Brain Pickings

Posts Tagged ‘John Lennon’

05 AUGUST, 2015

Neil Armstrong’s Heartbeat and the Sound of Venus in a Beautiful Cover of Lennon’s “Oh My Love”

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A cosmic serenade to the human heart’s capacity for uncontainable emotion.

Music, Carl Sagan asserted as he sent the Golden Record into space, is “a creditable attempt to convey human emotions” — a sentiment at the heart of an uncommonly enchanting project by Berlin-based artist and space-lover Louise Gold. In the orchestration for her beautiful cover of John Lennon’s “Oh My Love,” she used a NASA recording of Neil Armstrong’s heartbeat during his trailblazing moon walk and the sound of Venus’s orbit, as captured by the Voyager spacecraft. Gold originally intended to transform the archival audio into a purely instrumental track — something that would capture what Armstrong must have felt upon stepping onto this unvisited world, a kind of serene elation she imagined to be “a bit like being in love with someone and finding out that this person loves you back.” But as she was working on the track, the universe winked — “Oh My Love” came on the radio. Although she had heard the song many times before, in that instant of creative receptivity, it came alive in a new way — as Lennon sang “everything is clear in my heart,” Gold instantly recognized the very feeling she was hoping to channel through Armstrong’s heartbeat.

There is something astoundingly poetic in the result, far beyond the sheer mesmerism of the music: Armstrong’s famous 1969 lunar proclamation — “that’s one small step for man, one giant leap for mankind” — bears the inexorable gendered language of an era that folded women into the universal “he,” and yet here is a woman reimagining the Lennon classic, reaching across time and space, by way of Venus, to add her voice to humanity’s musical legacy that the Voyager carried into the cosmos.

Complement with a breathtaking chamber orchestra arrangement for the only surviving recording of Virginia Woolf, then revisit the story of Carl Sagan and the Golden Record.

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24 JUNE, 2015

The John Lennon Sketchbook: A Weird and Wonderful Vintage Animated Film About the Beloved Beatle’s Life, Music, and Philosophy

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Quips and prophecies in vibrant color.

In 1986, seventeen years after Yoko Ono and John Lennon’s animated conversation about love and six years after the beloved Beatle’s assassination, Ono commissioned independent animator John Canemaker to create a short animated film based on Lennon’s drawings, music, and interviews. Given her penchant for the intersection of art and philosophy, Lennon’s own quirky illustrations, and the odd fact that the couple’s love began in visual poetry long before they met, it was the perfect medium for commemoration.

Titled The John Lennon Sketchbook, the befittingly weird and wonderful film — a vibrant testament to our long cultural history of anthropomorphizing animals to illuminate the human experience — begins with Lennon’s iconic “Imagine,” features Ono’s song “The King of the Zoo,” and weaves in chillingly prophetic conversations from the limited-edition 1980 LP Heart Play: Unfinished Dialogue, the first interview album of Lennon and Ono’s interviews after the breakup of The Beatles and the second posthumously released Lennon record.

Mahatma Gandhi and Martin Luther King are great examples of fantastic nonviolents who died violently. I can never work that out — we’re pacifists, but I’m not sure what it means when you’re such a pacifist that you get shot. I can never understand that.

Exactly twenty years later, Canemaker received an Academy Award for his animated short film The Moon and the Son: An Imagined Conversation.

Complement with The Beatles’ final photo shoot and a teenage boy’s marvelous animated conversation with Lennon, then revisit his semi-sensical illustrated verses.

HT Open Culture

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25 APRIL, 2014

John Lennon and Yoko Ono on Love, Animated

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“You’ve got to work on it. It is a precious gift, and it’s a plant, and you’ve got to look after it and water it.”

“A dream you dream alone may be a dream, but a dream two people dream together is a reality,” Yoko Ono wrote in her 1964 compendium of illustrated instructions for life. Two years later, and nearly a decade after she had presaged their fateful romance, she met John Lennon and the two became inseparable as they dreamt together one of the most beautiful and tragic love stories of all time. In 1969, the same year that 14-year-old Jerry Levitan taped his now-legendary conversation with Lennon, Village Voice writer Howard Smith sat down with the couple to extract from them the secret of love in a heart-swelling, soul-expanding conversation found in the altogether fantastic The Smith Tapes Box Set — an archive of Smith’s restored interviews with such icons as Janis Joplin, Jim Morrison, Jane Fonda, James Taylor, Jerry Garcia, and other greats whose names don’t begin with J.

Now, the fine folks of multimedia nonprofit Blank on Blank — who also gave us Janis Joplin on creativity and rejection, David Foster Wallace on ambition, and Maurice Sendak on being a kid — have brought Smith’s conversation with John and Yoko to life in their signature style of audiovisual storytelling. Highlights below.

On the secret of love:

You’ve got to work on it. It is a precious gift, and it’s a plant, and you’ve got to look after it and water it. You can’t just sit on your backside and think, “Oh, well, we’re in love, so that’s alright.”

On being together without stifling one another:

We’re both mind people, you know. So to be apart, we don’t have to physically be apart.

On the myth that there can be too much togetherness:

If you love somebody, you can’t be with them enough — there’s no such thing.

For more insight on the dignity of love and sharing a life, see Adrienne Rich on how relationships refine our truths and these essential reads on the psychology of love. For more Lennon gold, revisit Jerry Levitan’s illustrated interview and Lennon’s own illustrated poetry and prose.

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27 JANUARY, 2014

John Lennon’s Semi-Sensical Poetry and Prose, Illustrated with His Charming Drawings

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Subtle critique of culture’s hypocrisies, wrapped in bewitching gibberish.

There is something singularly heartening about famous creators with secret talents, about discovering such little-known delights as William Faulkner’s Jazz Age art, Richard Feynman’s drawings, Marilyn Monroe’s poetry, Rube Goldberg’s political art, Liberace’s culinary zest, Hans Christian Andersen’s sketches, and Flannery O’Connor’s cartoons. Among them, unbeknownst to many, was beloved Beatle John Lennon.

In His Own Write & A Spaniard in the Works (public library), released to commemorate Lennon’s 70th birthday with introductions by Paul McCartney and Yoko Ono, collects his offbeat poetry and prose along with his charming drawings.

Lennon’s whimsical, semi-sensical writings fall somewhere between Lewis Carroll and Gertrude Stein. He has a particular penchant for unusual wordplay, inventing nonsensical twists on familiar phrases — “a goodbites sleep,” “one upon a tom,” “all of a surgeon” — inevitably leaving the reader to wonder whether there is a deeper meaning, perhaps a postmodernist or surrealist message, or it’s simply linguistic gibberish for the sake of diversion. Paul McCartney writes in the introduction:

There are bound to be thickheads who will wonder why some of it doesn’t make sense, and others who will search for hidden meanings.

“What’s a Brummer?”

“There’s more to ‘dubb owld boot’ than meets the eye.”

None of it has to make sense and if it seems funny then that’s enough.

Still, underneath the amusing and often perplexing writing lies a subtle undertone of cultural commentary on society’s hypocrisies. Take, for instance, the beginning of “Nicely Nicely Clive”:

To Clive Barrow it was just an ordinary day nothing unusual or strange about it, everything quite navel, nothing outstanley just another day but to Roger it was somthing special, a day amongst days … a red lettuce day … because Roger was getting married and as he dressed that morning he thought about the gay batchelor soups he’d had with all his pals. And Clive said nothing.

To Roger everything was different, wasn’t this the day his Mother had told him about, in his best suit and all that, grimming and shakeing hands, people tying boots and ricebudda on his car. To have and to harm … till death duty part … he knew it all off by hertz.

Lennon’s intentional substitute of “harm” for “hold” paints a portrait of the dark side of marriage and all the pain that can live under the hood of this cultural institution masquerading as pure bliss (which Susan Sontag so grimly termed “an institution committed to the dulling of the feelings”), and his use of the word “duty” calls out the misguided mechanism by which dysfunctional marriages continue “to have and to harm” (perhaps, as Sontag observed, because such arrangements are “based on the principle of inertia.”)

Or take this short poem, titled “Good Dog Nigel”:

Arf, Arf, he goes, a merry sight,
Our little hairy friend,
Arf, Arf, upon the lampost bright
Arfing round the bend.
Nice dog! Goo boy,
Waggie tail and beg,
Clever Nigel, jump for joy

Because we’re putting you to sleep at three of the clock, Nigel.

Much of it, however, as McCartney points out, is simply fun — which is more than enough.

THE MOLDY MOLDY MAN

I’m a moldy moldy man
I’m moldy thru and thru
I’m a moldy moldy man
You would not think it true.
I’m moldy till my eyeballs
I’m moldy til my toe
I will not dance I shyballs
I’m such a humble Joe.

In His Own Write & A Spaniard in the Works is weird and wonderful in its entirety. Complement it with Yoko Ono’s equally delightful poems, drawings, and instructions for life.

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