Loading ...
Sorry, an error occurred while loading the content.
 

[MUSIC] Sean Lennon's New CD (John Lennon & Yoko Ono Info)

Expand Messages
  • madchinaman
    His life -- tumultuous times and all -- plays out in song Friendly Fire refers to a relationship that turned emotionally violent , says Sean Lennon of his
    Message 1 of 1 , Dec 18, 2006
      His life -- tumultuous times and all -- plays out in song
      " 'Friendly Fire' refers to a relationship that turned emotionally
      violent ," says Sean Lennon of his new album. "Some people take
      antidepressants. I write songs." (Steve Gainer)
      By Joan Anderman, Globe Staff
      http://www.boston.com/ae/music/articles/2006/12/15/his_life____tumultu
      ous_times_and_all____plays_out_in_song/


      Sean Lennon, the 31-year-old son of John Lennon and Yoko Ono,
      recently released his second album, "Friendly Fire." A collection of
      gentle, psychedelic indie pop on a theme of romantic catastrophe, the
      album is chock-a-block with Lennon's A-list associates, including ex-
      girlfriend Bijou Phillips (daughter of John, centerpiece of the
      catastrophe), ex-girlfriend Yuka Honda (of Cibo Matto), Harper Simon
      (son of Paul), and actor Vincent Gallo. The CD is bundled with a film
      on DVD written and directed by Lennon. It comprises 10 music videos,
      one for each of the album's tracks, and stars more of his friends:
      Carrie Fisher, Lindsay Lohan, Jordana Brewster, etc. He called
      recently from his home in New York to chat about disturbing source
      material, singles versus albums, and his formidable musical heritage.


      Q "Friendly Fire" is dedicated to the memory of your best friend, who
      slept with your girlfriend and died in a motorcycle accident before
      the two of you could reconcile. Were you ambivalent about making all
      of that public?

      A I definitely struggled with whether or not I felt comfortable
      talking about it. But it was such a heavy part of my life and still
      is, it was basically impossible not to talk about it. If I didn't, it
      would have felt like a coverup. I didn't want it to be the
      centerpiece of my press junket, but it wound up that way because it's
      the truth.

      Q The album's title and the song of the same name seem to have
      several layers of meaning.

      A "Friendly Fire" refers to a relationship that turned emotionally
      violent. My whole life revolves around processing that he passed
      away. Some people take antidepressants. I write songs.

      Q It's been eight years since you released your debut album, "Into
      the Sun. " What have you been doing?

      A One of the main things I've been working on is developing a
      screenplay, "Coin Locker Babies, " based on a Japanese spy novel. I
      produced and wrote tracks for Esthero , I'm on Albert Hammond Jr.'s
      album, Brian Bell's album. I play in a band called Dopo Yume . I
      played bass and toured with Buffalo Daughter . I have a band with
      Vincent Gallo. I've been writing with Ryan Adams and I play with my
      mom. That's just off the top of my head.

      Q Does it feel good to be putting out your own music again?

      A It really does, actually. When I was young, everything seemed a bit
      more chaotic. My brain wasn't functioning. I feel I know what I want
      now, which is to get better at the craft of songwriting, creating a
      body of work and supporting it with touring and everything else that
      goes with it. In my 20s I was more cynical.

      Q You've said that the songs on "Friendly Fire" add up to a whole,
      not just a collection of singles. But isn't the very concept of an
      album -- a cohesive work tethered by vision and ideas -- basically
      obsolete in a world where downloading single tracks is the trend?

      A I'm not worthy of making blanket statements about whether it's good
      or bad, but something is happening that I don't understand.
      Personally, I understand records in a classic sense, and I don't
      think it's generational. It's my personal relationship with music. I
      think a good record should have one, two, or three acts. There's
      something about a side A and side B. It should be 35 to 45 minutes.
      Records like [Joni Mitchell's] "Blue," "Revolver," and "Sgt. Pepper"
      are perfect. The "White Album" is a masterpiece, but nobody ever
      listens to both sides.

      Q Your melodies and chord changes are undeniably Beatles-esque. Was
      there a time when you wanted to push that legacy away?

      A I think at the very height of my frustration, at the age of 21, in
      the midst of the eye of the storm dealing with the son-of-Lennon
      media rampage, I think at that moment I was feeling reactionary. But
      it was a brief moment and it didn't come from a place of wisdom.

      Q Who's your greatest musical influence?

      Related:
      Sound Effects: Music news and notes from the Globe staff

      A The truth is my greatest influence is my mother because I was
      asleep on the couch when she was making records. Second is my dad. I
      was there when he was making "Double Fantasy, " and I grew up
      listening to Beatles music. Third would be Hendrix. Fourth the Beach
      Boys. Then Beethoven and Debussy. There's a million people I worship
      and adore. They include a myriad of geniuses available to all of us.

      Q Did you take music lessons as a child?

      A I took a couple of piano lessons when I was 7 because every single
      person in my class was taking lessons. When I was 12 I started
      teaching myself guitar because everyone else started studying Hebrew.
      I'm 99 percent self-taught.

      Q Do you think that your music would be heard differently, and judged
      more fairly, if your last name wasn't Lennon?

      A I don't even know that I would be heard at all. I could pretend my
      name was Johnny Bumpkin and put out indie records, but I'm not sure
      I'd have a deal with Capitol/EMI. A lot of people run away from the
      advantages they're born with in order to prove something to
      themselves. I feel like everyone is born with certain advantages and
      disadvantages. To exploit the tools I've been given seems like the
      best life strategy.


      =


      INTERVIEW: Sean Lennon comes home to his musical legacy.
      Source: AZ Central
      http://beatle.wordpress.com/2006/12/06/interview-sean-lennon-comes-
      home-to-his-musical-legacy/


      It's hard enough to be a young musician, and trying to break into the
      music business. There is an upside to that however. There are no
      expectations, and there is relatively little pressure except that
      which you put on yourself. It must be harder to be Sean Lennon. His
      first album, much in the vein of a lot of his father's artier work,
      and his mother's work, was a great exercise in art. Demanding pop-
      rock is what I like to call it. It is not the easiest thing to
      listen to by any means. A huge sense of pressure must have been
      lifted from Sean Lennon with the release of this album…

      Well several years have passed and the pressure had been building on
      Sean Lennon. Few snippets of news would come out that he is working
      on this mammoth of a pop album. Lately, the critics have been giving
      him good to great reviews. You see, this album is the album that
      they've been expecting to be made by the son of a Beatle, aside from
      Julian Lennon's amazing and largely ignored Photograph Smile. Sean's
      new album is a beauty in that in manages to combine some of his
      fringe musical sensibilities inside these lovely pop songs. Dare I
      say it, it sounds Beatlesque, ala Elliott Smith. All puns aside it
      is a great album that the indie kids should dig. Being the son of a
      Beatle is hard enough, however, being a musician and the son of a
      Beatle must be even harder. Kudos to you Sean for sticking to your
      muses and writing songs for you. Your father would be proud.

      I love the question in the interview that asks about The Beatles and
      their influence on him. It reminds me of one of those early inane
      Beatle press conference questions. Of course The Beatles are an
      influence on him. He is a rock/pop musician. Doesn't the
      interviewer know that if you are a musician, it's in your blood, it's
      undeniable, you have to be influenced by The Beatles, unless you were
      raised in a cave in the Arctic. Funny.

      Here's what we've read.

      If we had Shakespeare around to write about Sean Lennon, he might
      call the play "Henry IV 1/2."

      Shakespeare's "Henry IV" (Parts I and II) and "Henry V" explored the
      progression of a spoiled, partying, bad-boy prince into a courageous,
      inspiring King. Sean Lennon, son of John, seems to be trapped
      somewhere between the slacker prince and the heir to his father's
      musical throne.

      For years, the youngest Lennon (he is 31; Julian Lennon is his older
      half-brother) has been known more for his celebrity romances - with
      Mick Jagger's daughter Elizabeth, actresses Bijou Phillips and
      Lindsay Lohan - than for his actual work. He had come to be viewed as
      a musical underachiever, wasting away whatever talent he might have
      been harboring.

      Now, eight years after his promising first album, he has finally
      released his second full-length, "Friendly Fire." Here, Lennon sings
      in a relaxed voice about love and loss over pleasing pop music that
      has, at times, Beatles-esque melodies and arrangements. It comes with
      a second disc, a DVD with extravagant music videos produced by his
      mother, the artist Yoko Ono, and featuring Lohan, Phillips, Carrie
      Fisher and other familiar actors. He calls the combined videos "an
      art film." (Visit www.seanonolennon.com for excerpts.)

      During a recent phone interview, Lennon sounded like a reluctant
      royal, committed to making pop music but not terribly comfortable as
      a celebrity - or, as he puts it, a "cultural phenomenon." His voice
      is gentle and lilting, though the tone of his brief answers ranged
      between languidly tight-lipped and sharply guarded.

      The reviews have been more friendly than fiery, but don't expect the
      next John Lennon. As the occasionally Zen-sounding Sean
      warns: "Expectation is the root of all disappointment."

      Q: Well, it's been long time no music. Why so long?

      A: … I always write songs. I didn't want to deal with the superficial
      aspects of promoting myself and all that crap.

      Q: Like what you're doing right now?

      A: Exactly what I'm doing now. I've come to a point in my life where
      I realize I shouldn't fight the inevitable. One must accept reality.

      Q: What was it like to work with your mother on the videos?

      A: She produced them. She advised me on business and technical
      decisions; she's a great filmmaker.

      Q: Did she give you any acting directions?

      A: If you can call it acting … it's just me goofing around.

      Q: Did that make you want to act in movies?

      A: I don't have the face for it. I'm not the type.

      Q: Why are you a musician?

      A: Probably because it's the hardest thing to do. … Probably there's
      like some Freudian reason I've chosen to do it that I don't
      understand.

      Q: Is it rewarding?

      A: Music is very satisfying. It's immediately satisfying.

      Q: You're the son of John Lennon and Yoko Ono - do you ever feel like
      you should just get away from all the pressure of being a musician
      and be a lawyer or something?

      A: If I thought that would relieve the pressure maybe I would, but I
      don't see any release … from being this cultural phenomenon.

      Q: What are your favorite memories of your father, as a musician and
      as a father?

      A: I don't like talking about that. It's a bit too precious to give
      it away too easily.

      Q: How about your favorite Beatles song?

      A: I don't have favorite things. I don't have a favorite color.
      (suddenly) "Rubber Soul" - no, not "Rubber Soul," "Revolver." (Two
      Beatles albums.)

      Q: Just about every other pop musician in your generation has been
      influenced by the Beatles. Is it fair for you to be?

      A: Is it fair? I don't think fair has anything to do with it. As a
      musician you're influenced by people doing good music before you,
      whether it's Beethoven or Bob Dylan or Elvis …

      Q: Or the Beatles?

      A: How could you not be influenced by the Beatles if you write songs?
      If you make anything as an artist you have to study the masters or
      else there's no point.

      Q: What were you wanting "Friendly Fire" to be - a pop record? A
      dance record?

      A: Not really a dance record, more like a take-a-bath record.
      Expectations are the root of all disappointment.

      Q: Are you happy with how it's been received?

      A: I think my satisfaction is found more in the process of making
      music than societal recognition.


      ==


      Yoko is Mom. John was Dad. There is only one person in the world for
      whom this situation could seem absolutely normal.
      By Ethan Smith
      http://nymag.com/nymetro/arts/music/features/2733/index.html


      Barefoot, in baggy jeans and a blue T-shirt, Sean Lennon ambles
      across his living room, picks up a double bass, and plunks out the
      opening bars of Miles Davis's "All Blues." "It sounds nice, right?"
      he asks, nodding at the instrument. "It was a present from the
      Beastie Boys."

      Lennon, 22, is a few weeks away from the May 19 release of his debut
      CD, Into the Sun, on the aforementioned Boys' Grand Royal label. To
      anyone looking around the sprawling West Village loft he shares with
      his girlfriend, 37-year-old Yuka Honda, it's obvious Sean Lennon is
      no dilettante cashing in on his last name. Nineteen guitar cases are
      strewn about the house, as are vintage keyboards, effects pedals,
      turntables, multitrack recording units, mixers, plus a drum kit, a
      sitar, a theremin, and a Steinway grand. The apartment's upper level
      houses a small digital-recording studio. God only knows what's
      stashed at his SoHo rehearsal space.

      For the past year or so, Lennon has been going through a Beach Boys
      obsession. "Every morning I wake up and I listen to Smiley Smile or
      Pet Sounds," he says, referring to Brian Wilson's most intricate,
      laboriously produced late-sixties albums. Sitting on a sofa -- if you
      can call a series of half-on-furniture, half-on-floor
      postures "sitting" -- in his living room, he's all good-natured
      hyperactivity. "Smiley Smile is like the Beach Boys' White Album," he
      says, grasping for a way to convey the record's import. "No. Smiley
      Smile is like Sgt. Pepper."

      "I live with Brian Wilson," jokes Honda, sitting on the floor and
      spreading cream cheese on a bagel.

      In a way, there's nothing too surprising about the revelation -- the
      Beach Boys' experimental-pop phase is trendy enough these days. But
      it was also part of the most heated rivalry of its decade -- one that
      involved Sean's own father. Pet Sounds, notes Lennon, "didn't kind of
      inspire Sgt. Pepper. It literally did. Like, Paul McCartney heard Pet
      Sounds and said, `We ought to do something as good as this.'"

      Sean Lennon's own eclectic sound is equally indebted to both camps,
      with smatterings of bossa nova, sunny Stevie Wonder-esque soul, and
      experimental jazz thrown in. "Home," the album's first single,
      conjures John Lennon's approach to melody, George Martin's ornamental
      curlicues, and Brian Wilson's tweaked-out harmonies. Such
      propensities, though, make Lennon as much a child of his era -- in
      which the influence of Pop-with-a-capital-P is as pervasive as it's
      been at any point since the sixties -- as of his lineage. It's a
      fortunate position, one that allows him to put his patrimony to use
      without raising charges of simple appropriation.

      Into the Sun was produced by Honda, who also happens to be the
      keyboard-playing half of the indie-pop outfit Cibo Matto. "I probably
      could have asked for any producer in the world," says Lennon. "Not to
      brag, but I have the juice to do that. And I asked for Yuka. She's
      the best producer on the planet."

      Working with older women has been Lennon's forte for years now -- he
      has, after all, spent most of his life as the only child of a single
      mother. "As a kid, I was in fact more into my mom's music than my
      dad's," Sean recalls. Three years ago, he put that enthusiasm to use,
      collaborating with Yoko Ono on the album Rising. "I know every song
      she ever wrote. I'm an expert in Yoko Ono's music, basically. So in
      the studio, when she'd say something like `Make that guitar part more
      ocean-cricket,' I'd know exactly what she meant."

      Defying celebrity-offspring type, Lennon comes across as a
      preternaturally well-adjusted being, comfortable discussing his
      emotional life -- quirky maternal issues included -- without being an
      exhibitionist. "Beyond her just being my mom who I love and adore,
      she's also a really good friend," he says. "I'll call her up and be
      like, `What do you think of this lyric?' Any decision I have, I'll
      ask her about it. And she'll call me about everything else. `I'm
      going to the bathroom now.' `I got out of the bathroom, and I'm
      drying my hair.' `Okay, now I'm on my way to the door.' I'm like,
      Mom, you called me eight times in the last ten minutes."

      Despite their unusual bond, mother and son haven't lived together in
      a decade: Sean shipped out to a Swiss boarding school at 11; when he
      returned, at 15, he enrolled at Dalton and moved into his own
      apartment on the seventh floor of the Dakota, down the hall from
      Yoko. "It actually kind of ostracized me from the kids I went to
      school with," he says. "They'd be like, `Hey, you want to go do whip-
      its after school?' `No, I think I'm going to go home and be domestic
      with my older Italian girlfriend.'"

      For the son of the most influential figure in the history of pop
      music, working in the indie-rock idiom -- which, even if it embraces
      certain of pop's aesthetic choices, eschews stardom, Top 40 hits, and
      other commercial trappings -- might seem an easy out, a way of
      escaping inevitable comparisons. And who could blame him? "I read a
      review of one of my shows," Lennon says. "And the guy said that I was
      not a great guitar player, which is fine because I'm not. But they
      never say Bob Dylan isn't a great guitar player. Or they never say
      Beck isn't. They never say Lou Reed isn't a great guitar player. None
      of them are John McLaughlin, but because I'm John Lennon's son, he
      has to say it."

      John Lennon had devoted much of his life to being Sean's father,
      building world peace from the ground up, when he was shot outside the
      Dakota. Sean was 5 at the time. "I remember when my dad died," Lennon
      says matter-of-factly. For the first time in the interview, he stops
      fidgeting. "That whole early period of my life became kind of
      cemented in my mind. I think it was a desperate reaction to him going
      away that my memories became that much more clear. You don't really
      miss anything specific. You just miss them breathing, just being
      there. I miss the way his skin felt, the sound of his voice. Him
      tucking me in at night.

      "I remember him showing me how to clean the tip of my penis with a
      piece of toilet paper after I'd peed."

      "That's nice," Yuka says.

      "I guess that's the kind of thing dads show kids when they're 4. I
      mean, I don't think it's that weird. But that's what I remember."

      He pauses, his eyes still focused on some invisible point above the
      coffee table. "We went on vacation to the Caribbean, and a lot of
      that I remember, because he said I could swim like a fish. I was a
      really good swimmer. I could swim, like, way better than I could
      walk. And he'd always be like, in his best Liverpudlian accent `Sean
      can swim like a fish. Look at him!' And I'd be like, `Yeah!' Whoosh!"


      ============


      Sean Lennon
      From Wikipedia, the free encyclopedia
      http://en.wikipedia.org/wiki/Sean_Lennon


      -

      Sean Lennon
      Background information
      Birth name Sean Taro Ono Lennon
      Born 9 October 1975 / New York, USA
      Genre(s) Rock / Indie Rock / Pop
      Occupation(s) Singer-Songwriter, Writer, Actor
      Instrument(s) Guitar, Bass, Piano, Drums
      Years active 1991 - 2001, 2006
      Label(s) Grand Royal Records, Capitol
      Associated acts - Cibo Matto
      Website: http://www.seanlennon.com


      Sean Taro Ono Lennon (aka Sean Ono Lennon, born October 9, 1975) is
      an American singer, songwriter, musician and actor. He is the son of
      musicians and peace activists John Lennon and Yoko Ono (Kyoko Chan
      Cox and Julian Lennon are therefore his half-siblings).

      Early Life
      Lennon was born in New York City on his father's 35th birthday. After
      Sean's birth, John became a house husband, doting on his young son
      until his murder in 1980. Sean was educated at two exclusive private
      boarding schools, at Institut Le Rosey (which Strokes members Julian
      Casablancas and Albert Hammond, Jr. also attended) in Switzerland,
      and at the Dalton School, in New York City.

      His first appearance on record was on Ono's album Season of Glass
      (1981), reciting a story that his father used to tell him. At the age
      of 9, he performed the song "It's Alright" on the Yoko Ono tribute
      album Every Man Has A Woman (1984). Later in life, his initial
      efforts as a serious musician were collaborations: he appeared on
      Lenny Kravitz's album Mama Said (1991) and formed backing-band IMA
      for his mother's album Rising (1995).

      Cibo Matto and Into The Sun
      In 1997 Sean joined New York-based Japanese duo Cibo Matto (Miho
      Hatori & Yuka Honda). Through his association with Cibo Matto, he was
      approached by the Beastie Boys' Adam Yauch, who expressed an interest
      in Sean's music. His debut solo album, Into the Sun, was released in
      1998 on the Beastie Boys' record label, Grand Royal Records. The
      album garnered positive reviews from the music press as well
      mainstream media attention. Regarding Grand Royal, Sean has said, "I
      think I found the only label on the planet who doesn't care who my
      parents are and what my name is. It's a good feeling to know that I
      wouldn't have gotten the offer if they wouldn't have liked my songs.
      That's pretty rare in the music business!". A music video for "Home",
      a single from the album, was directed by Spike Jonze and enjoyed
      extended airplay on MTV. Cibo Matto played as Sean's backing band on
      Into The Sun and joined him during the closing scene in the "Home"
      music video.

      In 1999, Sean's EP Half Horse, Half Musician was released featuring
      new tracks such as "Heart & Lung" and "Happiness" as well as remixes
      of songs from Into The Sun. Later in the year, Cibo Matto released
      their second album (Stereo Type A) as a foursome with Sean and Timo
      Ellis. Though the album was highly praised by fans, Cibo Matto has
      since disbanded. In the following years, Sean collaborated with
      various artists such as Del Tha Funkee Homosapien, Handsome Boy
      Modeling School, Money Mark and Soulfly. In 2001, Sean
      performed "This Boy" and "Across The Universe" live with Rufus
      Wainwright and Moby for Come Together: A Night for John Lennon's
      Words and Music.

      Today
      After Grand Royal Records' demise in 2001, Sean signed with Capitol
      Records, yet no material surfaced until early February 2006 on his
      MySpace page. A song called "Dead Meat" was to be the first (and so
      far only) single from his new album, Friendly Fire. A promotional
      trailer for the CD/DVD package of Friendly Fire was leaked online in
      the spring of 2006. The trailer featured scenes from the Friendly
      Fire (film version) of the album, a DVD comprised of unique music
      videos for each song. Friendly Fire went on to be released in
      October, 2006. Though mixed reviews (however mostly positive) came
      from the music press, the album was highly praised by fans and many
      consider it to be Sean's strongest work to date. The night the album
      was released, Sean made his first major T.V. appearance since 2001,
      performing "Dead Meat" live on Late Show with David Letterman. His
      official website is now up and equipped with a message board that
      Sean himself & "S.O.L." administer.

      Solo Discography
      Albums
      Into the Sun (1998)
      Friendly Fire (2006)

      EP's
      Half Horse, Half Musician (1999)

      Singles
      "Home" (1998)
      "Queue (Radio Mix)" (1999)
      "Dead Meat" (2006)

      Filmography
      Moonwalker (1988)
      Friendly Fire (2006)
      Coin Locker Babies (2008?)

      ================


      IN DEPTH: Sean Lennon "Friendly Fire"
      http://www.videostatic.com/vs/2006/week40/index.html#entry-13223555


      Considering that anything Sean Lennon creates is immediately compared
      with the work of his father John Lennon — aka one of the greatest
      songwriters and most famous figures of all time — it's not surprising
      that eight years have passed since his debut album, Into The Sun. His
      new release, Friendly Fire, finds him in a distinctly different head
      space than what permeated Into The Sun. Gone is the light-hearted
      genre-hopping, replaced with a more melancholic sound that mixes
      strains of his father's distinctive timbre with the West Coast singer-
      songwriter vibe most associated with producer/musician Jon Brion —
      who performs on the album. Maybe it's a reaction to the critical
      attention he's always been subject to; Maybe it's all due to the
      tragic, romantic triangle he found himself in while working on the
      songs.

      Accompanying the new album is a DVD that ties together videos for
      each song on the album. Utilizing a variety of styles — the main
      reference points seem to be all foreign films, especially those
      directed by Federico Fellini — Lennon stars alongside a cast of well-
      known starlets, including Lindsay Lohan, Jordana Brewster, Devon
      Aoki, Asia Argento and his real life ex-girlfriend Bijou Phillips.
      Quintessence Films director Michele Civetta took some time out from
      working on his movie Coin Locker Babies to discuss the video
      accompaniments to Friendly Fire.

      Video Static: Let's start at the start... How did the project come
      together?

      Michele Civetta: I've been working on a film called Coin Locker
      Babies, based on the novel by Japanese writer Ryu Murakami for a
      number of years. Sean is a big fan of the novel and got involved with
      the project a few years back. This fall I decided to shoot a camera
      test for the film with my DP Steve Gainer and it ended up becoming
      the "Parachute" video. We had such a blast shooting it on an ultra
      shoestring budget that Sean came back and suggested we shoot a video
      for every track on the record. We initially planned to create ten
      autonomous videos, but we're both fans of overindulgent '70s rock
      odysseys like Tommy, The Wall, and Head, so it evolved into more of a
      conceptual accompaniment for the record.

      VS: I didn't notice a lot of the typical elements or influences from
      music videos in these clips. They're definitely not edited or shot
      like traditional music videos.

      MC: Film references were stronger as that is really where my heart
      is. I like videos a lot, but I've always been more compelled by the
      more narrative driven ones of yesteryear. If anything, there is a
      tinge of influence from Hipgnosis, Storm Thorgersons' design team
      that's responsible for a ton of the Led Zeppelin, Pink Floyd and
      Edgar Broughton Band artwork.

      VS: Even beyond the focus on narrative though, I noticed the way the
      shots linger and the lack of quick edits. Those things are pretty
      antithetical to the usual music video structure.

      MC: It's easy to make images compelling when you chop them up in a
      Cuisinart. There is something to be said for long takes. Also the
      music is very melodic and orchestral so it didn't call for quick
      rhythmic edits.

      VS: The transition between the pieces is usually that TV with the
      fireplace within... Seemed kind of mysterious.

      MC: The TV in the house was a final interstitial element we shot
      while editing the finished film... The fire image is a play on the
      record's title. The other idea is that the fire in the TV is primal
      and it represents mankind and civilization, but when projected
      through the cathode ray tube it takes on an alien presence. Kind of
      like the monolith in 2001: A Space Odyssey. It's an object used in
      the videos to transcend time and act as a virtual rabbit hole of
      sorts.

      VS: So, there's not really a narrative tying these together, is there?

      MC: The project would have been approached differently if it was a
      true concept record. Many of the songs have been written over the
      years and then a few of the final tracks, including "Friendly Fire,"
      were written around the time we filmed "Parachute" and while Sean was
      finishing the record. One of our best friends Max LeRoy died in a
      motorcycle accident and Sean wrote the title track "Friendly Fire,"
      about him. The song references the betrayal and affair that occurred
      between Max and [Sean Lennon's girlfriend at the time] Bijou
      Phillips. There is a real sadness in the song, since it was Sean's
      way of processing his feelings; It was almost a first attempt towards
      reconciliation with our friend and then a week later he was gone.

      VS: And the video for that song is definitely the DVD's centerpiece
      in terms of the narrative.

      MC: We wanted it to anchor the sensibilities, since everything else
      is so quixotic and bizarre. It seemed like an obvious choice to make
      that film be the reality from which all the others are stemming.
      That Sean and Bijou re-enacted their breakup and betrayal seemed like
      it was taking a real bite out of the postmodern construct of the
      concept; I thought it was uniquely brave of them both.

      VS: Absolutely. It's one thing to reference a break-up for artistic
      purposes. It's another thing to cast yourself and your ex for the re-
      enactment. You also have an acting roll in the fictional version with
      Lindsay Lohan, right? [see photo at right with Lohan, Lennon and
      Civetta]

      MC: Yeah, that was more of a gag. We had a scheduling change and one
      of our actors couldn't show. Since it was supposed to be a French New
      Wave ultra arty homage of the breakup story, it was a perfect subject
      for parody. We decided I should act and Sean should direct the scene.
      It just felt appropriately irreverent and a bit of cosmic retribution
      for the torture that Sean was being put through on a daily basis
      (learning how to swordfight, rollerskate, etc.)

      VS: It was also interesting how Sean is constantly cast as the
      underdog in these videos and that he doesn't always emerge as the
      hero.

      MC: Yeah, I think that was wholly intentional. Sean is a strange
      amalgamation. He is very brave and heroic, but I think that many of
      the videos played on subconscious undercurrents. What was terrific
      about the project was that we had so many opportunities to put Sean's
      personality on display and this character is very similar to who he
      really is in life with his friends; a total goof.

      VS: I can totally imagine the scene where a schmuck in a movie
      theatre line says, "Hey Julian, I love your work" to him being
      directly taken from real life.

      MC: Happens all the time when we're together. I've also heard people
      come up and unknowingly say, "Hey man, you look like John Lennon!"
      But, as Sean says, it's the ones who come up and want to talk about
      his Mom that you have to really watch out for.

      VS: The ones that invite him to primal therapy sessions?

      MC: Exactly

      VS: That self-awareness and self-deprecating humor is definitely
      evident throughout all the videos. Like, when Sean calls it "a series
      of shorts that quite simply fall short" while in line for the movie.

      MC: That is a typical play on words for Sean. He is always twisting
      speech in funny, anachronistic ways. I don't think he took the
      project overly serious as a grand statement. It was really an attempt
      to create a bunch of different little statements and experiments.
      Also, we couldn't help but reference the semi-pretentious nature of
      making ten films about oneself.

      Sean Lennon Friendly Fire (Capitol)
      Michele Civetta, director | Manu Gargi & Griffin Marcus, producers |
      Quintessence Films, production co | Bryan Newman, DP | Steve Gainer,
      DP for "Parachute" | Josh Ferrazano/Thought Crime & Jenny
      Golden/Nuncle Group, editors


      ==


      Yoko Ono
      From Wikipedia, the free encyclopedia
      http://en.wikipedia.org/wiki/Yoko_Ono


      Yoko Ono Lennon (born February 18, 1933) is a Japanese musician and
      artist best known as the widow of John Lennon of The Beatles. She
      lives in New York City and has spent a significant portion of her
      childhood and most of her adult life in the United States.

      Ono's name is written 小野 洋子 (Ono Yōko) in Japanese kanji, but appears
      in katakana (ヨーコ・オノ) in the Japanese press and on her album covers.
      The katakana writing system is used primarily for foreign words.

      Early life
      Yoko Ono was born in 1933. Her parents were Isoko Ono of the Yasuda
      banking family and Eisuke Ono who worked for the Yokohama Specie
      Bank. Two weeks before she was born, her father was transferred to
      San Francisco. The rest of the family followed soon afterward. In
      1937, her father was transferred back to Japan and Yoko Ono was
      enrolled at the Peers' School in Tokyo which was the most exclusive
      school in Japan open only to those decended from either aristocrats
      (in the House of Peers) or the Imperial family.

      In 1940, the family moved to New York where Yoko's father was
      working. In 1941, her father was transferred to Hanoi and the family
      returned to Japan. Yoko was then enrolled in an exclusive Christian
      primary school run by the Mitsui family. She remained in Tokyo
      through the great fire-bombing of March 9, 1945. During the fire-
      bombing, she was sheltered with other members of her family in a
      special bunker in the Azabu district of Tokyo far from the heavy
      bombing. After the bombing, Ono went to the Karuizawa mountain resort
      with members of her family. The younger members of the imperial
      family were sent to the same resort area.

      Ono has claimed that she and her family were forced to beg for food
      while pulling their belongings in a wheelbarrow; it was during this
      period in her life that Ono says she developed her "aggressive"
      attitude and understanding of "outsider" status when local children
      taunted the once well-to-do Yoko and her brother, now reduced to
      poverty. Other stories have her mother bringing a large amount of
      property with them to the countryside which they bartered for food.
      One often quoted story has her mother bartering a German-made sewing
      machine for sixty kilograms of rice to feed the family with. Her
      father remained in the city and, unbeknownst to them, was eventually
      incarcerated in a prisoner of war camp in China.

      By April 1946, the exclusive Peers' school was reopened and Yoko was
      enrolled. The school, located near the imperial palace had not been
      damaged by the war. While now in theory open to anyone, the students
      were still almost exclusively aristocratic. She graduated in 1951 and
      was accepted into the Philosophy program of Peers' University. She
      was the first woman ever to be accepted into the Philosophy program
      of the exclusive univeristy. But after two semesters, she left the
      school.[1]

      Emergence into the art world
      Ono's family had moved to Scarsdale, New York after the war. She left
      Japan to re-join the family and enrolled in Sarah Lawrence College.
      While her parents approved her choice of college, they were dismayed
      at her lifestyle, and, according to Ono, chastised her for
      befriending people they considered to be "beneath" her. In spite of
      this, Ono loved meeting artists, poets, and people who represented
      the "Bohemian" freedom she longed for herself. Visiting galleries and
      art "happenings" in the city whetted her desire to publicly display
      her own artistic endeavors. La Monte Young, her first important
      contact (and lover) in the New York art world, helped Yoko start her
      career by using her Lower East Side loft as a concert hall. At one
      concert Yoko set a painting on fire; fortunately John Cage had
      advised her to treat the paper with flame retardant.

      In 1956, she married composer Toshi Ichiyanagi. They divorced in 1962
      after living apart for several years. On November 28 that same year,
      Ono married American Anthony Cox. Cox was a jazz musician, film
      producer, and art promoter; according to Albert Goldman, he also
      flirted with crime and male prostitutes[citation needed]. He had
      heard of Yoko in New York and tracked her down to a mental
      institution in Japan, where her family had placed her following a
      suicide attempt.

      Their marriage was annulled on March 1, 1963 (Ono having neglected to
      finalize her divorce from Ichiyanagi first); they re-married on June
      6, and finally divorced on February 2, 1969. Their daughter, Kyoko
      Chan Cox, was born on August 8, 1963. The marriage quickly fell apart
      (observers describe Tony and Yoko threatening each other with kitchen
      knives) but the Coxes stayed together for the sake of their joint
      career. They performed at Tokyo's Sogetsu Hall with Yoko lying atop a
      piano played by John Cage. Soon the Coxes returned to New York with
      Kyoko.

      In the early years of this marriage, Yoko left most of Kyoko's
      parenting to Cox, while she pursued her art full-time and Tony
      managed publicity. Yoko became much more attached to Kyoko after she
      left Cox for John Lennon. After a bitter legal battle, Ono was
      awarded permanent custody of Kyoko. In 1971 Cox disappeared with
      eight-year-old Kyoko in violation of the custody order. Cox thought
      Lennon was a bad influence and that Yoko was incapable of raising a
      child. He vanished with Kyoko, became a Christian fundamentalist and
      raised her in an Christian group known as the Church of the Living
      Word or ("the Walk"). Cox with Kyoko left the group in 1977. Cox,
      living an underground existence, changed the girl's name to Rosemary,
      and told her stories of her mother's 'wicked, hateful ways'[2]. In
      1980, Cox and Kyoko sent a sympathy message to Yoko after the death
      of John Lennon. Afterward, the bitterness between the parents
      lessened slightly and Yoko publically announced in a newspaper ad
      that she would no longer seek out the now adult Kyoko but still
      wished to make contact with her.

      Ono and Kyoko were finally reunited in 1998 after Kyoko bore Yoko a
      granddaughter, Emi. Kyoko's children, daughter Emi and son Jack are
      said to be Ono's chief legal heirs[citation needed]. Kyoko lives
      quietly in Colorado and avoids publicity.


      Artwork
      Poster for Ono's first major exhibit, This is Not Here, at the
      Everson Museum of Art in Syracuse, New YorkOno was an early member of
      Fluxus, a loose association of Dada-inspired avant-garde artists that
      developed in the early 1960s. Fluxus founder George Maciunas, a
      friend and love interest of Ono's during the 60's, admired her work
      and promoted it with enthusiasm. Maciunas, with Young and Cage, was
      one of the most important influences on Ono's performance art. His
      humorously subversive philosophy of avant-gardism, spoofing the
      overserious, commercialized attitude to abstract art typical of 1950s
      New York, is obvious in Ono's "sales lists" of imaginary or useless
      objects (tapes of snow falling, machines dispensing clouds, etc.)--as
      Ono once said, "I think it would be very good for someone's mental
      health to buy something that didn't exist!" Ono's interactive art
      objects (like her "Painting to be Stepped On," where the painting is
      created by footprints on a blank canvas) also owe something to
      Maciunas' spoofy Fluxus objects or ideas for the same. Some critics
      [citation needed] have described Ono's art as a synthesis between
      John Cage's Zen-influenced musical ideas, incorporating silence and
      natural sounds, and Maciunas' earthier and more macabre wit, which
      found an echo in Ono's readiness to shock and dramatizations of her
      mental pain as well as her shared appreciation of gags (she once
      said, "Every artist is a conceptual artist. I'm a con artist"
      [citation needed] ). Another influence cited by art critics [citation
      needed] was Ono's Japanese contemporary Yayoi Kusama. Kusama's events
      involving nudity may have inspired the famous cover of Ono and John
      Lennon's Two Virgins record, where both appear naked. Kusama was also
      an organizer of pacifist events similar to Ono and Lennon's "bed-in"
      interviews.

      Ono was an explorer of conceptual art and performance art. An example
      of her performance art is "Cut Piece", during which she sat on stage
      and invited the audience to use scissors to cut off her clothing
      until she was naked. An example of her conceptual art includes her
      book of instructions called Grapefruit. This book, first produced in
      1964, includes surreal, Zen-like instructions that are to be
      completed in the mind of the reader, for example: "Hide and seek
      Piece: Hide until everybody goes home. Hide until everybody forgets
      about you. Hide until everybody dies." The book, an example of
      Heuristic art, was published several times, most widely distributed
      by Simon and Schuster in 1971, and reprinted by them again in 2000.
      Many of the scenarios in the book would be enacted as performance
      pieces throughout Ono's career and have formed the basis for her art
      exhibitions, including one highly publicized show at the Everson
      Museum in Syracuse, New York that was nearly closed by a fan riot.

      Ono was also an experimental filmmaker. She made sixteen films
      between 1964 and 1972, and gained particular renown for a 1966 film
      called simply No. 4, but often referred to as "Bottoms". The film
      consists of a series of close-ups of human buttocks as the subject
      walks on a treadmill. The screen is divided into four almost equal
      sections by the elements of the gluteal cleft and the horizontal
      gluteal crease. The soundtrack consists of interviews with those who
      are being filmed as well as those considering joining the project. In
      1996, the watch manufacturing company Swatch produced a limited
      edition watch that commemorates this film. (Ono also acted in an
      obscure exploitation film of the sixties, Satan's Bed.)

      John Lennon once described her as "the world's most famous unknown
      artist: everybody knows her name, but nobody knows what she does."
      [1] Her friends and lovers in the New York art world have included
      Kate Millett, Nam June Paik, Dan Richter, Jonas Mekas, Merce
      Cunningham, Judith Malina, Erica Abeel, Peggy Guggenheim, Betty
      Rollin, Shusaku Arakawa, Adrian Morris, Stefan Wolpe, Keith Haring,
      and Andy Warhol, as well as Maciunas and Young.

      In a lecture at Wesleyan University, January 1966, Yoko Ono explained
      the inspiration behind her conceptual art: "All of my work in fields
      other than music have an Event bent ... event, to me, is not an
      assimilation of all the other arts as Happening seems to be, but an
      extrication from various sensory perceptions. It is not a get
      togetherness as most happenings are, but a dealing with oneself. Also
      it has no script as Happenings do, though it has something that
      starts it moving- the closest word for it may be a wish or hope ...
      After unblocking one's mind, by dispensing with visual, auditory and
      kinetic perception, what will come out of us? Would there be
      anything? I wonder. And my events are mostly spent in wonderment ...
      The painting method derives as far back as the time of the Second
      World War, when we had no food to eat, and my brother and I exchanged
      menus in the air." [citation needed]

      Ono has sometimes been maligned and vilified by critics who condemn
      her art. For example, Brian Sewell, an art critic noted for his
      artistic conservatism and acerbic reviews of conceptual art,
      said: "She's shaped nothing, she's contributed nothing, she's simply
      been a reflection of the times...I think she's an amateur, a very
      rich woman who was married to someone who did have some talent and
      was the driving force behind the Beatles. If she had not been the
      widow of John Lennon, she would be totally forgotten by now...Yoko
      Ono was simply a hanger-on. Have you seen her sculpture or paintings?
      They're all awful." [citation needed] In the past few years, Ono's
      work has received recognition and acclaim. For example, Matthew
      Teitelbaum, director of the Art Gallery of Ontario, stated that "Yoko
      Ono is one of the world's most original and inspirational visual
      artists." [citation needed] Michael Kimmelman, the chief Art critic
      of the New York Times, wrote: "Yoko Ono's art is a mirror—like her
      work 'a Box of Smile,' we see ourselves in our reaction to it—a tiny
      prod toward personal enlightenment, very Zen." [citation needed]

      In 2001, YES YOKO ONO, a forty-year retrospective of Ono's work,
      received the prestigious International Association of Art Critics USA
      Award for Best Museum Show Originating in New York City. (This award
      is considered one of the highest accolades in the museum profession.)
      In 2002 Ono was awarded the Skowhegan Medal for work in assorted
      media. And in 2005 she received a lifetime achievement award from the
      Japan Society of New York.

      Ono received an honorary Doctorate of Laws from Liverpool University
      in 2001; in 2002 she was presented with the honorary degree of Doctor
      of Fine Arts from Bard College. Scott MacDonald, visiting professor
      of film at Bard, said: "She is to be congratulated for the body of
      work she has made, and celebrated for what she has come to represent,
      within media history and throughout the world: courage, resilience,
      persistence, independence, and, above all, imagination, and a belief
      that peace and love remain the way toward a brighter, ever-more-
      diverse human future." [citation needed]

      Life with Lennon
      John Lennon and Yoko Ono with Canadian Prime Minister Pierre Trudeau,
      22 December 1969 Ottawa, OntarioOno first met John Lennon when he
      visited a preview of an exhibition of Ono's at the Indica Gallery in
      London on November 9, 1966. Lennon's first intimate encounter with
      Ono involved her passing him a card that simply read "Breathe". He
      was taken with the positivity, humour, and interactivity of her work
      [citation needed], such as a ladder leading up to a black canvas with
      a spyglass on a chain allowing John to read the word "Yes" written on
      the canvas along with a real apple displayed with a card
      reading "APPLE." When John was told the price of the apple was 200
      pounds, he thought, "This is a joke, this is pretty funny" (Spitz,
      page 650). Another display was a white board with nails in it with a
      sign inviting visitors to hammer a nail into its surface. Since the
      show was not beginning until the following day, Ono refused to allow
      Lennon to hammer in a nail. The gallery owner whisked her away
      saying "don't you know who THAT is? He's a millionaire!" (Ono later
      claimed not to know who John Lennon or the Beatles were, though some
      friends remember her being quite interested in the band and wanting
      to get involved with them.) Upon returning to John she said he could
      hammer in a nail for five shillings. Lennon replied, "I'll give you
      an imaginary five shillings if you let me hammer in an imaginary
      nail" (Spitz, page 632).

      They began an affair approximately two years later, eventually
      resulting in Lennon divorcing his first wife, Cynthia Lennon. Cynthia
      recalled that Ono pursued Lennon relentlessly from the date of the
      Indica show, sending him poems and artwork daily, haunting their
      London mansion, and even threatening suicide if he did not support
      her work [verification needed]. Lennon was at first ambivalent about
      Ono, then increasingly fascinated, and finally devoted to her after
      they recorded Two Virgins together on LSD[citation needed]. They
      married on March 20, 1969 in Gibraltar. Their son, Sean, was born on
      Lennon's 35th birthday, on October 9, 1975.

      Lennon referred to Ono in many of his songs. While still a Beatle he
      wrote "The Ballad of John and Yoko," and he alluded to her indirectly
      in "Julia," a song dedicated to his mother, with the lyrics: "Ocean
      child calls me, so I sing a song of love" (The kanji 洋子 ("Yoko")
      mean "ocean child"). Other Lennon songs about Ono are said[citation
      needed] to include: "I Want You (She's So Heavy)," "Don't Let Me
      Down," "Happiness is a Warm Gun," "Well Well Well," "Because," "Oh
      Yoko!," "I'm Losing You," "Bless You," and "Dear Yoko."

      Ono and Lennon collaborated on many albums, beginning in 1968 when
      Lennon was still a Beatle, with Unfinished Music No.1: Two Virgins,
      an album of experimental and difficult electronic music. That same
      year, the couple contributed an experimental piece to The White Album
      called "Revolution 9". Ono also contributed backing vocals
      (on "Birthday"), and one line of lead vocals (on "The Continuing
      Story of Bungalow Bill") to the White Album. Many of the couple's
      later albums were released under the name the Plastic Ono Band.

      In 1969, the Plastic Ono Band's first album, Live Peace In Toronto,
      was recorded during the Toronto Rock and Roll Revival Festival. In
      addition to Lennon and Ono, this first incarnation of the group
      consisted of guitarist Eric Clapton, bass player Klaus Voorman, and
      drummer Alan White. The first half of their performance consisted of
      rock standards, and during the second half, Ono took the microphone
      and along with the band performed what may be one of the first
      expressions of the avant garde during a rock concert. The set ended
      with music that consisted mainly of feedback, while Ono screamed[3]
      and sang.

      Lennon's version Ono's versionOno released her first solo album,
      Yoko Ono/Plastic Ono Band in 1970, as a companion piece to Lennon's
      better-known John Lennon/Plastic Ono Band. The two albums have almost
      identical covers: Ono's featured a photo of her leaning on Lennon,
      and Lennon's had a photo of him leaning on Ono. Her album included
      raw and quite harsh vocals that were possibly influenced by Japanese
      opera. Some songs consisted of wordless vocalizations, in a style
      that would influence Diamanda Galas, Meredith Monk, and other musical
      artists who have used screams and vocal noise in lieu of words.
      Perhaps, the most famous song on Yoko Ono/Plastic Ono Band is "Why",
      which features Ono repeating the word "Why" for five minutes. Some
      punk bands, including Public Image Ltd) [citation needed] consider
      this album (and other early albums by her) as laying the foundation
      for punk. The album peaked at #183 on the US charts.

      In 1971, Ono released Fly - a double album. On this release Ono
      explored slightly more conventional punk rock with tracks
      like "Midsummer New York" and "Mind Train", in addition to a number
      of Fluxus experiments. She also received minor airplay with the
      ballad "Mrs. Lennon". Perhaps the most famous track from the album
      is "Don't Worry, Kyoko (Mummy's Only Looking For Her Hand In The
      Snow)", an ode to Ono's kidnapped daughter. Ono later released two
      feminist rock albums in 1973, Approximately Infinite Universe and
      Feeling the Space, which received little attention at the time but
      are today recognized with much critical respect[citation needed],
      particularly for tracks such as "Move on Fast," "Yang Yang"
      and "Death of Samantha."

      Ono has been accused by some music historians[citation needed] for
      breaking up the band, while others[citation needed] argue that the
      breakup was caused by the fact that the Beatles were moving in
      different directions musically and personally. John, also, said he
      had wanted 'out' of the group even before he met Yoko.

      In a 2003 interview with Jay Leno, Yoko revealed the disappointment
      she felt by the breakup and how it impacted a life that she was used
      to. Beatles historian Bob Spitz concluded that John Lennon wanted to
      disband the Beatles and saw in Yoko the perfect wedge to drive
      between himself and the others[citation needed].

      After the Beatles disbanded, Lennon and Ono lived together in London
      and then in New York. They became addicted to heroin in London and
      were arrested for possession of cannabis resin on October 18, 1968.
      They would suffer from heroin addiction on and off for many years,
      and the arrest would be significant to their future together. Their
      relationship came under great strain as Lennon faced near-certain
      deportation from the U.S. based on the British drug charges and Ono
      was separated from her daughter, who would have remained behind if
      she followed Lennon back to England. Lennon began drinking heavily
      and Ono buried herself in her work. The marriage had soured by 1973
      and the two began living separate lives, Ono pursuing her career in
      New York and Lennon living in Los Angeles with personal assistant May
      Pang.

      In 1975, the couple reconciled. After the birth of their son Sean,
      they lived in seclusion until shortly before Lennon's murder in
      December 1980, which Yoko witnessed at close range.

      Musical career
      A still from the "Walking on Thin Ice" video.Ono has achieved
      considerable success as a musician. Ono collaborated with
      experimental luminaries such as John Cage and jazz legend Ornette
      Coleman. In 1961, years before meeting Lennon, she had her first
      major public performance in a concert at the 258-seat Carnegie
      Recital Hall (not the larger "Main Hall"). This concert featured
      radical experimental music and performances. She had a second
      engagement at the Carnegie Recital Hall in 1965, in which she debuted
      her now legendary and influential "Cut Piece."

      Ono's music changed after her marriage; while many of her early songs
      retain the surreal quality of her art and films, her later songs are
      usually more conventional — for example, the seven pop songs that she
      contributed to the album, Double Fantasy (which were considered, by
      some critics, to be better than Lennon's offerings on the album).

      In the spring of 1980, Lennon heard Lene Lovich and The B-52's' "Rock
      Lobster" in a nightclub, and it reminded him of Ono's musical sound.
      He ran to a public phone, called Yoko and said "They're finally ready
      for us, love!" [citation needed]Indeed, many musicians, particularly
      those of the new wave movement, have paid tribute to Ono (both as an
      artist in her own right, and as a muse and iconic figure). For
      example, Elvis Costello recorded a version of Ono's song "Walking On
      Thin Ice", the B-52's covered "Don't Worry, Kyoko (Mummy's Only
      Looking For Her Hand In The Snow)" (shortening the title to "Don't
      Worry"), and Sonic Youth included a performance of Ono's early
      conceptual "Voice Piece for Soprano" in their fin de siecle album
      SYR4: Goodbye 20th Century. One of Barenaked Ladies's best-known
      songs is "Be My Yoko Ono," and Dar Williams recorded a song called "I
      Won't Be Your Yoko Ono." The punk rock singer Patti Smith invited Ono
      to participate in "Meltdown," a two-week music festival that Smith
      organized in London during June 2005; Ono performed at Queen
      Elizabeth Hall.

      On the night of December 8, 1980, Lennon and Ono were in the studio
      working on Ono's song "Walking On Thin Ice." When they returned to
      The Dakota, their home in New York City, Lennon was shot dead by a
      deranged fan, Mark David Chapman. "Walking on Thin Ice (For John)"
      was released as a single less than a month later, and became Ono's
      first chart success, peaking at No. 58 and gaining major underground
      airplay. In 1981, she released the album Season of Glass with the
      striking cover photo of Lennon's shattered, bloody spectacles next to
      a half-filled glass of water, with a window overlooking Central Park
      in the background. This led some critics to accuse her of being
      tasteless and exploitative. However, Ono said that she chose such a
      provocative image because she wanted to remind people that Lennon
      hadn't just died or committed suicide, but had been murdered. She
      stated that those who thought the picture of bloody spectacles were
      offensive because of the blood stains should remember that there was
      more to John's murder than just a stained pair of glasses, and the
      picture was only a small part of what she, and other members of
      John's family, had to face when he died. (This photograph sold at an
      auction in London in April 2002 for about $13,000.) In the liner
      notes to Season of Glass, Ono explained that the album is not
      dedicated to Lennon because "he would have been offended - he was one
      of us."

      Life after Lennon
      Some time after her husband's murder, Ono began a relationship with
      antiques dealer Sam Havadtoy, which lasted until 2001. [4] She had
      also been linked to art dealer and Greta Garbo confidante Sam Green,
      who is mentioned in John Lennon's Will. [5] 1982 saw the release of
      It's Alright (I See Rainbows). The cover featured Ono in her famous
      wrap-around sunglasses, looking towards the sun, while on the back
      the ghost of Lennon looks over Ono and Sean. The album scored minor
      chart success and airplay with the singles "My Man" and "Never Say
      Goodbye."

      In 1984, a tribute album entitled Every Man Has A Woman was released,
      featuring a selection of Ono songs performed by artists such as Elvis
      Costello, Roberta Flack, Eddie Money, Rosanne Cash and Harry Nilsson.
      It was one of Lennon's projects that he never got to finish. Later
      that year, Ono and Lennon's final album Milk And Honey was released
      in unfinished demo state.

      The program from Ono's 1986 "Starpeace" world tour.Ono's final album
      of the 1980s was Starpeace, a concept album that Ono intended as an
      antidote to Ronald Reagan's "Star Wars" missile defense system. On
      the cover, a warm, smiling Ono holds the Earth in the palm of her
      hand. Starpeace became Ono's most successful non-Lennon effort: the
      single "Hell in Paradise" was a hit, reaching No. 16 on the US dance
      charts and #26 on the Billboard Hot 100 as well as major airplay on
      MTV.

      In 1986 Ono set out on a goodwill world tour for Starpeace, mostly
      visiting Eastern European countries that she felt were in need of her
      message of peace.

      Ono went on hiatus until signing with Rykodisc in 1992 to release the
      comprehensive 6-disc box set Onobox. It included remastered
      highlights from all of Ono's solo albums, as well as unreleased
      material from the 1974 "lost weekend" sessions. There was also a one-
      disc "greatest hits" release of highlights from Onobox, simply titled
      Walking on Thin Ice. In 1994, Yoko produced her own musical entitled
      New York Rock, featuring Broadway renditions of her songs.

      1995 saw Ono's comeback with the release of Rising, a collaboration
      with her son Sean Lennon and his band Ima. Rising spawned a world
      tour that traveled through Europe, Japan and the United States. The
      following year, she collaborated with various alternative rock
      musicians for an EP entitled Rising Mixes. Guest remixers of Rising
      material included Cibo Matto, Ween, Tricky, and Thurston Moore.

      In 1997, Rykodisc reissued all her solo albums on CD, from Yoko
      Ono/Plastic Ono Band through Starpeace. Ono and her engineer Rob
      Stevens personally remastered the audio, and various bonus tracks
      were added including outtakes, demos and live cuts.

      The cover of ONO's successful "Walking on Thin Ice" 2003 remix
      single.In 2000, she founded the John Lennon museum in Saitama, her
      home town. John Lennon museum

      2001 saw the release of Ono's feminist concept album Blueprint For A
      Sunrise. Starting in 2002, some DJs remixed other Ono songs for dance
      clubs. For the remix project, she dropped her first name and became
      known as simply "ONO", as a response to the "Oh, no!" jokes that
      dogged her throughout her career. ONO had great success with new
      versions of "Walking on Thin Ice", remixed by top DJs and dance
      artists including Pet Shop Boys, Orange Factory, Peter Rauhofer, and
      Danny Tenaglia. In April 2003, ONO's Walking On Thin Ice (Remixes)
      was rated No. 1 on Billboard Magazine's "Dance/Club Play Chart",
      gaining ONO her first number one hit. On the 12" mix of the original
      1981 version of "Walking on Thin Ice", Lennon can be heard
      remarking "I think we've just got your first No.1, Yoko." She
      returned to No. 1 on the same charts in November of 2004
      with "Everyman...Everywoman...". A reworking of her song "Every Man
      Has a Woman Who Loves Him" from Double Fantasy, the track contained
      new lyrics supportive of gay marriage.

      During her career, Ono has collaborated with a diverse group of
      artists and musicians including John Cage, David Tudor, George
      Maciunas, Ornette Coleman, Charlotte Moorman, George Brecht, Jackson
      Mac Low, Jonas Mekas, Yvonne Rainer, La Monte Young, Richard
      Maxfield, Zbigniew Rybczyński, Yo La Tengo, and Andy Warhol. In 1987
      Ono was one of the speakers at Warhol's funeral.

      Political activism
      Since the 1960s, Ono has been an activist for peace and human rights.
      After their wedding, Lennon and Ono held a "Bed-In for Peace" in
      their honeymoon suite at the Amsterdam Hilton Hotel in March 1969.
      The press fought to get in, presuming that the two would be having
      sex for their cameras, but they instead found a pair of newlyweds
      wearing pajamas and eager to talk about and promote world peace.
      Another Bed-In in May 1969 in Montreal, Canada, resulted in the
      recording of their first single, "Give Peace A Chance," a Top 20 hit
      for the newly-christened Plastic Ono Band. Other demonstrations with
      John included Bagism. Introduced in Vienna, Bagism encouraged a
      disregard for physical appearance in judging others.

      In the 1970s, Ono and Lennon became close to many radical leaders,
      including Jerry Rubin, Michael X, John Sinclair (for whom they
      organized a benefit after he was imprisoned), Angela Davis, Kate
      Millett, and David Peel. They appeared on The Mike Douglas Show and
      took over hosting duties for a week, during which Ono spoke at length
      about the evils of racism and sexism. They were forced to curtail
      much of their political activity when the United States government
      put them under surveillance and Lennon was threatened with
      deportation on drug charges[citation needed]. Ono remained outspoken
      in her support of feminism, and openly bitter about the racism she
      had experienced from rock fans, especially in England. For example,
      an Esquire article of the period was titled "John Rennon's Excrusive
      Gloupie" and featured an unflattering David Levine cartoon.

      In 2002, Ono inaugurated her own peace award by giving $50,000
      (£31,900) prize money to artists living "in regions of conflict."
      Israeli and Palestinian artists were the first recipients.

      In 2003, Ono turned 70, a milestone of sorts. Far from mellowing with
      age, she re-staged the "Cut Piece" in protest of terrorism.

      In 2004, Ono remade her song "Every Man Has a Woman Who Loves Him" to
      support same-sex marriage, releasing remixes that included "Every Man
      Has a Man Who Loves Him" and "Every Woman Has a Woman Who Loves Her."

      Relationship with Paul McCartney and Cynthia Lennon
      Ono occasionally argued with Beatle Paul McCartney about issues such
      as the writing credits for many Beatles songs. While the Beatles were
      still together, every song written by Lennon or McCartney was
      credited to Lennon-McCartney regardless of whether the song was a
      collaboration or a solo project. After Lennon's death, McCartney
      attempted to change the order to "McCartney-Lennon" for songs, such
      as "Yesterday," that were solely or predominantly written by him, but
      Ono would not allow it. She says she felt this broke an agreement
      that the two had made while Lennon was still alive. However,
      McCartney has stated that no such agreement ever existed. The two
      other Beatles agreed that the credits should remain as they always
      had been and McCartney withdrew his request. However, the dispute
      reappeared in 2002. On his "Back in the U.S. Live 2002" album, 19
      classic Beatle songs are described as "written by Paul McCartney and
      John Lennon."[6]

      In 1995, McCartney and his family collaborated with Ono and Sean
      Lennon to create the song "Hiroshima Sky is Always Blue," which
      commemorates the fiftieth anniversary of the dropping of an atomic
      bomb on the Japanese city. Of Ono, McCartney stated: "I thought she
      was a cold woman. I think that's wrong ... she's just the
      opposite ... I think she's just more determined than most people to
      be herself."

      McCartney did not invite Ono to his wife Linda McCartney's memorial
      service in 1998, even though both Ono and Linda McCartney had
      attended Sarah Lawrence College.[7]

      Accepting an award at the 2005 Q Awards, Ono made a controversial
      comment that some music critics have interpreted as an insult to Paul
      McCartney's songwriting[8]. She mentioned that Lennon had once felt
      insecure about his songwriting, and asked her why other
      musicians "always cover Paul's songs, and never mine". Ono then
      responded "You're a good songwriter; it's not June with spoon that
      you write. You're a good singer, and most musicians are probably a
      little bit nervous about covering your songs". [9] Heather Mills
      McCartney, when asked about her husband's thoughts on the subject,
      said "He doesn't even know yet. Look at how successful Yoko's music
      is compared to Paul's. Speaks for itself".

      Ono later issued a statement claiming she did not mean any offense,
      as her comment was an attempt to reconcile John, not attack Paul; she
      went on to insist that she respected McCartney and that it was the
      press who had taken her comments out of context.[10]

      She went on to say: "People need light-hearted topics like me and
      Paul fighting to escape all the horror of the world, but it's not
      true anymore...We have clashed many times in the past. But I do
      respect Paul now for having been John's partner and he respects me
      for being John's wife."

      Her relationship with Cynthia Lennon remains strained. In a recent
      BBC interview, Cynthia Lennon said Ono's behaviour toward Julian
      Lennon after the death of John was "Shameful" and remarked of
      Ono's "Lonely" existence in her "Ivory Tower". This interview can
      been seen on a link here.

      Recent life
      Ono again proved herself to be a provocative and controversial artist
      with her contribution to the fourth Liverpool Biennial in 2004. With
      banners, bags, stickers, postcards, flyers, posters and badges, she
      flooded the city with two images: one of a woman's naked breast, the
      other of her vulva. The piece, titled "My Mummy Was Beautiful," was
      dedicated to Lennon's mother, Julia, who had died when Lennon was a
      teenager. According to Ono the work was meant to be innocent, not
      shock<br/><br/>(Message over 64 KB, truncated)
    Your message has been successfully submitted and would be delivered to recipients shortly.