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Re: Yoko Ono ...

Posted by halfnote (A) on November 27, 2006 at 20:56:35

In Reply to: Re: Yoko Ono ... posted by J on November 26, 2006 at 16:56:51:

You have not offended my sensibilities at all. Heck, this is just a rock 'n roll forum. However, there was a slight note of condescension in your dismissal of my initial post as "this kind of crap." That's fair, too. We're all here to kind of mix things up and have fun. But that was what prompted me, somewhat fascetiously, to term you a "sophisticate."

I do appreciate your thoughtful follow-up, though. And I have to admit, I have never been a fan of Ono's.

I think it's a bit of a strectch to confer her with "musical credentials." Could she play and instrument? Not to my knowledge. But correct me if I am wrong. Did she have any prior musical experience as a performer before she "met" John? (Paul says she first tried to insinuate herself with HIM.) Could she sing even? About well enough to be the target of a well-aimed shoe. It may be that her caterwauling was in the tradition of aleatory music composers like Cage, but she added nothing to it. Her rather outrageous vocalizations, in my opinion, we simply a ruse that she knew would garner her more attention, an activity that seemed to be her chief preoccupation. And to compare her to atonal modernist composers like Ives or the great Stravinsky is, well, let's just say it's unwarranted.

I didn't know that she was instrumental in 'Revolution 9," which is an interesting experimental recording. That's impressive in itself. But let's also remember that Lennon and the Beatles were already headed well down this road as early as Revolver and Sgt. Pepper, which pre-date her "involvement." As to Lennon's development as a lyricist, and "I am the Walrus" in particular, I think these psychedelic and surreal elements were already clearly present prior to John's association with Yoko. In fact, I would argue that Lennon's lyrics became much more pedestrian after Ono arrived. The Plastic Ono Band album is compelling and raw, but it has none of the flair, lyrically or musically, as Lennon's previous work. By the New York City album with the Elephant's Memory Band, he has become a somewhat banal social critic, instead of a poet. However, if, as you say, she took Lennon in a new direction lyrically, I would have to concede the point. Even so, though I am no scholar of her OWN lyrics and poems, those I have come across strike me as rather trite, kind of Hallmark meets Allen Ginsburg.

What she was, at least to my thinking, was a publicity stunt artist. And in this regard, she had great talent, and great success. She managed to turn herself, and John, into social Messiahs of the 60's protest movement. I see her influence on John in lyrics like "Woman is the Nigger of the World" and "Give Peace a Chance." Raw, obvious, and superficial, yet pertinent to the times -- and tailored, I might cynically suggest, to a ready-made late 60's youth who taken it as an article of faith that all protest and change was good. It was the perfect perscription for the notortiety that I believe she sought so relentlessly. But her success in becoming a counter cultural icon was due to her association with and her ability to influence Lennon -- no mean feat. It was not something her own talents would ever have afforded her.

Did she love John Lennon? Did he love her? I have no doubt. But you can't blame some of us for being offended by her presence at the "Let it Be" sessions, and even offering suggestions and criticisms of the other Beatles' performances, as has been reported. It's like one of your buddy's girlfriends showed up on poker night and told everyone to put out the cigars and play a few hands of Old Maid because she thinks it's more fun.

I believe, when Lennon died, Ono was left the wealthiest woman in the United States, and in complete control of John's estate. Julian, Lennon's son from his first marriage, was ultimately forced to sue to win a share of the estate. But then, Yoko always meant business, didn't she?

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