;:-'-'~_;=g~~=t2=·1,-·::.=~g7~7~:
I ;

By Robt> Bak~r erate .ties of rockdom;s leading "rliPste.rs, yipsters and es-
publication . tablishment journalists· knock
.NEW YORK-A. J. Weber- me your lobes," he orated in
n1an, t[ie Underground reporter "Is it true," · queried , one
s p a c e d-o u t den1onstrator, his 1vorst \Vebenmanese, \Vith
' who first made his claim to no apparent apologies to '\Vil-
fame by \Vaging a kind of.holy "that Linda Eastman used to
be a photograpl'~r for Rolling liam Shakespeare· ."r come
"·'.~r 'against Bob 'Dylan for his
Stone and that's \\•hy t~ey gh:e here to lay 1\1cCartney out, not
... "l~~s. of social c'onsciousness," to hip you to.him. The liad jazz
:drove a hearse up Ne'v York's all i\1cCartney's albums good
revie\vs?" \Veber.man mum- · this pig ble\V wails long after
Pa.Fl':: Avenue to decry t\VO ne\v he's cut out."
pop"_....music culture culprit5: bled it probably \Vas and
changed the subject. \Veb~rma:n then \ 1ent on t~. 1

. Pa~~ :.. McCartney and P~olling read aloud lvrices from some
Stone fviagazine. . lf the l\1cCartneys (or, as
one reporter called then1, the of the son1e\vhat-less-than-in-
\\'hbe11man and his Rock Lib-
. Eastmans) \)'ere hon1e \Vatch- t r i c a t e :rvrcc8rtl)ey ·corn-·
.. eration Front staged a happen-
, ing the event, they didn't Jet positions such as "Oo You"
. ing_. Thursday ln front of the
on. The building attendants re- and "The Lovely Linda."'
l a r g e apartn1ent building
mained good-nan1red and po- But he attacked iYicCartney .,
\•:here the forn1er Beatle and
lite, but firn1ly kept the protes- not only for hccon1ing the "Si-
his \\'ife· Linda, are said to be
ters outside the doors. natra of the Seventies" but
living.
.. Only about 50 or 60 persons
WEB ERil!AN FEELS t ii a l
ulso for his Jock of social con-
ce111 and rcle\·nnCe (his oJtl
"' sho\•1cd up for the inock funer-
al for J?aul 1 and things \Vere
rela,tiv~Iy quiet.,
the "is Paul really dead?''.
controversy is a moot ques-
gripe ogainst Dylan): "lsn'L it
the duty of the artist today to
tion. The point is, ·he insisted, say something about •,vllat's
WITH PORTABLE loudsneak- that NicCartney is "dead in the hap(Jening in Vietnan1? \Vhat
er In hand, \Vebern1an ;ailed head" and that the music he has Paul McCaiiney said
c:gainst the sins of McCartner-=·- has 1vrilten since le?-ving the a.bout the n1urder of George
isn1 :and the capita!ist.-conglon1-. Beatles i;, "garbage." Jackson?"
'· .L ~.·
r-l
t-
el

:~Is Pa1tl Dead? . _4_gain?

!N
~
I lVhile 'rnmen':-; liberation p:roups were gathering in
,·ar jous parts of t he citv in an attempt to raise the con-
I
?;5 1 •• ; • , _, ·~ : ·t· · · erent t:pe t
0 Jiheration moYem '= nt \':as 1-!·athering in front of a conserva-
;:::i tive-lookin.g- apartment bu ilding at P ark Ave. and 79th St .
..:S: he building, at 95 Park Ave., iR the building that is called
home by ex-Beatle P a ul • c · · m"lv when they visit
>-4~ ., thill city. And it was in front of" this m
..:S: a self-styled Dylanologist with a flair for publicity, had called a
Cl n eeting of the Rock Liberation F r ont to Combat l\kCa rtnyism-as
-< he spelled it.
&: The Dylano1og-ist, wb.o has gained whateYer fame or notoriety
he has by collecting and sorting folk singer Bob Dylan's g ar-
~ bage--:without <:harge--is no longer quite- so int!'r ested in pylan.

cert in .Madison Square Garden last month showed that Dylan's

i:z::i h("a u is back wher e it should be, so he has temporarily sw·tc e
Z targc .s. Now, the Front has fumed n Pau McCa rtney.
Yesterday, it s m embers and a group of interested and non-
~ interested p eople gathered at t he P ark AYe, address to bur y P aul,
......
<
i:i

JilEWS photo by Nick Sorrenlin ::>

C ar dboard coffi n wi th picture of e x- eatle Paul McCartney stands
upright in door of weary-looking hearse at mock fun eral aenice
on 79th SL
 not to praise him , and they bronght along all the accoutrements for
an outdoor wake. E1·erything was there but a corpse. They en'n had
a permit from the police to hold the deiwmstration and to ma lic a
. I

e doctors' offices iat

1ine e ~t revel of the apartment house, the liberation gro up
an1ved complete with a big black hearse which had ob,·iously see n
better days and probably better funera ls.
I
The hearse wa:s decor a t ed wi t h huge posters of l\IcCartney on i
each side, and it contai11ed a ca1·dboard coffin, a lso decorated with
a p oster of Paul. The coffi n , >vh ieh for some unell.-plained r eason was
open at one end, was lined ·with white satin. Theri it was carried on
t he shoulder s of mem bers of the front who acted a s pallbearers
white A. J. Weberman r ead a eulogy and another of the group
brought up the rear, playing a mournful tambourine.
The mourners were dressed in ~ les. A.J., with wild.,
'--.iii•••-...iun~ciomb~iied-.~bllroli:iiiE.
41
iiw.as;ow;wea~nn~·;·~g a rea ~
- for ..EresidJm.t m
shirt and jeans.
~---•-Mllerfl';;,j
also, bu t like a true politician, was dressed more appropriately for
the occasion in a black morning co~t co m,Jllete with a tie of a suitably
dark color k11otted arou11d liis arm in a mourning band. Others were
wearing bib-type overalls, work shirts, tank top Siiirt& and jeans.
A.J. and the Liberation Front held this little ceremony for Paul
to try to raise bis consciousnes" apparently. "He's becoming the
Sinatra of th e '70s, living like an aristocrat on a huge estate in Eng-
land, never gives-any money to any progressive organizations and
hasn' t done a benefit in years," A.J. claimed in one of bis less offen-
sive speec:hes.
"We're going to radi calize the rock musicians and stars. It
worked on Bob Dylan and we're going to work now on Paul," he con-
tinued, shouting through bis mike while standing on the back of
the heane, wearing a sandwich board which read, "A.J.'s Gonna
Get Paul," in hand-printed letters. Other boards said things like
"McCartney Groupies are Necrophiliacs," but there were a group
of girls there who were ready to defend their idol, and they did so,
loudly, trying to dro1;n1 out the speeches by singing as often as pos-
sible, "". e Love You, Paul," over and over again. _
The g athering cau~ed a traffic tieup for a while on E. 79tl1 St.,
as cou ld be expected, and drew quite a group of onlookers, includ-
ing some bicyclists, a number of children and quite a few dog s.
People stood in t he doorway s of -everal of the building s to
stai·e for a few mo ments and move and one elder ly woman ,
ettin out · a car in f r o

-PATRICIA O'HAIRE
 1
CAPITOL S TR.IAl FRI. DEC.3.'71:'
1370 Ave of AmeriKaslc55th St) 1:30-3:30 PM
Newsweek
f'R.IDAY, NOVEMBER 26, )97f MUSIC

George threatened to release As for the Bang-la Desh

the album through CBS Rec-
ords, which says It can do
the job much more cheaply,
Then, George Said, Capitol
can just sue if It wants to,
Apple has already g!ven a
check to UNICEF for almost
$250,000, representing the
gross. receipts from ticket
sa1es to the concert and
meaning that Apple absorbed
all costs of staging the
event. George thinks It would
be unfair for Capitol to
pocket even a penny Df pro·
fit from the album and pre·
diets that if everyone gives
up his slice of the money, the
total sales will earn maybe
$15 million for the refugees,
which, of course, is st111 only
a spit In the ocean compared
to what they need. There are
riearly 10 mlll!on of them
now,
concert, yott pro~abJy all
know now \\'hv release of the The Dylanologist
three-disc Jlv~ album set Is
being delayed. George Har· Pop .~tnr.~ have nlways inspired frt•n·
zit·t! dcvntirn1 amo11g thdr fans. Bnhb;•-
rlson, on the Dick Cavett
show~\Vednesday night, ex·
so:i.:;•r•'" sw<m11Pd for Fr;mk .Siuntnt in the
plained that Apple Record:;, '40s. Their hip c1Hmtcrp•Lrts, tlie grnnp·
the manufacturer, is stUl ks, havt~ ).!;Olll• Wt•ll beyond fainting- in
lhcir pursuit of !lcntJe,, Stonr~ mu! nth·
hassling with Capitol Rec-
ords, the distributor, over n ieu11s of the new music. Hut the physi-
C".1! Zt•al <1f tlw mo>t i11l!amt'<l grcmpic
the costs of the album. Since tl<llPs i11 co111p•tri~u11 witl1 tlw l"Cr('hral
all the art!sl:.s contributed fam1licism of roek's ultimate fan, Alan J.
their talents and their COPJ'· (A.J.) \Veberman.
rights and Apple Records A.J.'_..· thing is Hob Dylan. F11r six years
contributed the expenses of 1111w, 1l1e has been floing it-•u1alyziug
the concert and the price of Dyhm's poetry, col!ccting r;nc ·Dylan
putting together the album, tapes, cstnblishing a Dylan archive, com-
George feels that Capitol
shouldn't make any profit on pili11g a e<incor<lancc of ever;· word from
every sung Dy!au lias written, even pok-
the distribution. He wants iug through tl1c garbage frnm Dylan's
all the money to go to the C.n·1·uwid1 Vi!lago apmtm011t for scrap>
Bangla Desh refugees. of i11fornrntio11 a11<l user ul so11ve11irs.
Playfully shah"ing his fist 1111111).!;\1 the s11ectaclc 11f \]\j<; 24-yenr-
via the tube at Bhaskar u\d ~ ippit• with t!ie su11t•r-Afrn lw.ir and
:Menon, the Capitol president, tlw mik·-a-r11h111te pallcr sifting garbage
witl1 the n•n•n'lll"e of an archeulogist "o'~'" H. >'•"'"' ~,.w.~"''
lllil}' :it first ~t·t·m nhscss_ivf'. au<l ahrnrd, A.J. an;] cuncunlance: 1\lany byen

CONTENTS FOR NOVEMBER, 1971 VOLUME LXXV! No. 5 WHOLE NO. 456
ARTICLES
Charlie and the Devil. •• , ••••••• , ••• , .................. Ed Sanders 105
The Art of Garbage Analysis •• , .••.•••••.•..••.•..• A. J. \Veberman 113

:Sy l'll.TlHClA- 01!.AJJZE;

Bob Dylan, pve1 1 s-.''l'l!{er a,-,cl spu'k.,.-;.1n11t
fer 50 l'r1ahi mr.rnber!' t1f tho? vnder-30 (!<:\1~
~ratio11, [$ hit.v;Jig i hinhday today. ~tlr'$
t1Jrnir.g 8li 'n,"m'>t•lf, So k1 Jo jus1ke to th.~
cceas.101i A. J, Webet·man, Th"' '«'crld'5 one
'.'1"'J. onl/ Oyla11oio;;;lst, SpL:11'.i'.•f.:t\ a tht{'l'-

CHICA G~. D,4iLY NEWS Frklay, Ausust 27, l9

Bock scrlb• hltt McCb"uaey

I BJ~Ba\:.er
Nf.W 1cyK-,4... S. Vfeber-
T'11~n. Ille 11nc!erxru.uod .rt'.pDrter
who ti"rst me.de his cldm t{)
film(;~ W~j'.!11g ~ ki'rld. of holy
Wllr'"4.gdn5t 800 Dylan tvr tiis
"los.s.tif $0-Clal COtl;Ljo~,"
flMe ._%d,y'gja?~e~ drove- a he11.n~ lift New "Yc.rk's
Par¥. Av"1'1~ to d<'.'Cry I:"""' new
You are what you throw away Po? ·rnu$it L'°"tl'ltur;: culprit.:
Pii.u./ l;'\_cC:o'fl'll.~ ind Jto!lh1s
 -

MUSIC EXECS FREE FOOD

PROGRAM:
The Rock Liberation Front, who brought you Bob Dylan's 30tq Birthday
Party and Paul McCartney's Fl.i.neral, now begins a tree lunch program tor ·
starving mueic execs-starting with Beatle manager, Allen Kle1nor ABKCO Inds.
. He's obviously sta?"Vin~ and needs the recently r evealed $3-5 million
in hidden profits resulting from the sales or the Bengla-Desh Concert LP.
The plight or the Bengal.is has been well taken advanta~e or. Music pi~
Klein and other vultures (whose degree or complicity is still unclear)
have created a lucrative myth. They themselves are contributing nothing
to the hungry Bengali people; rather Amerikan youth have been suckered &
hyped into buying an overpriced "benefit" album wit h the music industey
conducti?lf, BUSINESS AS USUAL. These rip-orr artists must be secretly pro-
claiming 'It was like stealin' candy from a baby~'

'''D INE .. WITH K L.EJN.' '

SO COME WITH US WHEN THE ROCK LIBERATION FRONT PRESENTS LOVABLE
ALLEN KLEIN WITH HIS FIRST FREE MEAL: ROAST SUCKLING PIG WITH A ROTTEN
APPLE IN ITS MOUTH & A PIE WITH A FINGER IN IT FOR DESERT!

BE THERE !
THURSDAY,
·March 2, 11 A.M.
\
ABKCO· offices
1700 B'DWAY--55tH

--ZIPPIES & ROCK LIBERATION FRONT

1
477-6243
...... · ~· -· ~ .
 Music Moguls Rip Refugees
(UPS) T he highly touted 11 Concert for Bangladesh 11 album , featuring Harrison,
Dylan, Starr, Shankar, Preston , Russell, and friends, has t urned out to be
a benefit not only for the refugees in Bangl adesh , but also for the musicians
and companies involved. Dig it:

Actual record costs (Capitol) $ . 86 . 5

Distribution expense, overhead (Cap .) 1. 61. 5
"Use Royalty" (Columbia) . 25
Box and booklet (ABKCO ) . 50
Amer. Fed. of Musicians .1 3
Retailer markup 2 . 98
Bangladesh Fund 5 . 00
Unaccounted for (ABKCO) 1.1 4
Royalties to songwriters and publishers
(various) . 50
Cost of Al bum $1 2 . 98
Allen Klein
T he 25~ "use royalty" appears to be a blatant p rofit takeout by Col umbia.
The $1.14 unaccounted for in the hands of Allen Klein (ABKCO ) also appears
to be a bl atant profit takeout . The 509· royalty to musicians and their publishers
(usually self-owned) also appears to be a profit takeout.
If the predicted minimum of 3 million al bums are sold, the above mentioned
profit takeouts would amount to $ 5, 670, 000 . The Bangl adesh Fund wo uld get
$15 million.
Whether there is a profit takeout built into the Capitol payout is difficult to
estimate . Capitol has, however, declared that they will accept just l~ of
returns on the album, rather than the usual 100%. This cuts Capitol' s distri bution
costs considerably. Capitol's unusual policy has forced retailers Jo keep stocks
very low .
George Harrison has apologized for denouncing Bhaskar Menon, Capitol's
Bengali-born president , on the Dick Cavett Show. He apologized the next day,
after Capitol explained some things to him. The explanation has not been made
public, but it is reliably reported that Klein was holding up the Bangl adesh album
to force other business concessions from Capitol.
There is also the question of r adio airplay royalties . It appears that the
artists intend to keep these royalties, which are substantial. They come in each
time the record is played on the air.
Despite the fact that Klein banned the underground press from the album un-
veiling press conference, the Underground Press Syndicate and the Rock Liberation
Front had supported this feeble beginning of rock liberation, in the hope U?.at the
idea would grow. UPS even went so far as to ask underground papers to .Pl ug the
Bangladesh album for free.
Now, UPS and the RLF declare these robbers , whoever they are , to be
enemies of art and of the people. George Harrison, Ringo Starr, Bob Dylan, Clive
Davis, Allen Klein, and fri ends owe the public an expl anation, NOW ! And probably
a bundle of money. - Thomas King Forcade
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New York, ?';.Y. 1001', Frid ay, August 27, 1971.~,

irnt. bJ pra iFe him , :in1l th,.~· h ro1 1ght a~n n ~· all tfw n<'cou!rr-m ents fol'
:i ll •J•.1tduor \\':t kr:. l·>•vr:- tl ii 11g- \\':\s lh1"'C h•:l ;i tor p~r. T :1•·y l'H·n harl i
ll 1wn;iit frr ·m the poJiec' to hold tiit> d l•mn11s ;r:n i011 :1:1d to m::i ke a'
rtJ1 ·,· it... I
.-\J1•l \\'liilP :'t:\'l·r:d n11 r, ,.s pc·e pe:d from J,,,: wpc n ( \.~ ,.:li\ts of the:
v .. 11ei i:u1 lili n!Js l'"\'(·ri 11;1· the wi111.lows i11 t he tin<· inr~ ' u rliee.< that
1
]j11t: the ~l rt· i·· t lr·\'f•I ' " Ui~ ;q·a rl n 11·11t hut1~1..·. t i1c- Ii t1:.ri·1·i 11 n µ·1·oup l
:ini ' cd <:omplclc ' w ill1 n l 'g l1h1l'ii hc·a rH• w i1i l'h had oh•: ic1u::-lr seen I
0

·lio:I (,.r rl:1 :-·;; all(! pro bably hf· t tc r fun era l::. I
'J'ht: ht·a~·;.;e w~·s dc..ico1·ated ·,\·i ti1 h '.1.1!e J'Hl:-: t1irs of ~h~ l;u·t n cy on ·

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fl )1•1~·t l'r t' f l'aul. Tlw c·11ffin. \\'hich (., r ~11 m e tln•'xpla:nl•tl rr•: .,11.1 \\'as
OJir·n :: t one PIHi, w:1s l i11t•tl with ·,,·hi tt• sa tin. Tlwn it ,.,.af: ranitrl on
lhe ~i1 oll ldt·r~ of 11lt'lllilt' l'S of ti1 f' rrolll \\'i 10· :! 1· ~c·d a~ ]litJ Ji1!'a l'C'l'S
\Yli ile "·1m1 ~11·s Jillc·rn.tion ~TNips m're r.;!lthei·in p; in whili: A . .J. \Vel,erm a n rPad a cuJ1,;:y :11Hi a11o~l.er of t he grou p
br•.> t1 .td1t. up lhe l'car , pla:-·in~ a mourn ful 1i: 111l1o u ri11('.
,·a r iuu:-; r a l'ts of th e city in an atl }lll)lt tn rail' <'! the <'.Oll - 1
Tht· muumcr s wc·n~ rl 1·e~sed in 111 Ml c>Y ~ t Yles . A...J .. "· i1·h w ilt]..
' :::ciou :-:nc:::::; of th e n~ltion, a cl is tin c1.iY ely clil'fu·pnt t.\'fle of Hnl·nn1hcd bro,Yn J1air, \Vas ,,·c·aring- :-! r·t·d 1:e~d ~· e: s :~i i't nnd ,i l':t n~ .
))J,.enil iOll lrtOYemcn (' \ \ 'Ct .,; gat }H'l'illl.'.' in front of a C'Oll~C'l'Va­ l.nu is :\ho Ia ria, lhe LnY C' 1;:rnd idatr f•H l 'n·~ iri1 ·11t in H•~ :!. w:t,, thl'n'. j
tiH'- lf111J; ill'." ;ipar tnwnt lrn il di ng· a1 T';1rk Ave. :rnil 'i DU1 St. 11 J,.,, l1ul like· a lr:w }'(•l ih·ian. w:i s rln'i' ~· c·d m111·e app!'i•n ri«tE·I~· ior
Th,, l. ; Ji ) ,lin~. ;•t ~:J.i T' ;1rs ..\1·<! .. i,: t\w llllil .Ji1 1 c~ tl:;;L is c·nil ed Hw cottil~ion in :1 lil:u·k m nr!l ; lll! t •J:!l C•llllplt·lC' 1,· it h a ti t· 1.i' a >:: itahl:-·
h onw i.y 1' X-Ji(';{t 1e J'nn l ~J 1 r arl !iC Y. ;iml .!; !,; 1-;imi!y ;1·lll' ll ~li,c:-• vi~i l <lnr k cnln r lrnrJ l.tt'C I :11 C•ll lld 1,li:< ;1rm in :1 mr111r11i11~ k 1nr!. () 1 1~ ,-r~ \'.'C-l'C
I t !ii· ci t\'. .-\ 11d it \\';!" III lr,,!l t •11 lh1~ !0;11 1111 111~ lh a L .-\ .. }. \\ l' l l('l'!l1:111,
. a ,:,Jf-;,t::l t·rl ]J _1 ·:,, 11.i]fl"i s 1 wi tl 1 n fl air f,,1· p11h li ·i 1.1-, l.;;d .r:tlkd a 0
wear i111-. liih-t n1e OY<~ral :~. ,~·nrl; 'iiin.-. \;,11k t11p ~h in ~ :11.d .i.:a n:<.
A .J . and th e Lihrrn ti<) ll Fr(•nl hP! d th:" liul1: \'~rt·n:"n ~: f .. r J'a ul
to tr,· to rai ~ e his tonsci 11usn1':-;:-: 1 n ppar i·~ nly . . :Ilt.\ :> l 1t· c1·: ~1 it ,g- the 1 0

in t:r· t; n;: .,;·th(' 1l•1C'l< Lil1N ati1m J.'n111t t.n Cnn1bat .\i('(; ;.,rt11n.0 m--as
' ];,_, ~ 111•i J,.of it. ' . Sina t·ra c•f t.h.· '';<.Is. li vi 11i,:· Jj);\' ;in n r 1; t11na 1 011 a h1w,· ,.,, .,, , i~: J:i w - I
J :11· J Jl"l:in .do t·i~ I. w l10 l1;i ~ ~· : ii n P tl w h ;\l,,,·p r fr nw fl1' ll•' t •'nctr ir.nd Jll'\"~ I' 1.!' i \' <.'S Hll\" Jll 0 Pll1 \ - tu Ul l Y p rr1~T ( ~~j \·p f\J'( ' ~i 1'·i·,·; 1t .. ~1 .. ;'?'ld I
t·f' h;i ~ l1y · C-fdl('lr1 iP.t" n:1d ~nrt i!1~~ 'fulk :-:· ing·cr B1;h D,,·J:n:!ii g-n l'- ha s n\ dtll\P ;t bt·11eti i.. in yc•:1 l'·s ," .-\ ..J. ~ la itn<:d in t1lH! 11f l1·~ !r•"s ,,ff,·n- /
Si\'t· S } H'C t:lt <.' ~ .
l; :1 ~c - \\· i th •)Ut ch ::irc·r- i ~ nn l o n ~<' r q1: ilP ~1i i 1 1 kn· ~ kd in J)~·Ian.
J i ~ rlain1 ,; t.hc ~i n!-'·" r'!' appt•nr;11H"' at t li<> l\;, ng l:t JJP,; h hcnt•i'i l c 0 111- "\\'r• re g·oing- h 1 J':tdi r alizP Lh t• l't'«k 11i:1;ici~m~ ~.n.J ,t a n :. Tl
c";·! in :lladi,;oq Sq u are Gard r·n bsi. 111o•11 1ii s lio \\'t•d I.hat D.vlmi's \\·o r l~1.: :l on H1 1h Jh·1[1n and w e 'rf' ~! ,l ing- 111 \\' P i'k 11 0 '.\' un i '., iL " ile 1.nn- I
J;,.; 1,J i.·; li:iek wh e n• it ~ l:ou!d bt!. sv lot· h is l•clll f' lJ l'a l·ity :swi lclied ti nu1·d. sLfl Utin~ · lh !'i'1u .~~:h hi." ni iJ.:e wh ih.· :-: t :-·:i1:i1~t:' •·ll t i.i· L,1c k uf I
t :il·1.· 1 .~ . ~t 1 \\·, th,, Frt 111 ~ l1ri:--. ;.1 11·1u.1 d on P~nil :J l_c (.'a;·ttH: ~· . th,? ] ,E·:1r:- t). \\'r• ;.11·i11 ~ a ~=:.11Hiwkh h1,:-ird ' \ h:1 ~-: i t r: d. " .\. l.·~~ ( ;t riiiC't
Yr<lvr<h\ \'. ; ls 11:1:111li1' r l" :1 11'1 :1 l:Toup l!f mlcn:stc•d a nd n0n- U<·t l':tn i," in ]1~u1d-pri!l lPd h_•lt ('J':':. Ot!·.1·r f1t1;:1·d!' :--·;.~1: t i:ip;_rc J;:;,."l
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gdt ing· 11 u t <lf a l«lt' in frnnt. nf :I'! ;q1:1 11P, rnt· 111111.-t', lo.-k." I ' •"C l' ht
the ~··•'n (' a n d ( ll rn <'cl tn l hr donrrn ~.n, Jl' l ZZ IC'd.
" \\.ltn's J';1ul '!" tihe a ~k c• d him.
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' i:F\'./S nf1'1 To Uy N il.k !il') rrcntit~ 'J
C;,nlb oe. rJ co ff in w ilh picture o f cx-Ileatlc Paul MrCarlney • l and s
up1·irdd in d oor o f W C': t1.ry - l oo lti11!: h car~c at 111 oc k fun er.:d service
on 79th St.
 .L.JV J..l:...., V J.'11 -" .;O,.LJ..1.t. .t.~·;,L,(1,.0,\.} fi

August 31, 1971

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YCltk f.1ni ily
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nH·ui. I.u (·i :an~c of
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t u rn er! h is a l lc nlio11
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a lclll;: pcl"ir>< l of
h ara~s in ;r n01>
Dylan in s imi lar
f:l!;hio n. li e p '1 icl fo r
1 ·" :ulnd i·;c111t•n1 s 1h ;!(
h:·t • U ~ h t r? sn1all
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r il,i:: I. Wha t h as
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~C'<: New York Cl:y; 25c U. S.

C..opvn qr.: , : 11171. The v.naq~ Voice Inc. THE WEEKLY NEWSPAPER OF NEW YORK G Vol. XV I, No. 35 O New York, N. Y. 0 Thursd ay, Se ptember 2, 1971
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-Abl'l4=r Svmt\,s
FALL :\PPHO:\CHES and the dem ons tra tion season begins . !\c w York last week: Youlh
Aga ins t War a11d Fascism r allied a t the Tombs (icft); A. J. \\'cberman mou11lc<l a
'·bur ying P a u l :\lcCartncy'' dcmo(abov c )in front or the Park :hcnnc apartment house of
til e Bcatlc's la lhc r-in-law (sec story , page 2i); and :\O\\' ha d its big rally for wome n
(s tory below).
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by Blorr Sabo
Maybe it's ti'iq_e £or A. J. Weberman to change '-- .. , ~ ~ ' ... of L ife Magazine I And br oke up the Beatles I Yea
, "' .
his sc ript--0r bc:.~~r l yet. to get off the s tage a1-
togetlier. Being L for emost Dylanologist, or gar-
bagcologist. was b 'iant for las t year's routine,
-- - -- his ego w as his amigo so he s aid cheer io"), then
pulled a coffin out of his hearse for a rather lifeless
s pecial effect, and finally lau:-ichcd into the second·,
but revamping it for ' ··ul McCartney a s thi>yea r's r··.:···, .......·
•'-'.( ..-:.. acl of his persecution and as:;assination melodra-
; \

P-·
~ ~ ma, char ging Rolling Stone newi;paper wit h various
"c<:! pi tulist ic pig'' ca . :iii;t1is like giving a:i encor e ..
,. ~ ~
'v . r.·:l and sundry acts of establishmen t pir,gcry .
aitcr the audience has ne home. ! . :1
There was the pntho f an empty house about \~ ~ .. ~ " ' •. \ ~
After the medi::i dispers ed, Lou is Abolafi a (talk
about old shticks) took off with his " Lo,·c Candidate
.. 1·
Wcber mmi's " 1\IcCart n' y urial" last Thur sday in ~­~
" for '72" press r c!c:i.s1·s while the videotape crews
front of Lee Eas tm an's ( .indu's dad ) Park Avenue .... ' ~

ap:irlm ent. Not only wo_ Paul absent (even when

\. ...~~ ... .J

:
~ I. SU)ppcd taping themselves wd decided to fo ll ow
;-~'. ) Wcber man down lo the Holli ng Slone offices on
h~' s in lo·;;n he never s: , ·:; with the iu·laws) a nd
the Eastnurn fa mi ly conv ·· icnlly tucked awuy in {"' ;:
. \ ,_ ·, ! E ast 56lh Strcl't for an office looting and thu t tired
:-.:.. " ..: routine of pie thr owing. (At least they have eco-
its Southam pton r etrea t, 1_, t there wasn't even a ·1 - )
:.!... •.
.- nomically changed their flavurs fr om las t year's
street corner gar bage can vailable for analysis.
As for on-lookers, Weber m::i drew only two blase
doormen, three s martly decl ·d Bergdorf be lles on
!
: '"
I ~
;;
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j
lemon cr eam pie to a pla in pb.te of H.eddi Whip. )
Weberm an, his tape cr ew, and his Rock Liber::i-
tion Fr ont cr.tnur:igc wer e finall y adm itted . some
their \\·ay to the women's Ji; .• r oc e•~i n g s (appro- minor " mun-you-molhcr fuckl!r" fi st fights wer e
pria tely t '1gged with fe m inist ' ~ igni n and 14K gold
r endi ti ons of lhc s mile button-· ' s this a fact ion of
-'.. rl' ~._., .
fo ught, a !ld ::i fow "yc.u-pig-pric k·' p1.1m:hcs we're
' ·,4 pull ed, after which \Vcber man left wilh a n u nim-
F ri eda n·! The Times didn't list , 1 ') mon:;tra ti on for
· ~ t\~
i' portant set of office files (filled with Rolling Stone
this locale''), and one lhreale i-looking nurse f (
. ~( . advertising rate cards a nd mis ce llanC'ous mund::me·
!
playing peck-a-boo from a doctor' iffi ce wi ndow.
The remaining 30-odd consist ·\ of the full
l· /
,
...
"/

··- "'i
' ' .!,·.~ mem os ). P er h::ips all this was d one in hopes of
publ!sh.ing "the Rolling Stone Papers"? Who
r a nge of media, incl uding a good c ss-section of
,y \ '" .~1 knows ?
videotape art ists. Evidently Sony vi 'co cameras .{ .,. .. ,.. \
\ l •.':\. •
'·. \ ~ .• ·--- '~
But what's wors e . . . who cares? At leas t
slung ove r the shoulder ar e taking the lace of gas
m a sk bags and back packs as this year 'i; ccessory. ~ !·
,/' ,,
-
.
·~
f~ Weber m an a nd fr iends got off on the da y's outing
and surely they'll have one hell of a home m ovie in
Weberman ga ve two perfor mances (that's in LI .. ~ .~ . ~ ~; .:._, (.~\ .h
•s.. :I .. .. the video foot ;:igc alone . nut a ft er all, isn't tha t
cas e you came la te or your tape broke) ol his poem - A bner Symons what it was all 3bout? In the e nd it was home rr ov-
"A. J . Weberman·s F uner al Oration for P nul l\lc- A ..J. WE BERiHi\N ies m ore limn theatre. And usuJ!l y oniy the fam ily
Cartne y' ' ("lt is time he c atered to the lame tastes enjoys it.s mm show .
 .
"
JUNK OOYOU
By Paul McCar tney By Paul McCartney
F#m c#7 F#m Omaj7
G F F# G C Om F#
'- Mot or car s, handl e bars, Bicycles for two,
Look like a woman,
A F#m
G F F# G C Om F#
Brok en hearted ju bilee. Parachutes,
Dressed l ike a lady
C#7 F# m OmaJ7
G F F# G C Om F#
A rmy boots, Sleeping bags for two,
Talk like a baby, oo, hoo
A
G F F# G C G7
Sentimental jamboree.
Love like a woman, oo. oo, oo, you . ow!
O(sus4) Om A E
G7 C c# 0 NC
" Bu y, buy," says the sign
Oo, oo, you.
A E7 A E7 A O(sus4) Om A
F F# G F F# G C Om F
In the shop window. "Why, why?"
Walk like a woman, oo, oo.
E A E7 A
G F F# G C Om F#
Say s the junk in the yard.
Sing like a blackbird, oh I
F#m c#1 G F F# G C Om F#
La da ya da da da la da ya,
Eat I ike a hungry, oo, oo
F#m OmA.1 7 A
G F F# G C G7 C
La da y a da da. Da da da da da, da da.
Cook l ike a woman, oo oo oo oo wom an oh! ow!
F#m c#1 G7 C c# 0 NC
Candlest icks, bu il di ng bricks,
Oo oo oo, you.
F#m OmaJ7
G F F# G C 0 !" F#
Something o ld and new,
Look l ike a woman. oo
A
G F F# G C Om F#
Memories for y·ou and m e.
Dressed l ike a lady, oo.
O(su s4) Om A E
G F F# G C Om I
"Buy, buy," says t he sign
Talk l ike a baby. golly, golly, golly, golly, goo-goo.
A E7 A E7 A O(sus4) Om A
G F F# G C G7 C G7
In t he shop window. "Why, why?"
Love like a woman. oo oo, oo, you.
E A E7 F# m
Says t he junk in t he yard.
THE LOVELY LINDA
EVERY NIGHT By Paul McCartney
By Paul McCartney
F
F7
La, la, la, la, la
Ev'ry night I just want to go ou t , eb Eb eb Eb
Cm F7
The L.ov ely Lin - da,
Get out of my head. Ev' ry day
Cm
Wi t h the lovely flowers in her hair.
I don' t wa nt t o get up, get out of my bed . F
La, la, la, la, la
eb Gm Cm
Ev' ry night I want to play out, eb Eb eb Eb
The Lovely Lin - da,
G7 C NC F7
And ev' ry day I want to do, oo, oo, oo, oo. F
With the lovel v f fn..,orr ;" h~- ' ·
G m7 C
Cop y right @ 19 70 by N or t hern Songs. Ltd .. London. E nglan d
But, t o night, I just want t o stay in and be w ith vou. A ll rights fbr tho U .S. A . its tcrrltorios ond p ossessions, Can ada,
Mexico and t he Phil ippines contr o lled by Maclon Music. Inc..
New York . N . Y . Used by Permission

A.J. WEBERMAN 1 S FUNERAL ORATION FOR PAUL McCARTNEY

HIPSTERS, YIPSTERS AND ESTABLISHMENT JOURNALISTS / KNOCK ME YOUR LOBES
I COME HERB TO LAY McCARTNEY OUT / NOT TO HIP YOU TO HIM
THE ~ JAZZ ~JIG BLEW WAILS LONG AFTER HE'S CUT OUT
IN PACT HIS WO SS LP• ARE STASHED WITH HIS FRAME
SO DOl'l' PUT McCARTNEY DOWN •••••••••
THE ESTABLISHMENT MKDIA HATH LAID A $TORY ON YOU THAT ITS COOL TO EE SINATRA
AND IP THIS IS SO, ART IS A SAD DRAG AND SADLY SHALL THESE PIG MOTHERS AMSWER
FOR IT .•..
A.HD THAT ' S THE STORY OF McCARTNEY AND ALL THE MUSIC PIGS
BUT PAUL IS A WORTHY STUD /. YEA THEY ARE ALL WORTHY STUDS
'l'HOUCJH'_ THEY DON'!' DO NOTHIN FOR NOBODY BUT THEM.SELVES
I CAME TO WAIL AT PAULS WAKE CAUSE I LISTENED TO HIM AND PUXED
YET JIANY PEOPLE. STILL HAVE EYES FOR H.:L3 RECORDS
AHD McCAR'l'MEY IS A WORTHY S'l'UD
IT IS TRUE HE CATERED TO THE . LAME TAS:i'-S:S OF LIFE MAGAZINE
AJID BROICE UP THE BEATLES
YEA HIS EGO WAS HIS AMIGO SO HE SAID CHEERIO / AND THATS PAULS GROOVE
POR WHEN PEOPLE ARE BEING MURDERED BY CATS WITH THE EMPTY KICKS
. IT IS NO TIME JO R AN ARTIST TO COP OUT
AMD THE HOPE OP A OENERATIO~ IS GONE
JPOR A LAMER RiPP HAS NEVER :BEEN BLOWN / SINCE :DYLAN RECOR:DE:D BLUE MOON
BUT McCARTllEY IS A 'WORTHY STUD
AJll) MY TIClCER IS THERE IN THE COFF:!"'f WITH HIM
 PAUL'S FUNERAL
,. A111 2_61 ~~~'({
PARK 4VE oEAD
&79thST
. . THE DYLAN LIBERATION his. sroots are. "McCartney bas
• Front-an ever-changing amor- become the epitome of the apoli-

.
•phism·centered on David Peel and tical, aristocratic rock star, to-
J . Weberman-is now the Rock tally lacking in commitment and

t
· iberation Front. They feel revolutionary concern," claims
· hey've done the job as far as the RLF.
:f)ylan goes, and that his surprise To dramatize its new-found
-appearance at the Bengla Desh anti-Paulism, the group will use
.benefit proves he 's taken one step tried and true Dylanologicai
: in the "right" direct i'on. "He methods : they're holding a dem-
looked like the old .Dylan, and onstration in front of his New ..
sang his old, political songs-tluit York home at 895 Park Avenue
. · (off 79th Street )-on August 26 at l
~ho~s his hea_d must be chang- , p.m. Predictably unpredictab\e
Jlli. ·. . 1 entertainment from David Peel
The1r ~ew goal ; to combat Mc- i and his legions will be in-
C:artney1sm . Pauls personal mys- 1 terepersed with fiery speeches de-
t1que among many ~ock fans has nouncing Paul and Linda, and a
. b~n on ~e wane smce his bad- 1 ellow of movement "stars" is
vibes split from the Beatl,es a~d hoped for. Samples of the Mc-
~~e , ap_pear ance,, of cutey-p~e Cartney garbage--ehar11 cterized
we r~ ius t folks exposes of his as "salient and revealing"-will
I ife with Linda an.d the kids in be examined and commented on
such places a~ Life magazine. Finally, a mock funeral will b~
_Ami then_ there_s the sboo-be-doo held ( complete with rented
style of his two solo albums . Any' hearse ) to answ~r affirmatively
\fay, it's been enough to make ex- once and for all that time-honored
, Dylan libbers dub him the question- Is Paul Dead?
"Sinatra of-the '70s" and decide to
refresh his memory as to where
RLF

Newsweek DAILY.-11 NEWS

NI WTOaa'l~fltWl~llt

MUSIC DAILY NEWS, MONDAY, l'vfAY 24, 1971 ·

The Dylanologist
Po p stars l1avc al w ays i11spire<l fre n-
Zil'cl Ol'\"otio11 amo11g their fa11s . 13ohby-
'"xt· r~ 'iW00t 1«~d for Frn nk Si11atra in the
"Hk Thei r hip w1111terparts, the gro11p-
il·,, ha ve golll' well hl·yond fo i 11ti11~ in
tl 1cir p m s11 it of ll" a tlcs, Stcm<•s an d uth-
t•r i c:rn 1~ uf ll1c uc•\\ musk:. But the pliysi-
t::d zt•al u f t!tl' m nst i11flarn c<l gro upie'
pa lt·s i11 <.'o mpa ri srn1 with ·tlw <.:c n.+>ra l
fa 11atidsm ol rnt·k's u ltimate fa11, Ala11 ) .
( A.J .) \Vc h c rm:111.
A.j .\ thi11g is Jlob D ylan. For six years
n ow, / lie has been tloing it-a11a lyzi11g-
D yla11's p oetry, collccti11g rare Dyla11
tapes, establishing a D ylan archive, c om -
Dylan Misses Big-JO Bash"
Bob's in Israel as Hundreds Party
By PATRICIA O'HAIRE
Bob Dylan, poet, singer and spokesman
for so man y member s of the under-30 gen-
eration, is having a birthday today. He's ,
turning 30 himself. So to do justice to the
occasion, A. J. Weberman, the world's one
and only Dylanologist, sponsored a thrce-
hour bfrthday bash yesterday on the street
in front of Dylan's home.
The s tre et was filled with music and people;
thero were free hot dogs and s odas; there were
a bir thday cake and presents. There were s peechc•
a nd songs and posters as well. The only thing
miss ing was th e bi rth<lay boy 11irnself. Bob Dylan,
ftocor<ling to ono of l1 i~ 11eiglibors 1 w as v is iting
Israel.
The nb,rnce o ( the g ue't of honor didn't
change m iylhing, howeve r. Nobo<l y re a lly e x-
pected Dylan to show up. These dnys, h e's seen
in public about as often as Howard Hughes .
Abbie's Among the Hundreds
We know you're in there. Your window is open,
so we nll know you'1·c home."
Then, just in case t her e wns someone in the
crowd who didn't r ecognize h im antl understand
his role, Weberman i ntrod uced himselC and be-
ga n to e>.1'lain what a Dylanologist is.
A Dylanologist, it turns out, is someone who
catalogs everything kn own, written, printed or
recorded by or about Uob Dylan. Thi• even in-
cludes the family's garbage, wh ich Weberman
faithfu lly collects dail y from in front o! the
Dylan home. He takes it over to his pad on the
Bowery and goes throu gh it i n hop es of f inding
some items of inte res t a mon r: the dif•cards.
Gift to Keep Garbag e Safe
"One of the p res ents we' ve got for Uobby is
n locked garbage cnn," Wehcrman expla ined
proudly. "And l ' m going t o give hi m the key, and
it's the only key that the lock has. He cnn be
s ure his garbage is safe ."
Weberman, who was l!Sta.nding on lhc garbage
can for his little speech, jumped down, unlocked
the can and took out a brown bag. Inside, it was
a lray nn<l on the tray was nn oval cake thnt
1

i h1l ..,.n
A.J. and con<:unluncc: Many layer•
But Abbie Hoff ma n showed up. So did Lou!•
Abolafia. Louis is running for Pres ident in 1072-
he'll be 30 himself, tlien-and he probably figured
,"'!:
it was a good chance to shake hands and do n
little campaigning. The re were plent y of hands to
s_hake, too, since the party attracted 500 t o 600
aaaorted fans, friends, neigh bors, even n. few
straight people who had been at n village art
show and stopped off to see what all the noise
was about.
Tho three-hour party was scheduled to begin
at 2 p .m., and police promptly put up their bar-
ricades to keep traffic away from Macdougal S t.,
between Bleecker a nd Houston, where Dylan lives.
At 2 p.m., W eberman , stepped up to one of
the three microphones he had set up in the street
It " ' ' ~ lru ~
( eledricity courtesy of the Schi•ophrenia Bou-
tique) and shouted into it: "_Bobby, come on out. _
looked as if it hadn't q uite r isen.
It wns covered ""·ith a white stieky f rosting,
and Webcrmnn slipped five huge candles into it,
then lit them. And ns David P eel and the Lower
E as t S ide Rock Libe ra tion Front played guitnn,
congn drums and flutes, the host p as sed out but-
tons reading "Free Bob Dy !nn," blew out the
candles, cut the cake and hundcd out pieces to
everyone within reach .
Later, ns t he colorfully dressed group sang the
traditional Happy Birthdny s ong, an older woman
dressed in a checked raincoat and n kn itted hat was
walking along, carrying a shopping bag in each
hand. "Is this the block party? " sh e a sked no on~
in pnrticutnr. No one in particular ans we red She
a sked again, "Is this the block party ?" Somebody
sairl yes ' 1 W el1," she said fin a lly, "what a waste
of t ime !"
 The Dylan Liberation Front, whose demonstrati on-birthday party for ~
D lan was an important factor in his singing his old songs st a bene-

- for the East Pakistanis held at Madison Square Garden has deci eded to
temporarily switch targets ... our next victum is PAUL McCARTNEY.
Although the rumor that ' Paul is dead' started when he was still
with The Beatles, it only became obvious that this was true afte Paul
ame out with his last 2 solo L.P.s - McCartney & Ram-since \ they both are
apparantly written by someone whose brain just a i nt f unctionih g ....
McCartney's lyrics lack the slightest social committmeno and he's
quickly becoming the Sinatra of the 70's. He lives like an anistocrat on a
uge estate in England, ·never gives any money to any progr es~iv e organization
and hasn't done a benefit in years . So that's why the Rock Liberation Front _
(an offshoot of the D . L.F.) is going to hold a FUNERAL in fron t of McCartne l
New York City residence at: SEVENTY NINTH STREET AND PARK AVE (895 Park) on
THURSDAY, AUGUST 26 , 1971 at ONE P .M. sharp to COMBAT McCARTNEYISM.
They'll be samples of McCartney's garbage, a s p ecia l £uneral ceremony ,
funeral dirges by Elecktra recording artists David Pee l and the Lower East
Side and many other surreal spontaneous happe nings ... (at the Dy l an b i rthday
party Yippie Abbie Hoffman, talk-jockey Alex Bennett & Screw Editor Al Go ld-
stien all showed-up). After we g et through with Paulie they'll~e a ma:r ch
down to Rolling Stone Magazire (78E56th St) where we'll present them witb
documented evidence of their piggery!!!!
So truck on down to McCartney ' s pad and join the 500 or so people!

COMBAT lcCllTNTll
f or further information call
A.J . WEBERMAN at 477 - 6243
 D!
The Dylan Liberation Front, whose demonstration-birthday party for
Bob Dylan was an important factor in his singing his old songs at a bene-
fit for the East Pakistanis held at Madison Square Garden has d ecieded to
temporarily switch targets ... our next victum is PAUL McCARTNEY.
Although the rumor that ' Paul is dead' started when he was still
with The Beatles, i t only became obvious that this was true after Paul
came out with his last 2 solo L.P.s -McCartney & Ram-since i they both are
apparantly written by someone whose brain just aint functioning ....
McCartney's lyrics lack the slightest social comrnittment and he's
quickly becoming the Sinatra of the ?O's. He lives like an aristocrat on a
huge estate in England, never gives any money to any progressive organizations
and hasn't done a benefit in years. So that's why the Rock Liberation Front
(an offshoot of the D.L.F.} is golng to hold a FUNERAL in front of McCartney's
New York City residence at: SEVENTY NINTH STREET AND PARK AVE (895 Park} on •r
THURSDAY , AUGUST 26 , 1971 at ONE P.M . sharp to COMBAT McCARTNEYISM. +
It
They'll be samples of McCartney ' s garbage , a special funeral ceremony, E
1-1
funeral dirges by Elecktra recording artists David Peel and the Lower East
Side and many other surreal spontaneous happenings ... (at the Dylan birthday J1c:
·r-1
party Yippie Abbie Hoffman , talk-jockey Al ex Bennett & Screw Editor Al Gold-
stien all showed-up). After we get through with Paulie they ' ll be a march H
(I)

down to Rolling Stone Magazire (78E56th St} where we'll present them with ~
.µ
documented evidence of their piggery!!!! H
:::s
So truck on down to McCartney's pad and join the 500 or,so . people l '-1-1
H I
0
'4-/ I

CDIBAT lcCAITNTISI!
'\

~ <=R::·. :::z '.(U L TU RE13 October 28 19 71

......... .....
.. .
... . .........
....•......•..
...•••• •• •
...
A.J. Weberman interviewed by
FREEDOM: Stanislav Demidjuk .

.........
.••.............
4 • • • • • • • • •
"' • • • • • • • • • • • • 0

•••••• ••• •••• ••• ••••••• ••

•
•.•.•.
~
4
4

............
• •
'* , . . . . . . . . . . . ..
•

•.•.•.•.•.•.•.•.•.•.•.•..
•
•
•
•
•
•
•
•
•
•
•
~
•

"' ~
•
4 •
•
•
.........
.•.•••.••.•••.•••.• .••.• .•..
• ••• • •• •• •
• • • • • •• • •• • • • ••

.•...••...•••..•.•••..•.•••..•.•••..•.•••..•.•••..•.•••..•.•••..•.•••..•....
- D: Now that Dylanology has temp-
•..•.. •.•.....
....
• • • ••
~·
• ••••••••, orarily gone into cold storage, what
' ••••••• is happening?
•
~

•• • • ••••••
••. ••. ••. ••.
• ••••• W: Right now we're broadening our
.. ·.·
••••.••
.
••• •••• •
.... •
•
•• •
,•
, ,
targets to include many rock singers
who claim to represent the youth
•• culture and who have long hair and
••• have the trust of the kids, but are
...
•••
••• -
....•..........•.....•.........................•....•......•......
really no better than businessmen

.·.........
• • • • •t
t
...........
t
t
t
t
- •'
•••••••••••••••••t -
•
I
I
t t

.
.
..
. •
• • • • •• • • ••• • •
-
•••• '
'
' \
- except instead of producing Kun-
' ga butter they're producing records,
they produce culture.
• •••• •••• • • • •• •• •• •••
'

•••••••••••••••••••••••••••••••• •••
t t I t I t t t t •
• • •
• • ••••••••••••••••••••••••••••••••••••••••••• Ow· first target was Paul McCartney
••••••
• • t->'
••••••••••••••••• ••••••••• t
and we had a mock funeral for Paul
•••••• • ••••••••••••••• McCrutney in front of the Eastman
••••I •
••••••
••• ••••• 0 ,
apartment in Park Avenue and 7th

.....
• • • • • 0
•
•• •••••••
••• Avenue. I gave out samples of Mc-
••••,•••• ~
Cartney's garbage, which turned out
' ,
•• to be reprints of i\!cCartney's po-
•••••• etry. I read a funeral oration over
•••••••••
.......................
McCartney's casket, we had a '49
~ .•••••••• · -· ~ · ._._,_._111_1_•,•.• ·.·.•.·.•N.·:·:·:·:·:·:·, Cadillac hearse and we had this

}]'..........
...................
..........
..........
•••••••• •••
'~
coffin - we did that in order to

·.·.·.·.·.·.·.·.·.
').... dramatise that a lot of musicians
••••••••••••••••••••'
\

like McCartney don't do shit for

•••••••••••••••••••• nobody but themselves. The only
•• •• •••••• people they're interested in is them-
••••••••••••••••••••••••

•
•
1 ............
_j"
••••••••••••••
•••••••••
• • • • • • ••
•••••••••
•••• •••
•••••••
••••••• •••••••
t.,.:
•••••••••••••
••••••••••••'•
••••••• f

• •••••
f
selves and McCa;.tney's a good ex-
ample. He's like an aristocrat living
in a huge estate in England, catering
to the taste of Life magazine by
having pictures of him and his fam-
ily living in a typical bourgeois
•
........
.....
......
•' • • • • • •,
....
'
existence and by his egotism, break·
•
•
• . , .....
'

'
... ing up the Beatles and that wh9le
•
••
•
••••••••••••,••
••••
•••••••••••
, .... r1u.mber, and his lyrics like 'Love
Me Linda oo oo oo' - just a bunch
of garbage that don't say anything
•••• •••••
...
about anything; his whole attitude
••,••
••
.......
...
••• •• ,
, is just very aristocratic, and I felt
....
........
,,

........
..............
• • • • •'
...... ·~
• .•. he's a good example of the capital-
ist, non-involved, egotistical rock
star \';hich seems to dominate the
·~
_. bin l'.ulf.ur.;;,._ Did v o u know of anv
11

·-· ·-·-·-·-·-·-
•• ••••• ·: ._._

···~ that Rolling Stone
by Kinney - Kinney
- which owns Warner
-·-'• Elektra·and Atlantic
.l all their subsidiary
- - - . -- - -Ke Abco; ElckLra has a
- ~~ - :::::.ciaries and shit like that.
.afia controlled?
. ,...J;:s with the Mafia .were right? Amerika couldn't d o that
~ .1 · F orbes Magazine ·of
; o, a supersLraight busin-
.!!·,e. If even they're saying
_ on't know if it's control-
-~ ~--: ::nafia but t he mafia has
in it. The entertainment
r.merika has traditionally
-- olled by organised crime.
have been big 1\Iafia or- did was set up spheres of economic to raise money. Abbie Hoffman's
for years and years.
·v was playing in Chic-
=:ruple of the mafia boys
and they control the
. in Chicago so they let
- - :.'ling.
: this, they own a lot of
__ a lot of their companies
- :."1 Rolling Stone. When
~ _·:_·::me is in financial trouble
- - - - - - - ·:nv huge amounts of mon-
_.mney.
:.; raided their offices you
;zdous cmozm ts of el'iden-
- - - - - - : .n eir files. Straight Arrow
. Rolling Stone subsidiary,
..-- l<inney to distribute their
- - - - - - - - __mney has this idea they
- ..,onopolise the whole fuck-
- they tried to buy ..\&~I .
::nd there's an injunction
-- ~- .-: them doing it by the
t. They ·r~ not allowed
-~ -==.•· more record comp:inies.
"'e uncool to try and buy
.•:one outri~ht . Kinney has
"'d. Xerox -h:lS, because if
.. that way. enm the stupid what with E\,-0 alone down to 3000 man, who '11e been heroes for num-
elieve Rollin~ Stone now
..,.,., r\:\
hP)iP\.'•~ if n:-hP:l thPV
fREND? Kl:JLTURE13 October 28 1971
covert manner - rather than putt- number of other things. The govern-
ing people in gas chambers, Amerika ment eventually assigned a four man
freezes people in historical times & federal task force whose job was to
back in the 1900s, back in· pre- do nothing but to try and track this
industrial age. Amerika goes in there guy down. They found him and
sets up puppet go\Ternments, which now they~re holding him on 10,000
is much cooler than what Britain dollars cash bail in Dain County in
did with imperial govemmenting Madison, Wisconsin. They 're not
saying when they're putting him on
'cause by the time Amerika became trial so we can have demonstrations.
a world power, which was after They're very cagey about that and
Worl.d War l, there was this whole they've even dropped some New
tide of rising nationalism, and sec- York charges because they're afraid
ondly Amerika was a colony of t o bring him back to New York
Britain and it would look very un- 'cause they know people like me '- __,,
cool for Amerika to be an out and are here. who are going to fucking
out colonial power. So what they raise hell. So that's one of my plans, . · ~/
i t
influence in these countries, which gonna give 22% out of Steal This
meant freezing them into historical Book for Dana. Both he and J erry
1 ~"' '.Ii
time, depriving their future tech- Rubin said that Dana's writings
nology; which means the average were more important than their
life span of people under Amerikan own. They did a good thing in
imperialism is 35, when people in terms of press relations. \'•
the western world live to 70, so Are his writings ai:ailable? 0
l
literally millions and millions, a Both Weather Yippie and Right On
'----.,
r
billion people are being cheated out Culture have been published all
of b alf their lives by Amerikan over in many underground news- ·~
economic imperialism. papers.
Freedom is often a function ·of Why hasn't there been more of a
affluence. Amerika can afford t o movement to free John Sinclair? "~
....... .....
have revolutionaries going around Well, there has been quite a stir, .·
-
saying 'let's smash the state' bec- but_nobodx really cares that much.
ause they're not really afraid be JohnSincfur's recefi•ed plenty of ~,
c •-
\
cause of technology has reached a publicity. People know he's there, •
fever pitch in Amerika. The capital- t hey know he's got ten years. He
ists can still take 753 of the wealth had a good lawyer, the judge senten-
" .I
~- :..
and the other 25%, .r1i.s+Xi1Juted ced him anyway. He had a letter
among t he workers is enough to writing campaign and demonstrat-
keep them satisfied because of tech- ions, that sort of thing. Hippies
haven't really got it together to
nologjcal advance~.
really care about their brothers, it
The mot·ement and general move- seems. It's a fucking sad thing but I
ment activism in the States seems to don't see any other way to interpret
be at a low now. Even general UPS L-1
it. A l . caught stealing garbage
circulation is going down all over, Both Jerry Rubin and A.bbie Hoff-
a pes to go over to Hanoi, but the
per issue. The whole thing seems to government seized the tapes at the
com ind dnu:n rather badlv. What do b ~r_ of_L_eC!._S, nou· scer1_to h:•·e a
a- t __... ._ • • -
 -.- c.l•c,1H 1'V ..

Well, Jerry is in Chile now, he's ment. so\ uc\l h::ippcn.s, th"':;e pt?o_.,le
going to do a book on Chile. from Radio Free People in Attica,
New York come down, find out

I
When Jerry ·was in :Nev,· York he
came to all the demonstrations. He's where it is and steal it all. They
kinda quiet, listenlng, taking it all rationalise it by saying Abbie has a
! lot of money from Steal This
in. He likes to get high and make
II '. '
'- - ~ ...., love and make revolution . He's
still the same Jerry Rubin, but it's
Book. Abbie has given a lot of
money away. He bailed a panther
-~~'
1 time for new ideas, new leaders. out, he's given money to the Weath-
....
I •
~ Abbie has been kinda driven into ,ermen etc., but he must have some

u
- . fucking seclusion by a lot of really .money to keep himself out of jail,
I If stupid p eople, like a cult of medio- for legal expenses. The Law Com-
I
;'~fl -
: mune gets a certain amount off the
i:
~ crity in the underground. Like peo-
i:
. -·· pl~ who have n ever quite made it top of everything he does, to keep
I I

l
~
. Wm on the outside.
I ! . . .... .
,

.
' '
get together and they try and fuck
him up cause they're all very fuck-
ing jealous. .And this has happened
The Weathermen have recen tly issu-
ed a communique saying they 're
II
~

; l
~ ,.~1.•4_- r,',,
...
;.
'
I
-
r
7 '
I- --- ·- . ~--
own it ot:tright, they've kind of
weaselc: their way in; they im -
plicitly control it and so it 's general-
ly apo:i ::.::al.
Tht; R ock Efberation Front is once
again rirtually an extension of the
whole Yippie philosophy.
Right. I'm a yippie myself and
aside from my anger at the artists
who fail to speak up and say some-
thing about mass murder, I also
fighf against the government and
large corporations and the police, .
which are really all the same. Our
philosophy is based on the idea that
Amerika isn't really that much bett-
er than Nazi Germany except for
its kind of death; Amerika causes
as much d eath as Nazi Germany
but it does so in a much more
f '-
~-
"
- ~ j people just hassle Abbie all the
""" ,• }
..
(
deflation arer
The economy. Hip is often a funct-
ion of surplus economy. Kids can
afford to drop out. Amerika's in the
shit now. The recession is forcing a
lot of people down.
What are your plans for say the
nex t year?
First of all I want to get my friend,
Dana Beal, out of jail. He is a polit
ical prisoner in Madison, Wisconsin.
He was the foremost yippie theorist
and leader for the last couple of
years underground. He did things
like saving the Georgia Straight in
Vancouver from extinction, he com-
pletely raised hell on the lower east
side in '67, he organised the smoke-
in at the yippie convention, the anti
heroin march.. and an mziedible
to Abbie in many respects. Also
time.
Don't you think that Abbie added
fu el to his own fire in a way?
Well Abbie's always been kind of
removed and an elitist. I wouldn't
say Abbie ripped-off Steal This
Book.
If I h ad to criticise Abbie, I'd
say that he doesn't live an open
life style like J erry does, or I do, or
David Peel, or someone like Country
Joe. He lives a private life style, so
that would be my criticism of Abb-
ie. He's one of Amerika's greatest
cultural revolutionaries. He has a
plan for a TV program which will
completely blow everyone's fuckin'
mind. I'm not going to tell what's
going on but it's totally incredible
if he can pull this fucking sWt off,
the whole government will be fuck-
ing shaking af the roots.
Before all this shit started he was
into organising but now he's lost a
lot of his enthusiasm. He had this
radio station, WPAX, producing ta-
changing their tactics from bombing
sabotage, to other tactics they have
not actually disclosed y et.
There 's a rumour they're going into
bank robberies.
Now during that time of the bomb-
ing episode, what was the general
support for it, in terms of the
underground, the movemen t and
the street people, how did they feel.
The yippies supported it . They are
like overground weathermen, they
can relate to it, but most ot her
people in Amerika couldn't relate
to it, they say 'terrible, terrible ...
violence!' One man got blown up
in the N AF building - who was
working for the government any-
way - and they always talk about
that one guy. They never talk about
the million people, innocent civil-
ians, the children who are shot
down in the free fire zones in Viet-
nam. A lot of people could relate to
blowing up property but when that
one guy got killed they jumped on
that to say the whole thing was
:.hit.
 .-.-.... .
...... - -....
-r- - --- _ . ,_, _
examples of :.l.cC:i:. ~ney e ~== rbi:-;
.-..............•.....•.•.•.•.•..•.•...•..•....•...••
~.·.·.·.·.·.·.·.·.·.·.·.·.' ... ~
•••••••••• ••••••••• anything for anybody iJ: ~ .,,.... -. •
Sothing at all. Your tacr-:: ;eems t.~
•.•.•.•.•..•.....•.
• •••• • •• • ••• •••• - ..\Ilyone who wants information be that you first demo·;r ::-:.::e p-...:;..
• •••• •
...•.•..••.•..•.••..•.•...•..•.•..•.•..•......•.•.••
••••• ••• • • • ••••
• ••• •••••••'
•• •••• •• •••• '
~

~
on Rock Liberation can writ~ to me
c/o P.O. Box 340, Canal Street
Station, New York City, 10013,
licly and cause a resp.~-.:~. rather
than approaching the .: : °f}' first
u:ith your demands.
•••••••••
•• ••• United States of Amerika (spelt
•••••••••••••• •
••••••••••• • with a 'k') and I'll send you free
I dramatise my ch.rr&e..o. :.:i other
•••••••••••••••••••••••••••• words. Like if I were to~.::.-=-. write a
information on dylanology and rock little article and i-~tY ~kC~ey ;,, :a

~..-.-.-.-.-.-.-.-.-.-.-
•••••••••••••••••
•••••••• liberation and let you know what's pig and this and that. =::.ybe it
•••• •• ••
•••••••• t

••••••• 4
• • • • • • • •• happening and answer e\'ery letter would be published i.1 tl:: ::::!St \"il-
••••••••
•••••••••••••••••••••• p ersonally if you ha\'e any questions lage Other, maybe some c:2er und-

...............
e
•••••••
• • • • • • •• and shit. erground magazines wot:::. pick it
( •••••••••••
••••••••••••••••••••••••••
.......
• ••••• • I

• ••••••••• Start Rock Liberation Fronts in

• ••• •••••••• •• • • • • • •'•
up, and then e\·entually h ';\ould be
....
...-~~~

•• •• •••••••••• England; there are plenty of fucking

•
• C .·.·.·.•·••······•··•······· •••••••••••'• rock performers there. Find out
forgotten about. So what I uy and
-
••••••
..... do is dramatise it, by pulti..;g on gu-

.g·=tmm~tr==:
• •••••••••,• where they live, rifle their dustbins errilla theatre. The overgrc-..:..:.d med-
• ••••••••• and print what you find. They live
•
••••• ia is very hungry for this kind of
••••••••• • • • • I
like fucking pigs and waste a lot of . thing, it's human interest ::_;d some-
• •••••••• • ••••••••••• shit. Have demonstrations, embar- thing new - it doesn't happen very
• ••
....
rass these fucking people, make
•••••••• them look like the fools they are.
often so they'll give me wiC.e coYer-
•• , ~ age since they're basically divorced
You've got to look away really hard from this whole thing, they don't

. . . ........-.-.................
...........
••••••••'
" ~
n ot to see that this shit is going , care about rock one way o:- :mother.
down, and let me tell you Amerik- They'll take up my charge3 and act

.......•.,..........•.................
;
ans are r eally expert at that . So as a sort of weapon agaim: these pe-
'
•• ••• •••••'
; t hat's my advice........ do something! ople. With a liberal pt:'o~ication,
·~·.·.·.·.·.············ like the Village Voice, t b:y didn't

•.•....•.
• • •• • •
• • ••• •••••• ••
•••••• •••••••
print any of my charges against

.... •... •
• • • •, ::.IcCartney, all they said v.2.3 Weber-
....
•• • •• •o,••_. r
... ,
man thinks !\1cCartney is a pig. In
their report all they commented on
:··
.. was the show, it was like a theatre
review; like a theatre critic had
come to the guerrilla happening &
said 'this isn't good theatre, where's
the stage, wh ere's the oake-up,
where are the actors?' - she was dis·
appointed but the whole thing was
just to get the idea acro5s. Then
again, the Village Voice could see
the same thing happening to them,
• see me accuse them of piggery bec-
.••••
'

:•:G~
ause I wanted to kill two p igs with
the one stone and get stoned at the
same time, so we marche d to Roll-
··==~······· ····························...... ~ ing St one afterwards.
 A ~~~TH E:R CLIP

~
F ROM THE
£.OP WIRE SERVlCll
l g-"·tta-•u g-Lf an
6 C(
14 o;sc nnd Music Echo-Soptombor 11, 1971

'~ o McCARTNEY and wife ~Y

~ • '.:1 t' ~
atta ~)! us ~
Linda: hfr albums are the ...
-.R:• 0'~/"-4
i ~~~
-
work of someone whose
..... "brain just ain't

~at
:y
§
.....,.
functioning," clait~s the
Rock Liberation Front.
]) ;1~1·
,__

tait §tL
11
--.. . .i
f~~ @~A.. A11~
-- '-~ ©~ lC lj '-~ ro, 1"",(~
'~~..,,-:-'
.'f

pAUL McCARTNEY rca:'y is d•::~t1! " scre.·m1cd the

- lit!c oa a re!u<SC S(:li~ 01 ·t to- the Pre~.<; b.,t ·week. Tim
p~mphlct, whith was :ilso t:1d:cd up on naUs arnuP.cl
New Yotk's fowcr Eas! Sidl·, ,·,en! on to s:ty tbl J'aul's I
two s<;lo LP~~ r:~;:-m~<l to be Hie wc;;k of srim::onc whore
" brain jm.t ai1;"t fm1dion- ~
ir..:.~." AND 1h.-:t McCart-
llcy 1'.a1~ ;:cYC!.' r,.<in:n any
,•J ~I (l
,,,.T 1

"r.1'l·C\rtncv" :.nd " Ram" lPs hope of a generation is gone."

....
John Lennon: "days in the
life" film.
money ll• ;'pro}!rcs·•h·c or- in' idc. People wen: m ill n:; " T don't understand his,"
gani\.1tion~," h.~n·t rlrml~ •Jl111;1j
l.c~ .. hout. am! Wcb..:rman was s:iid t he J.indly. e lderly door-
:,. n lii?r:dH in )'l~.ir:>, ~Uld a:t::mptin(, 10 5tir thir:gs up man of the dci;:int a;.i..ir:mcnt
1:To!e Jvric~: with u com- pwi.:'it .in.11n~ t
a "c:ip[talht pig.' '
li;!> stalu!> :is be rcadin, a pn;partd speech. building. 'This i-; a f .. ncy
building, why arc th..:y c<;m-
A N!) tl1e Lc?Jn.in !7'JflCVinc
ki>c.ps e n i.:oini:. B-0111
J oi• n '.\Od Yol:11 have been
plete lack of " .suci!tl com- E ven Lou is Aoolalia. ::.
ing h.:rc, this is not nice.
mitment." WLcn J :1rrivcd in front, of mini-famous ll)wcr East Side Anyway, the McCartney's
closclcd in 1l1:ir New York
!>95 Pnrk Avenue (:;.ct1::i!ly i L-.: p.1thcal pcr:;<Jn: lity o f ti c h<>: el for :i f.:w wee~ '1'1-ifh a
Su. :he "J{oc.I.. Li hc;ation r c~i lc11~ c-1 l.ind.i r!astmr:n I %0,; (he ran for Prcsidc:u
~ ~cn't her-.:. the Eastm:rn's
bunch of film cdi111 r~, 1!1cir
aren't evcn here, cvcryonl.!
Fn111t'' h:id d..:dcf"d '" h old McCanncy', p:i1.:11ts) }a\t of th..: U.S. lln th.: "Love" goe;s away for the summc r-
win • :· :1J £1'°' •. . all of 1\l1om
a ,kmo;:~tration-funcm! in 'T'rn rd.ly ..iftcn;.1on at i.i)!J, ti::kc:t), was th..:r.- U.-cssed as arc ,,;,,_. cdili:-ir: ~~H•:!I t!m:l·
fron: 1>f P.rn\ nr.,I Linrfo tli..:r: -.v-.·rc ro..,., l:c::: n;;:ir Ith:: th is is New York Ci ty!" \:1111) fo, f 1:f f:lm dOl'lllil(!>ltiJ:U
1n un<lefiah;r. No one's seen There v. ,, ·<' thos..: ''ho fell :-bt
Mc.C':i:-t:u.:y·~ Ne\•, York YN l i' ~o p•orilc c'\r•:cic,J t.1 , II M for y ~.:rs! it W.!~ a ru .t.cr pitiful ;,.rathcr'int:: cv.:ry ,.:c11 :he Lennon\ L;!VC ~
resi,lcnc1.:. attend. '1 )H.re \\'l'[C !llOiC lik..: tha l Webcrmun ~houlJ h.1vc taken dur in~ th.: 1n.,t nwn1h.
r.o. anJ ir.osl :;c, n;e:i to i be As evcrvonc 5tood around
111e Rm:k Libernti<':J not i now,i1g cx:ictly what to wa:tcd about another six momh~ TI1cy are :ilso ;>r1•p.:1r: r ' . an
Front i<. :in off-11ollt of the rncmhc1s of the ,.,res:;. as ~-.·..: JI to make a new puhlic rr ov.:, hour-.1nJ-a-h.df "how ior l·duca-
do, W ..:bLrman r:u1tcd his
:1~ s,;\'..:r:il \ iJ-:olapc l'rc11 • .
"Dyl•• n Lihc1a1: 0 11 F:-:mt.''
Ro1h are h(J•lcd hy A. f. (Wcl11.:rrl'an i~ f\ •)lhiuj' if
spec,;1 . . . "I come her..: to
lay Mcrarlm:y ou t. no t to h: p
and 1h.it he \\"JS q uick ly he·
corr.inf'. a ioke. Oihers sccm~-J
sniou,I» :.111;~y nnd concerned
t :onal tclev,:on o n \ 't• .o's
work. and a rctro.s1'>cclllc ur:
exhibit of Yoko's arl of lhr• ~.15!
JA ff.'> TA \'I.OR'~. Cnrr.
H all COnC'C·rl > (1 .... 0 01 Iii
nJt " g,>od l'rc;s '1g,;nt · for \H:r~ sold oui in nr.~ d. y 1
\Vcl1ern· 1n, :ind lio!h nrc ;vu tu 'iim . . t!i..: [ s ..iblisl1- a hout P.tiil McC:.1'tncy·, 1pr .. r· 10 yc<lr.;. lier hook. •'Gr3r.:·
J1i11l~i.:i; , 111 Ci h1W;. when_.. . .:lf- mt!nt mct..d,, harh i:d<i a :) t ~>0 l·nt h1l,k v! ·· ~~..1"';,,1 ~vr:1:n~t· f;u~t," y~·dl be brct:c;ht
11
~:p: ! C
only O.Ih! Jot:d :\1i., \.:r,, "tllJ
C<JIK"CfllL'<l with the ..;Uillli;ll
Pl<)inOtior. is :.n art fort;).\, he on you that it's cool to be n., n1." As the clcmonst1a1: ..m d .ttc" thi~ autumn, .ind m:1y be . .• D:ai<l Cros!>y :u:d r.r:ol
(as t!:..:y ~ce 1l) r:;') )ff"> of i~ ,, ; ·'"'g :he best.) moved on d1Jwn1own to protc,t rclcnscd with th.: r:cw ritlc of l\'a,h "i!I tour lir.: l :w St
S inatra, and 1f hi~ 1s "11, art
SLICCC$~ful 'rock .s I :1 r •:. at th~ offices of ..1 "pii:" rock "Squash " . . . and John m.:1y f!O
A 11 ·rinv W:l\ in front! of i> :i. ;ad dr:' ~ und ':iJly shall :111cJ Canada Jl>i·; inonh. 1
Re1:<:nl ly ;~ tirihcby p:irly- da. 01. !dint: with rl:otus of thcs..: pi~ nw'.hers answer for
mag:11iot', w..: wonde red if P.wl on tour with Ccor;:e . . 3r,cJ ..,·iU 1•crfor•.1/\fr Wu! an)' L
d1:m~'n,tr:it.i >n W~t<; held in P;;1.1 r;.:.-:.:J on the winilows. it . . . it 1s not time for an
McCanncy, whcrer..:r he w:i:.,, now .,ome 'ay •h~l ~he Lc 1111c1n ~
up b;md, :u:d "ill •li•·:m11
w<>uld be pk:is-.:d to be ca lled proh.:i()Jy wlln't live in New
front of fJy!an 's hous.: 10 r ~ere wa~ a lllllc'k t•lflill 1\·i th .1rci-..t to cop out ... ;..nd th..: rhe "SinJlr.i oi the '70s." York p.:nn::1nca ly b.:cau~c mcy ;>lay <mly sm:1Jkr ~JC.I!.\~
cun'·t ~er c visa . . . an "inti1rwh: ntrno~pl1~rc."
 .'i'

JUNK
By Paul McCartney OOYOU
By Paul McCartney
F#m C#7 F#m Oma.17
'· Motor cars, handle bars, Bicycles for two, G F F# G C Om F#
A F#m Look like a woman,
Broken hearted jubilee. Parachutes, G F F# G C Om F#
C#7 F#m Omaj7 Dressed like a lady
Army boots, Sleeping bags for two, G F F# G C Om F#
A Talk like a baby, oo, hoo
Sentimental jamboree. G F F# G C G7
O(suS4) Om A E Love like a woman, oo. oo, oo, you. ow!
"Buy, buy," says the sign G7 C c# 0 NC
A E7 A E7 A O(suS4) Om A Oo, oo, you .
In the shop window. "Why, why?" F F# G F F# G C Om F
E A E7 A Walk like a woman, oo. oo.
Says the junk in the yard. G F F# G C Om F#
F#m c#1 Sing like a blackbird, oh!
La da ya da da da la da ya, G F F# G C Om F#
F#m Oma.17 A Eat like a hungry, oo, oo
La da ya da da. Da da da da da, da da. G F F# G C G7 C
F#m c#1 Cook like a woman, oo oo oo oo woman oh! ow!
candlesticks, building bricks, G7 C c# 0 NC
F#m Oma.17 Oo oo oo, you.
Something old and new, G F F# G C Om F#
A Look like a woman, oo
Memories for you and me. G F F# G c om F#
O(suS4) Om A E Dressed l ike a lady, oo.
"Buy, buy," says the sign G F F# G C Om I
A E7 A E7 A O(su s4) Om A Tal k like a baby. golly, golly, golly, golly, goo-goo.
In the shop window. "Why, why?" G F F# G C G 7 C G7
E A E7 F#m Love like a woman. oo oo, oo, you.
Says the junk in the yard.
THE LOVELY LINDA
EVERY N GHT
UJ' I QU I 1-rt ""''-''6' ""'"'I

F7
La, la, la, la, la
Ev ' ry night I just want to go out, eb Eb eb Eb
The L.ovely Lin · da,
Cm F7
Get out of my head. Ev 'ry day F
With the lovely fl owers in her hair.
Cm
I don't want to get up, get out of my bed. F
La, la, la, la. la
eb Gm cm
Ev'ry night I want t o play out, eb Eb eb Eb
The Lovely Lin · da,
G7 C NC F7
And ev' ry day I want to do, oo, oo, oo, oo. F
With t he lovelv fln1...>r c •n h ~ - • •.
G m7 C
Copyrl gbt © 1 970 by Northern Songs. L td., L ondon, England
But, tonight, I just want to stay in and be with vou . All rights for the U .S. A . it s terri tor ies and possessions. Canada.
M e x ico and the Philippines c o n t roll ed b y M aclen Music, Inc.,
New Y ork , N . V . Used by Permission

A.J. WEBERMAN 1S FUNERAL ORATION FOR PAUL McCARTNEY

HIPS'l'BRS, YIPSTERS AHD ESTABLISHMENT JOURNALISTS / JOfOCX ME YOUR LOBES
I COME HERE TO LAY McCARTNEY OUT / NOT TO HIP YOU TO HIM
THE BQ> JAZZ THIS PIO BLEW WAILS LONG AFTER HE'S CUT OUT
DI PACT HIS woatLEss LP• ARE STASHED WITH HIS PRAME
SO J)())IT PUT McCARTNEY DOWN •• • ••••••
THE ESTABLISHMENT Mll>IA HATH LAID A STORY ON YOU THAT ITS COOL TO EE SINATRA
AND IP THIS IS SO, ART IS A SAD DRAG AND SADLY SHALL THESE PIG MOTHERS AMSVER
FOR IT •...
A>m THAT'S THE STORY OF McCARTNEY AND ALL THE MUSIC PIGS
BUT PAUL IS A WORTHY STUD /. YEA THEY ARE ALL WORTHY STUDS
THOUGH_ THID: l))N'l' DO NOTHIN FOR NOBODY BUT THEMSELVES
I CAM! TO WAIL AT PAULS WAKE CAUSE I LISTENED TO HIM AND PUKED
YET JWlY PEOPLE STILL HAVE EYES FOR H.:L.3 RECORDS
AND McCARTNEY IS A WORTHY STUD
IT IS TRUE HE CATERED TO THE LAME TAS~S OF LIFE MAGAZINE
AJm BROICE UP THE BEATLES
YEA HIS BQO WAS HIS AMIGO SO HE SAID CHEERIO / ARD THATS PAULS GROOVE
POil WHEN PEOPLE ARE BEING MURDERKD BY CATS WITH THE EMPTY KICJCS
IT IS NO TIME JO R AH ARTIST TO COP OUT
Alm TH.I HOPK OP A OSHERATIO~ lS GONE
POR A LAXER Rin HAS NBVKR BEEN BLOWN / SINCE DYLAN RECORDED BLUE MOON
BUT McCARTNEY IS A WORTHY STUD
AJll) MY TICJCER IS THERE IN THE COFF!~ WITH HIM
 ..... L ·.·r ~ ~ _.:::
in-'.a• -5, t i ~ :-·::,.
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La - tu~.i.u, '' e-e
recenlly Ir '.l li!d l<l
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f .:•1 r.ral for hi 111
: . belI'g conducted
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l
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1 1 \Yebcrman, wh o

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prefer::. to be known
a:; just A.J. He ha~
t urned h is a lt entic n
lo '.\lcCartney a fter
a Ion ::- period ct
•
h arassing Rob
G J~ Dylan in s imila r
fashion. He paid ft>r

Pl
1- ad •;e,· .iseruents that
broti;ht a £mall
i cro\>d along t o the
-~ J~
ri tual. Wha t bas
\Ve ber man got
a gain::.t '.\IcCar tncy Y

PAUL
t •· His !yr ics la ck
i
I
the slighte-.t
soci:ll c o mmitment,~
say,; '\Vebermau.
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I
"He's ra11idly

iS
becom ing the S ina tra
... of the Senulics."
\Teber m an ran into
-~ oppositi on from
young girl; s ti ll eager
1o d i.<iplay loyalty.
His follo\l'ers quickly I ' i
;;·hipped up sign s
wilb the l .1'-t wor d :
"'.\IcCa r tn cy
groui,.irs a re
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"l
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.. '._._ _ "'""-.__._ ~ .. ~~~.... . \ ~
the ~VOICE, Se{>tember 2,'1971 ·
The McCartney Burial: 'Jlis ·ego was his atr1i90'·
by Blair Sabol
Maybe it's time for A. J. Weberman to change
his script-or better yet, to get off the stage al-
together. Being the foremost Dylanologist, or gar-
bageologist, was brilliant for last year's routine,
but revamping it for Paul McCartney as this year's
"capitalistic pig" campaign is like giving an encore
after the audience has gone home.
There was the pathos of an empty house about
Weberman's "McCartney Burial" last Thursday in
front of Lee Eastman's (Linda's dad) Park Avenue
apartment. Not only was Paul absent (even when
he's in town he never stays with the in-laws) and
the E astman family conveniently tucked away in
its Scfuthampton retreat, but there wasn't even a
street corner garbage can available for analysis.
As for on-lookers, Weberman drew only two blase
doormen, three smartly decked Bergdorf belles on
their way to the women' s lib proceedings (appro-
priately tagged with feminist insignia and 14K gold
renditions of the smile button-"Is this a faction of
Friedan? The Times didn't list a demonstration for
this locale"), and one threatened-looking nurse
playing peek-a-boo from a doctor's office window.
The remaining 30-odd consisted of the full
range of media, including a good cross-section of
videotape artists. Evidently Sony video cameras
slung over the shoulder are taking the place of gas
mask bags and back packs as this year's accessory.
Weberman gave two performances (that's in
case you came late or your tape broke) of his poem
"A. J . Weberman's Funeral Oration for Paul Mc-
Cartney'' ("It is time he catered to the lame tastes
Page Twenty•seveh
of Life Magazine I And broke up the Beatles I Yea
his ego was his amigo so he said cheerio"), then
pulled a coffin out of his hearse for a rather lifeless
special effect, and finally launched into the second
act of his persecution and assassination melodra-
ma, charging Rolling Stone newspaper with various
and sundry acts of establishment piggery.
After the media dispersed, Louis Abolafia (talk
about old shticks) took off with his " Love Candidate
for '72" press releases while the videotape crews
stopped taping themselves and decided to follow
Weberman down to the Rolling Stone offices on
East 56th Street for an office looting and that tired
routine of pie throwing. (At least they have eco-
nomically changed their flavors from last year' s
lemon cream pie to a plain plate of Reddi Whip.)
Weberman, his tape crew, and his Rock Libera-
tion Front entou,rage were finally admitted, some
minor "man-you-motherfucker" fist fights were
fought, and a few "you-pig-prick" punches were
pulled, after which Weberman left with an unim-
portant set of office files (filled with Rolling Stone
advertising rate cards and miscellaneous mundane
memos). Perhaps all this was done in hopes of
publishing "the Rolling Stone Papers"? Who
knows?
But what's worse . . . who cares? At least
Weberman and friends got off on the day's outing
and surely they'll have one hell of a home movie in
the video footage alone. But after all, isn't that
what it was all about? In the end it was home mov-
A . J . WEBERMAN ies more than theatre. And usually only the family
enjoys its own show.
Nadle: Stra~gers 011 a Train·•p. 7

rfew Yori< Clly; 2Sc U.S.

~~:\:' (1: 1971 T~l~~~e Inc _ -
THE WEEKLY NEWSPAPER OF NEW YORK e Vol. XVI, No. 35 • New Yo rk, N. Y. • Thursday, September 2, 1971

Abner Symons
FALL APPROACHES and the demonstration season begins. New York last week : Youth
Against War and Fascism rallied at the Tombs (left); A. J. Weberman mounted a
"burying Pa11l McCartney" demo(above)in front of the Park Avenue apartment house ot'
the Beatle's father-in-law (see story, page 27); and ~OW had its big rally for women
•ary below ). '
 THE JEWISH DEFENSE ORGANIZATION (JDO) CONTENT ANALYSIS SECTION

YOKO ONO’S FRIDAY FEBRUARY 18, 2011 FULL PAGE NEW

YORK TIMES AD “IMAGINE PEACE 2011” CONTAINED CODE
WORDS THAT REFERRED TO THE JEWISH PEOPLE IN A
CLASSICAL ANTI-SEMITIC RANT

This ad is Dog-whistle politics. Dog-whistle

politics, also known as the use of code words,
is a term for a type of political campaigning or
speechmaking which employs coded
language that appears to mean one thing to
the general population but has a different or
more specific meaning for a targeted
subgroup of the audience. The term is used to
refer to messages with an intentional subtext.
The key to its use is to maintain the option of
"plausible deniability." For example the phrase "states' rights", although
literally referring to powers of individual state governments in the United
States, are "code words" for institutionalized segregation and racism.
These are the code words that indicate this ad is about Jews: “world
control” “elitist” “minority” “arrogant” “changing law for their convenience
(lobbyists)” “seducing us with words (control of media)” “rich” “keeping
wealth for themselves (greedy)” and Blue Meanie which the production
supervisor of Yellow Submarine admitted stood for Jews. Put this together
with Yoko Ono’s having convinced John Lennon to monetarily support Abie
Nathan, a so-called Israeli peace advocate who was jailed for meeting with
the Jew-killer Yassir Arafat along with Ono’s having awarded the anti-
Zionist self-hating Jews Mordechai Vanunu, Seymour Hersh and the
Center for Constitutional Rights (founded by Communist Jews) the $50,000
John Lennon Peace Prize it becomes obvious what Yoko’s message here
really is. Remember, this is dog whistle politics and you are not going to
find any direct reference to Jews in the text. This the text of Yoko Ono’s full
page ad:

IMAGINE PEACE 2011

Yoko Ono Lennon 18 February 2011

Dear Friends, Today, February 18th, 2011, I am 78.I know you

are asking many questions on Twitter and elsewhere about
what I am really like. It’s something I would love to know, too!
One day it will suddenly dawn on us …maybe. The world
situation is too urgent for us now to discuss trivial things, like
what I eat for breakfast. We are at a point in human history
when we have to wake up and realize that the only people who
can save the world are us. Every hour that goes by without us
doing anything about it affects us, and affects the world that we
love so much. In his State of the Union Speech, President
Obama said we should do “big things.” Well, we are already
doing the biggest thing anybody in the human history could
ever hope for. Together, we are creating a world of Peace,
Love and Freedom, all while the negative forces try their
hardest to stop us. With their power, they want to control the
whole world. But we will not let them. That’s big. The way we
are doing it is by being conscious of the “Power of
Togetherness.” The negative forces do not have that. They are
an elitist minority, dipping their heads in arrogant
madness. They always play the same game – using violence,
changing laws for their convenience, and seducing us with
words to get what they want. They say if we do things their
way, we will all be rich. Well, that’s not happening. It never
will. Once there is great wealth, they will want to keep it for
 themselves. They also use fear tactics, saying the world will be
in a great mess if we don’t do it their way. Well, the world is
already in a mess. Why? Because we followed them. It’s Time
for Action. It’s Time for Change. We, the people of the world,
are not dumb. We understand what the “Blue Meanies” are
trying to do. We just don’t know how to stop it. And wonder if
we can at all. But we can! We are doing it. Take a look at this
map. Each dot represents millions and millions of people who
are all, right now, thinking of Peace: wishing it, voicing it, and
hoping that their dream of peace will become a reality. The map
expresses what my husband John Lennon and I envisioned. I
know he is smiling, thinking of how little time it took for all of us
to Come Together. IMAGINE PEACE is a powerful, universal
mantra that we should all meditate on. With it, we will achieve
the impossible. Hopefully, without bloodshed. Look at all the
courageous people who are now being hurt in marches and
thrown in prisons for no other reason except for carrying
“Peace, Love and Freedom” in their hearts and voicing it. I don’t
want you to get hurt. You shouldn’t have to. 7 billion of us,
people of the world, have the birthright to live with a healthy
mind and body at all times. You should not even get one
scratch on you, and you won’t, if you don’t allow it. So keep
IMAGINE PEACE in your head. Have a clear picture of where
we stand, what we are doing, and where we want to be. Know
that we are connected in our hearts and minds. War Is Over, if
you want it! I love you! i ii iii yoko Yoko Ono Lennon18
February 2011

We, the people of the world, are not dumb. We understand

what the “Blue Meanies” are trying to do. We just don’t know
how to stop it. And wonder if we can at all.

Although this line appears towards the end of Yoko’s text

it is worth examining first as it provides the least ambiguous
code word. The people of the world are not dumb. They
understand the underhanded activities of the Blue Meanies but
have no idea how to stop them. They are demoralized. Who
were the Blue Meanies in the Beatles movie Yellow
Submarine? In the DVD commentary track of Yellow
Submarine, production supervisor John Coates stated that
"blue" was a play on "Jew." He claimed it was not as a reflection of any
anti-Semitism on the part of the filmmakers, but rather as a commentary on
the stereotypical casting of Jews as villains. There is also a scene where a
Blue Meanie questions some disguised Beatles, asking, "Are you Bluish?
You don't look Bluish..." Sounds like “You don’t look Jewish.” With this in
mind let’s see if there is other words in this ad that might refer to Jews.

With their power, they want to control the whole world. But
we will not let them.

Who are they? They are the Jews. Who has been accused of trying
to “control the whole world?” Put “Jewish world control” in quotes and run a
search in Google and you get 31,000 hits. For centuries, anti-Semitic
propaganda has demonized the Jew as a conspiratorial, manipulative
outsider with powers and designs of world domination. The Protocols of
the Elders of Zion was a forgery that supposedly laid out the blueprint for a
Jewish world government. Yoko’s “Peace” ad is no different.

They are an elitist minority, dipping their heads in arrogant

madness.

Elite is defined as a group or class of persons or a member of such a

group or class, enjoying superior intellectual or economic status. Elitist is a
term that is often applied to Jews. The Soviets’ code word for Jews was
“rootless cosmopolitans.” Minority is defined as a racial, religious, or
national group thought to be different from the larger group of which it is
part. This is also applicable to Jews. But the key word here is arrogant an
even more frequently used code word for Jews. The Prime Minister of
Indonesia stated, "Israel is a small country. There are not many Jews in the
world. But they are so arrogant that they defy the whole world." People
who express hatred, resentment or fear regarding the Jews almost always
focus on charges of Jewish arrogance, elitism and lust for power - all
elements in Yoko’s full page “Peace” ad. Although not a run of the mill
code word for Jew the use of the word “dipping” here is significant. On the
Jewish holiday of Passover it is asked, “Why is it that on all other nights we
do not dip [our food] even once, but on this night we dip them twice?”
 They always play the same game – using violence, changing
laws for their convenience, and seducing us with words to
get what they want.

The Jews use in the sense of exploit the violence of the

Nazis during the Holocaust to rationalize the existence of the
State of Israel. Changing laws for their convenience is a
reference to Jewish Congressional lobbyists like Jack
Abramoff. “Seducing us with words to get what they want”
is another way of saying that the Jews control the media. This
is classic anti-Semitism. Type “Jews control the media” in quotation marks
into Google search and you come up with 76,000 results.

They say if we do things their way, we will all be rich. Well,

that’s not happening. It never will. Once there is great wealth,
they will want to keep it for themselves.

The Iranian Hitler Mahmoud Ahmadinejad stated:

"Although they are a miniscule minority, Jews have
been dominating an important portion of the financial
and monetary centers in a deceitful, complex and
furtive manner." Part of the Jewish stereotype in
America is that Jews are rich. “keep it for themselves”
Another trait attributed to Jews in general is that they
are greedy and want to keep all the wealth of the world
for themselves.

They also use fear tactics, saying the world will be in a great
mess if we don’t do it their way. Well, the world is already in a
mess. Why? Because we followed them.

Israel has nuclear weapons and according to

Ono uses them to intimidate the world. Ono gave
journalist Seymour Hersh the $50,000 John
Lennon Peace Prize award. Hersh is the author
of The Samson Option, a book that claims that
the famed U.S. airlift to Israel during the Yom
Kippur War was only undertaken because Israel
blackmailed President Nixon, threatening to use
its atomic arsenal if supplies were not sent immediately. Ergo “fear tactics”
and “the world will be in great mess.” In a recent speech at the Georgetown
University Hersh blamed the war in Iraq on a coup effectuated by a small
group of neo-con Jews and claimed that many high ranking members of the
American military were secret members of the Knights of Malta, a group
that plays an important role in the mythology of the wanna-be Hitler,
Lyndon LaRouche.

In 1972 Abie Nathan, who advocated

the expulsion of settlers from Judea and
Samaria and the destruction of the
Israeli State bought a 188-foot, 570-ton
freighter, which was financed, in part,
by the sale of posters signed by John
Lennon and Yoko Ono. In 1973 he
anchored it off the coast of Tel Aviv and
turned it into a pirate radio station, The Voice of Peace, with a mix of pop
songs and peace messages. Had he really been for peace that would've
been great. But he wasn't. He was advocating disgraceful surrender to
Arab terrorists, expulsion of Jews from the Land of Israel, and other such
atrocities. All of that was pimped up by a nice assortment of popular music.
Nathan was sent to prison on two occasions for meeting with Yasser
Arafat, a terrorist who orchestrated the murder of numerous Jews.

Yoko Ono gave Israeli nuclear

whistleblower Mordechai Vanunu the
same peace prize. She stated: "It's
possible that somebody might attempt to
murder Mordechai, that's the main
concern." She wanted to keep him safe
from the Mossad. Vanunu, a former
technician at an Israeli nuclear reactor,
served 18 years in prison for divulging information about Israel's nuclear
secrets. Yedioth Ahronoth daily reported that Vanunu had advised
Palestinian fellow inmates on making bombs while serving his term for
treason. He also cheered every time a suicide bomber killed Israeli
civilians.
 The Center for Constitution Rights, founded by the
self-hating Jew William Kunstler was also a recipient
of the John Lennon Peace Award which should really
be called The Destroy Israel Award. The extreme left
Center for Constitutional Rights (“CCR”) attempts to
use our federal courts to punish Israelis who have
helped keep Israel free against terrorists determined
to destroy it. Israel is defined as the enemy because
it is one of the closest allies of the United States and
is in the foreground of the war against the kind of
terrorists whom CCR loves to represent. CCR is the
same organization that represents al Qaeda suspects in cases against the
United States government. Not content with advocating on behalf of
America’s terrorist enemies, however, CCR decided to get the U.S. courts
involved in rebuking Israeli policies and military operations in its continuing
fight for survival. One of CCR’s key allies in its judicial war against Israel is
the Palestinian Center for Human Rights, an anti-Israel propaganda mill. As
NGO Monitor reported, “CCR consistently disregards the context of terror,
denies Israel’s right to self-defense, and accuses it of deliberately targeting
civilians.”

IMAGINE PEACE is a powerful, universal mantra that we

should all meditate on. With it, we will achieve the impossible.
Hopefully, without bloodshed.

Imagine Peace is a piece written and published by Yoko that is quite

ambiguous. With it she hopes to defeat Israel, hopefully without bloodshed
but if that is what is takes Yoko is ready to approve of violence.

I knew John and Yoko quite well in the early 1970’s. It was
many an hour I spent with them on Bank Street. When
John left Yoko she would call me for consolation and
advice. What caused Yoko Ono to adopt this left/right Jew
hatred? Could it have been her ex-husband Sam Havadtoy,
the son of Jewish Holocaust refugees who were forced to
move to England from Hungary? I first heard of Sam
Havadtoy from a sleazy druggie and floor-tiller named
Bruce Kirsh whose motto was “I never met a drug I didn’t like.” Long before
Yoko hooked up with Sam Havadtoy Bruce told me that he had worked for
him on a job that entailed renovating and decorating a town house owned
by the King of Morocco. Sam would form a dummy company wherein
everyone would have phony social security numbers then fold the company
at tax time then start anew with another bogus company. When Albert
Goldman told me Yoko was going out with this bi-sexual interior decorator I
could not freaking believe it. Yoko got into this Jew-hating bag after Sam
divorced her and Yoko had to make a huge divorce settlement payment to
him. Another possibility is that fascism runs in her blood.

YOKO’S FATHER WAS JAPANESE WAR CRIMINAL

Yoko had a rather naïve way of looking at World War II and in the early
1970’s was quoted as saying: “If I was a Jewish girl in Hitler’s day, I would
approach him and become his girlfriend. After 10 days in bed,
he would come to my way of thinking. This world needs
communication. And making love is a great way of
communicating.” Yoko Ono is the daughter of a Japanese war
criminal who worked with the Nazis during World War II. It
seems to me that Yoko has not escaped her fascist heredity.
Yoko was born into power and wealth on February 18, 1933 to
her parents, Eisuke Ono and Isoko Yasuda Ono at her great-grandmother's
palatial estate overlooking Tokyo, with the emperor's compound located
nearby. A staff of thirty servants attended to the family's every need. Yoko's
paternal great-grandfather, Atsushi Saisho, was the descendant of a 9th
Century emperor and a member of a powerful family which played a role in
overthrowing the shogunate system in Japan. Yoko's mother came from a
very wealthy family. Isoko Yasuda Ono's grandfather was Zenjiro Yasuda,
the founder of the Yasuda Bank and head of one of Japan's richest
business cartels. Zenjiro Yasuda had amassed a fortune of more than one-
billion dollars before his death by assassination in 1921. It was this cartel
that profited from the Rape of Nanking as it was his industries that used the
slave labor from Nanking. Following World War II, the Yasuda Bank was
dissolved by the Supreme Commander of the Allied Powers, Douglas
McArthur due to its complicity in Japanese war crimes. Downtown Tokyo
contains an entire block seized from Ono’s family after the war as
reparations and given to the Philippines. Ono went to the exclusive
Gakushuin school, for the Japanese aristocracy. One of her classmates
was the Crown Prince Akihito, now the Emperor of Japan. She was in
Japan when the bombs fell on Hiroshima and Nagasaki and told this author
that she had to eat grass to survive. Her father Eisuke Ono was working in
America prior to Pearl Harbor and left the country possibly fearing that his
role as a Japanese spy might be unearthed or that he might have been
placed in an internment camp along with his family. During the war he had
been working in occupied Hanoi, Vietnam and was imprisoned as a
Japanese war criminal after Japan surrendered. The fascist’s wife and
children were in Tokyo when it was razed by American firebombs in 1945,
killing more than 100,000 people many of whom had taken part in the war
effort. Afterwards Ono and her younger brother were evacuated to the
countryside.

MY PREVIOUS INTERACTION WITH JOHN AND YOKO

I first met John Lennon and Yoko Ono after the group I headed, the Rock
Liberation Front, started a mini-riot in the offices of their manager, Allen
Klein. "Klein come clean / Where's the buck fourteen?" "You'll wonder
where the money went / When Klein runs a charity event" shouted 20 sign-
carrying members of the Rock Liberation Front as they marched in front of
 "Klein the Swines" plush offices at 1700
Broadway. Some RLFers were carrying
bushel baskets of rotten apples, tomatoes
and lettuce in order to implement their
organization's FREE FOOD FOR
STARVING MUSIC EXECS PROGRAM
which was based on the assumption that if
Klein and Co. had to rip-off the starving
people of Bangla Desh for bread, they must be a bunch of hungry mothers.
This RLF action was inspired by Rolling Stone ex-editor Peter McCabe,
who, about a week before the demo, had pointed the finger at Klein in an
article in New York Magazine. The piece concerned the rather obvious fact
that the cost of the Bangla Desh Concert Benefit Album was highly inflated
and implied that ABKCO (Klein's Co.) was pocketing $1.14 per album sold -
and considering the LP would probably sell 3 million copies, that wasn't
chicken feed. McCabe broke the costs down on the "non-profit" disc this
way: (roughly) $3 to produce and distribute it etc....$1.14 profit to Klein;
$2.54 to Columbia for Dylan's appearance and $5.00 to be split between
the writers and publishers. 3 million discs sold - 6 million bucks of non-
profit. A few days after McCabe's story hit the streets Klein called a press
conference in his office on Monday, Feb. 28, 1971. He made sure the
underground press was notified cause the McCabe article had accused him
of excluding the Underground Press from other conferences. Allen's big
mistake was sending a telegrammed invitation to the NY ACE, since they
tipped the RLF to what was happening. Five RLFers showed up on
Monday, including Ann Duncan, Minister of Art, Frank Rose, Minister of
Information, two photographers and myself.

After casing the place and finding that everything worth stealing had been
removed we began to listen to Klein do his thing; that is, lie like a
motherfucker. "I didn't make a cent; in fact we actually lost money on the
disc. We did it for the starving people of Bangla, Desh. I'm gonna sue New
York magazine for $1 to 6 million." He came up with some real winners -
$7.50 apiece for the box and booklet - although he produced a million units
of each and this price did not include color separation. Repayment of the
cost of the concert which he had originally claimed would come from the
profits he made on the movie - $1.00. The about $2.00 an LP to Phil
Spector for studio (it was recorded live) and mixing costs-multiply that by 3
million and you've got 3/4 of a million smackeroos going to Phil who
already is worth-twice that.
PHIL SPECTOR

In the middle of all this bullshit Spector wobbled in and began a super
indignant riff about how the press was trying to do a number on his
righteous employer. When a straight reporter dared to question Klein, he
was met with obscenities from Phil who soon challenged him to a fist fight,
but just as the guy was about to slug Spector, an ABKCO heavy moved in
and grabbed him. Then Ann began to cross examine Klein - "How are we
supposed to take your word on these figures - are we going to believe
capitalists?" Phil went over to her and began to harass her. Ann moved
somewhere and Phil followed her, then began to literally step all over her.
"YOU SWINE," Ann screamed and Spector couldn't believe his ears, "Did
you hear what she called me?" he demanded of everyone. Meanwhile I
began to grill Klein about what I believed to be the album's inordinately high
production costs - "You sure you ain't gettin a kickback from the printers,
Al? Maybe on the next deal with them they don't charge, eh?" "Stay in the
garbage can!" yelled Phil. "Go back to the 50's Spector," I retorted. "Why
don't I you sell some more hotdogs in front of Dylan's house, Weberman?"
he whined. That fool. Accusing me of selling hotdogs with Al Moronowitz in
the sameroom. [It was the Post's pop columnist who passed out the franks!
- Ed.] Finally Klein told me to shut up 'cause I know nothing about the
business.

Then a Capitol Records exec, who was there to deny some info given
"by mistake" by a Capitol VP to McCabe, pinned the press release
regarding the upcoming RLF action against ABKCO. This dude recognized
me from the time we picketed Capitol over their refusal to press the Bangla-
disc at cost. I had told him we were holding a tribunal for his company
downstairs and they'd better send their best attorney or else we'd have to
assign them a legal aid lawyer who would plead them guilty. He didn't dig
my humor. He showed the release to AK who said, "I think it's time to show
Mr. Weberman out." Suddenly 2 of his heavies came out of the woodwork
and grabbed me. I broke loose and shoved one toward the window. If not
for a ledge, in front of it, he would have gone thru it - then 20 flights down.

Meanwhile, Phil had grabbed Ann and was holding her up against a
wall by the throat yelling "Call your man off, those are feds he's fighting.
Call him off or else I'll karate chop you in the throat." And this is the man
that YOKO ONO, author of Sisters Oh Sisters, hires to produce her
records? Finding Ann intractable, Spector came over to me and announced
he was gonna do the job the heavies had failed at. I grabbed him by the
collar, then slapped his face - "The next time I hit you, capitalist scumbag,
it'll be a punch in the nose AND YOU’LL NEVER BE ABLE TO SNORT
COKE AGAIN!" Then I felt this tremendous hand clasp around my wrist and
a big dude pulled us apart. Four more "heavies" appeared and they
escorted me out peacefully ... up until Phil came from behind screaming
how he was gonna do me in. I tried to break loose again to "waste the
mother fucker" when the Capitol exec flipped. "We gave you the
opportunity to go quietly but you wouldn't take it," he screamed. Then he
turned red, unsuccessfully attempted to knee me in the groin and took a
karate chop on the neck. "We saw you hit him," yelled Klein's heavies as if
they were gonna take me to court and were getting their testimonies
together early. Eventually they shtupped me in the elevator and I waited
downstairs for Phil. After ten minutes of shadow-boxing the weasel
appeared - he tried to come at me but his bodyguard held him back. After
some half-hearted attempts to elude his employee/captor I went over to him
and called him a chicken. He answered, "You're nothing cause you can't
afford the luxury of hiring people to protect you." I told him Amerika also
hires mercenaries in Vietnam. Then he told me that I shouldn't go after
stars. "Are you kidding man, that's my specialty."

We came back a few days later, picketed, then went up to ABKCO,

losing the cops who were supposed to keep us out. We threw a lot of rotten
lettuce and tomatoes all over the front office, but some RLF dummy forgot
to bring the salad dressing - he'll be purged next week.
“CHESHIRE CAT CRY,” YOKO ONO’S SEPTEMBER 29,
2013 FULL PAGE AD IN THE NEW YORK TIMES IS
ABOUT THE U.S. ABANDONING ISRAEL

BY A. J. WEBERMAN

I first discovered Yoko believed that there was an International Jewish

Conspiracy afoot that is responsible for all the world’s ills when I read another of her
stupid New York Times ads. I wrote about it. You can read it here.

http://www.scribd.com/doc/49565061/YOKO-ONO-HATES-JEWS

So an anti-Zionist poem comes as no surprise. Now Yoko can claim, “Oh I like
Jews, but I dislike Zionists.” Anyone who opposes the existence of the State of Israel in
light on the history of the Jewish people hates Jews. Without Israel the Jews would be
subject to the whims of the non-Jews – expulsions, Holocausts, Pogroms, Muslim
terrorism on and on.

I’m rolling in your dreams

Listening to your screams
Cheshire Cat Cry
The River is dry

“I’m rolling” I am working and succeeding in a sustained way; gaining momentum: The
political campaign against Israel finally began to roll “in your dreams” and it is
diametrically opposed to a condition or achievement that is longed for by you; an
aspiration: the dream of the Jews having their own country. “Listening to your screams”
listening to Israel speak or write in a heated hysterical manner about its Arab neighbors
“Cheshire Cat Cry” Israel complain – Cheshire is a county in England and Israel was
once a British Mandate “The River” a stream or abundant flow: a river of armaments “is
dry” is unproductive of the expected results: an arms embargo against Israel will be
enacted.

We are the expendable people of the United States

Digging our own ditches
While the Dead in the trenches
Are covered with sand
Covered with sand

“We are the expendable people of the United States” we are the non-Jewish population
of the United States, the goys who only have to follow the Laws of Noah to go the
heaven “Digging our own ditches” digging our own graves by supporting Israel. “While
the Dead in the trenches” while the soldiers who verged or encroached on Muslim land
were killed for doing so. Often used with on or upon. “Are covered with sand” are on a
tract of land covered with sand, such as the Negev desert or other parts of the Middle
East “Covered with sand” that is immersed in history, sands as in the sands of time.

Stop the violence

Stop all wars

“Stop the violence” stop Israeli violence against the Palestinians “Stop all wars”

We are the expendable people of the United States

Ask to stop the violence
Stop all wars

“We are the expendable people of the United States” we are the non-Jewish population
of the United States “Ask to stop the violence” ask your representative to pressure Israel
into stopping the violence “Stop all wars”

The sand is still moving

They can’t die
Cheshire Cat Cry

“The sand is still moving” history is progressing toward a particular state or condition:
“They can’t die” the Palestinians must live “Cheshire Cat Cry” even if it means Israel
suffering.

“Ma, they told us that

Our blood money will give us
Independence, freedom and power”
“Ma, they told us that our blood money” money obtained at a cost of suffering to others.
“will give us Independence” Israel declared independence in 1948 “freedom” freedom
from Nazi genocide “and power” and the power needed to prevent a reoccurrence of the
Holocaust.

This is my blood money

30 thousand dollars!
I want you to have it
And I want you to quit your job
All these years
You’re standing on your feet all day
Don’t worry, I’ll be back
I’ll be back soon.
to take care of you”

“This is my blood money 30 thousand dollars!” in Israel, the average salary is about
$2,572 per month, and the average income for a family with two wage earners is
approximately $3,428 per month, according to Israel’s Central Bureau of Statistics. “I
want you to have it” I want my family to have it while I serve in the Israeli Defense
Forces. “And I want you to quit your job / All these years / You’re standing on your feet
all day” stand on one's own feet to be independent “Don’t worry, I’ll be back I’ll be
back soon. to take care of you” I will come back and support my family “He came back
with no arms and no legs” after an Islamist detonated an IED.

A guy with fat hands

fat fingers
Counting my money
Over my dead body

“A guy with fat hands” the wealthiest Israelis “fat” as in the best or richest part: living off
the fat of the land. “fat fingers” to designate, especially as an intended victim. “Counting
my money” determining my income “Over my dead body.”

Cheshire Cat Cry

Cheshire Cat Cry

We the expendable people of the United States

Ask to stop the violence
Stop all wars

We don’t need it
Who needs it

Cheshire Cat Cry

Our hearts are dry.
“Cheshire Cat Cry” Israelis can protest all they wish but “Our hearts are dry” our
sympathy is played out.

Yoko Ono 9/15/2013

https://soundcloud.com/yokoono/yoko-ono-plastic-ono-band-cheshire-cat-cry

Go to this page and listen. What if this was not Yoko Ono? What would you think?
Would you purchase this download? It sounds like children hitting glasses with kitchen
utensils. It is discordant and disconcerting. It is torture. During her Woman Is The
Nigger of the World time Yoko was pretty hip. But now there is really an inferior intellect
there. There are genes that trace back to Japanese war criminals – her father. Yoko,
the Jewish Defense Organization is fed up with you. We are coming to the Dakota for a
legal demonstration against you and your hatred for Jews and Israel. I am not going to
waste my time translating the long version of this poem. There are a few really brilliant
lines "We the expendable people of the United States / Hold these dreams to be self-
destructive."

CHESHIRE CAT CRY

I'm rolling in your dreams

Listening to your screams
The memory is covered by the rain of pain
The boat will float
to end of seas
Taking your memory of pain
When the Cheshire Cat slowly smiles to us
Cheshire Cat
Cheshire Cat
The river is drying
Faster than your memory of pain
"We the expendable people of the United States
Hold these dreams to be self-destructive"
Cheshire Cat
Cheshire Cat
Taking your memory of pain with it
Cheshire Cat
Cheshire Cat
And the boat will float
to end of seas
"We the expendable people of the United States
Hold these dreams to be self-destructive"
Cheshire Cat
Cheshire Cat
Blood is creating
A lake of tears of pain
Rain of pain
Stop the violence
Stop all wars
Stop the violence
Stop all wars
Taking your memory of pain with it
"We the expendable people of the United States
Ask for the violence to disappear"
"We the expendable people of the United States
Hold these dreams to be self-destructive"
Blood Money will give us independence and power
Stop the violence
I’m rolling in your dreams
Stop all wars
Listening to your screams
Stop the violence
The memory is covered by the rain of pain
Stop all wars
Cheshire Cat
Cheshire Cat
Cheshire Cat
Stop the violence
Stop the violence
Stop all wars
Who needs violence?
Who needs war?
Who needs it?
Who needs it?

-------------------
Words and Music by Yoko Ono
© Ono Music (BMI) 2013
-------------------
YOKO ONO PLASTIC ONO BAND
Yoko Ono - Vocals
Lenny Kravitz - Drums, Clavinet
Sean Ono Lennon - Bass, Electric Guitar, Synth

YOU DON’T HAVE TO GO TO UNIVERSITY IF YOU HAVE SAM HAVADTOY TO

TEACH YOU PERVERSITY

What kind of perverse sexual practices was Yoko forced to endure at the hands of Sam
Havadtoy (born August 4, 1952) to make her hate all Jews? What STD did she catch
from him? How much did it cost her to get this parasite off her? She was on the rebound
and picked the first scumbag that happened to turn up renovating the Dakota and Palm
Beach cribs. Sam gave a lot of people work doing renovation – all under false names
and false SS Numbers. When it came tax time Sam’s sham company disappeared and
a new one was started. My friend Bruce Kirsch told me about this long before Yoko and
Sam united. Yoko had such a bad experience with him she started to hate all Jews?

YOKO’S FATHER WAS AN ALLY OF GERMANY DURING THE HOLOCAUST

Another possibility is that fascism runs in her blood as her father was a Japanese war
criminal who was arrested in Vietnam after the war for stealing that countries wealth and
sending it to imperial Japan. That was why Yoko told me she had to eat grass when
Japan started to loose and she was with her mother. Her father was locked up.

There is such a thing as real politics. Could a performance artist like Yoko Ono exist in
an Islamic Republic or could a Yoko Ono exist in Israel? Who did Yoko call after John
left her? Me, a Jew. Who consoled her and told her that she was a stabilizing influence
in John’s life because like those he hung out with during his working class hero days he
was way way way out there. And that he would be back. Who held her hand during
deportation proceedings and who spoke with her about her miscarriages? Me, a freakin’
Jew. Shit Yoko and I worked together on letting thousands of flies loose in the RNC
headquarters in Manhattan. We worked together along with John on Smokes Ins,
concerts, riots and revolution. Now this b---h wants to deprive me of a homeland?