Tag Archives: john lennon

This Century And Last Century Art Mastery By Yoko Ono

“I would like to see the sky machine on every corner instead of the Coke machine. We need more skies than Coke.” – Yoko Ono, 1966.

Growing up the daughter of proud, British baby-boomer parents, the name Yoko Ono was not exactly revered in my household. In fact, she was considered a weird, controlling creature that somehow brainwashed John Lennon and systematically broke up the Beatles—the greatest rock and roll band of all time (according to my father). It wasn’t until art school that I began to learn who Ono really was and why she is considered one of the most iconic and mythological people in contemporary society.

Yoko Ono has been in the public eye for over 50 years, and she has been viewed as a muse, destroyer, widow, mother and artist. Granted, the fact that she is a household name is due largely to her late husband’s fame and legacy. However many are not aware of the her own accomplishments, innovations and her impact on the contemporary art world, beginning before her much publicized marriage and continuing until today.

Yoko Ono was born in Japan in 1933 to wealthy parents. Her family experienced much hardship during the Second World War, surviving the great fire bombings of Tokyo in 1945. They lost everything and were forced to beg and barter for food, which Ono credits as being the inspiration behind her imaginary/instructional art works or, as she refers to them, “paintings for the mind.”

After the war her family settled outside New York City, where Ono studied at the prestigious Sarah Lawrence College. In New York she began visiting galleries and art “happenings” (a form of performance-art involving the participation of both artist and audience), and these experiences inspired her own emerging work. In the early 1960s Ono was closely associated with the Fluxis movement, which was more a state of mind than a style of art. Members valued social goals over aesthetic goals and their main aim was to upset bourgeois (ie: middle-class or materialistic) routines of art and life.

The Fluxus incorporated influences from Dadaist theory, a school that originated in Europe after the First World War when founding artists Marcel Duchamp, Man Ray and Jean Arp felt they could no longer trust reason and the established order of things. The intent of Dada artists was to denounce all previous attitudes and perceptions and to shock the audience. Similar to Dada and often described as anti-art, the Fluxis used mixed-media, mail art, actions and happenings to promote a new culture of performance-based, audience-interactive, and non-commodifiable art.

One of the most iconic pieces of performance art, and the one for which she is most renowned, is Yoko Ono’s “Cut Piece” (c. 1964). Performed on several occasions and in a variety of venues, “Cut Piece” featured Ono alone on a stage, dressed in a black garment. Volunteering audience members were given scissors and invited to cut pieces from her dress. Like most performance-based artists, Ono could not have had a set purpose when she performed this work—or if she did it would be pointless—because it depended on the audience/viewer response and action.

For the most part, people were at first hesitant to come on stage, but as they lost their inhibitions participants began to cut bigger and bigger pieces of cloth until the dress was left in shreds (in one performance a young male actually cut off her undergarments).

Depending on where she performed “Cut Piece,” Ono received a different reaction. In Japan the audience was shy and hesitant. In London they became so violent security had to intervene. But even if no one had come forth to snip the dress, the performance would still have made a statement.

This is the strongest, most encompassing element of Ono’s catalogue as a whole: its participatory aspect. Everything she has done has been dependent on her audience or viewer. Her book Grapefruit is an excellent example of this. It contains instructions on how to perform her various imaginary pieces, such as “Painting to be constructed in your head,” and “Conversation piece.” In one of my personal favourites, “Painting for the wind,” the reader is instructed to “cut a hole in a bag filled with seeds and place the bag wherever there is wind” (1961, summer).

It is impossible to discuss Yoko Ono’s work without mentioning her late-husband and collaborator, John Lennon. After their extremely public romance and marriage, Ono found she was somewhat shunned or distanced by the contemporary arts community. But the couple decided to exploit their massive profile to forward their social agenda for peace. On their honeymoon, the two staged a “Bed-in for Peace” in Montreal, knowing the media would eagerly cover something so curious and provocative. John articulated his understanding of the potential of modern media very well; he knew that whatever he and Yoko did would end up in the papers.

“We decided,” he said, “to use the space we would occupy…with a commercial for peace and also for a theatrical event.” Life as art with social goals: very Fluxis.

After Lennon’s devastating assassination in 1980, Ono continued to manage his estate and advocate for world peace, eventually getting back to conceptual art in large galleries. Most recently she has exhibited and performed commemorative shows in honour of the 40th anniversary of “Cut Piece.”

In the movie “Imagine: John Lennon,” Lennon describes how he met his wife: “Yoko was having an art show at the Indica Gallery…I went down the night before the opening. The first thing that was in the gallery was a white step ladder and a painting on the ceiling and a spy glass hanging down. I walked up this ladder and I picked up the spy glass and in tiny little writing it just said, ‘Yes’…” Lennon also once referred to his wife as the world’s “most famous unknown artist. Everybody knows her name but nobody knows what she does.” For the Silo,  Eve Yantha.

Yoko On oand Sean Ono Lennon

For further contemplation:

Imagine: John Lennon- A startling film derived from over 200 hours of John’s own film and video footage, as well as stills & heretofore unpublished music from John and Yoko’s personal collection. (1988)

Grapefruit: A Book of Instruction and Drawing by Yoko Ono (c. 1964; 1970)

Featured image:

Photo: Franca Candrian, Kunsthaus Zürich. © Yoko Ono

This Room Moves at the Same Speed as the Clouds 

My Magical Mystery Tour of Abbey Road Studio In London

Have you ever experienced something surreal?

I had reason to visit and work at Abbey Road Studio in London, and it still seems surreal!! My colleague Jayson Tomlin, Gary Katz (producer of Steely Dan), and myself were there to do testing and evaluation of some new technologies we’ve been working on for broadcast and consumer applications.

We spent a full day working in one of the mix-down studios, along with members of the BBC, Scotland Yard, Abbey Road, David Perreau, Felix Konrad, and some of Gary’s record producer ‘buddies”…Hugh Padgham (Genesis, Rush, Phil Collins, Police, Sting, XTC), and Elliott Randall (studio guitarist for Steely Dan).

Frank with Hugh Padgham (left) and Gary Katz (right)
Frank with Hugh Padgham (left) and Gary Katz (right)

Our connection with Gary has enabled us to connect with key members of the music production world, which in turn has enabled us to further evolve technologies for broadcast, and soon the consumer markets. Our work at Abbey Road was another step along this process, and it raised the bar for us, on what is expected of our products.

Frank on the steps of Abbey Road Studios
Frank on the steps of Abbey Road Studios

Being able to set foot into the building and studio where the Beatles recorded and produced all of their material was breathtaking. I’ll never forget, as we were wrapping up the events for the day, the studio engineer, whom we were working with, said “hey guys come with me, two is now open!” In my mind I’m thinking “this is where all the ‘magic’ happened.” So, off we went, and sure enough we walk into studio #2, and it’s still pretty much the same as if John, Paul, George, and Ringo were there the day before.  Getting chills—again—as I write this!!

Jayson Tomlin and others take in Studio #2
Jayson Tomlin and others take in Studio #2

Probably the most gratifying moment that day was towards the end. Hugh Padgham had been listening to some tech I’d developed, and told me how he’d done work with the late George Martin. His comment was how he had a good sense about how George produced the Beatles, and could we apply my ‘gizmo’ to their music.

Abbey Road Cafeteria
Abbey Road Cafeteria

So…in the building they recorded the album Abbey Road, we added some treatment to the song “Golden Slumbers.” Together, all of us were in awe to hear the Beatles music, with some treatment from our efforts, done at Abbey Road!

Tape deck used in the recording of Sgt. Pepper's
Tape deck used in the recording of Sgt. Pepper’s

There’s a skylight in the ceiling of the studio we were working in. While listening, I looked upward through the skylight, and thought, “if Mr. Martin, Mr. Lennon, and Mr. Harrison are listening, my hope is you won’t feel I let you down.” I felt a tear trickle down upon having this thought. Quite possibly one of the coolest occurrences in this boy’s life!!

Frank between pianos used for the Beatles' “Get Back” and John Lennon's “Imagine”
Frank between pianos used for the Beatles’ “Get Back” and John Lennon’s “Imagine”

Modestly, it was reassuring when each of our well-known music industry guests gave us the “thumbs up’ for our efforts. Further indication of how our little organization keeps growing and raising the bar! In closing, my sincere thanks to Jayson Tomlin, Gary Katz, Hugh Padgham, Andrew Scheps, and Elliott Randall for your feedback and friendship!!

Recording mixer used to record Pink Floyd's The Dark Side of the Moon
Recording mixer used to record Pink Floyd’s The Dark Side of the Moon

For the Silo, Frank Foti.

Celebrity Homes: Andy Warhol Home Sold For $50 Million USD

Warhol Home InteriorsMontauk, New York was celebrating its biggest estate sale ever after the closing on the 5.7-acre beachfront estate at $50 million USD that pop artist Andy Warhol bought in 1972 for $225,000 USD.

The most recent owner of the compound was CEO of J. Crew, Mickey Drexler, who bought it in 2007 for $27 million USD. He listed it in 2015 for $85 millionUSD that included a 24-acre horse farm and equine center, which the buyer, Adam Lindemann, opted out of the purchase. Lindemann is the founder of the Venus Over Manhattan Gallery and a major collector of Warhol’s works making the property’s history especially significant for him.

Warhol’s first gig out of art school was as a fashion illustrator for several of the top women’s magazines. With the money acquired from his illustrations, he purchased a large loft on New York’s West Side and opened the Factory, where he turned toward creating industrial art. It wasn’t long before the Factory and Andy were attracting like-minded modernists from hippies to wannabe journalists and actors to drag queens and drug addicts. It was the start of New York’s avant-garde scene where Warhol held court. In addition to his painting, he branched out into music, film and journalism where he met Paul Morrissey who became the director of some of Warhol’s early films.

Warhol Interior Large1

In 1972 when Warhol’s popularity and success were peaking, he and Morrissey decided to invest in property in the Hamptons and purchased the family fishing camp of the Church family of Arm & Hammer Baking Soda fame. The estate includes a 3,800-square-foot main house and five cottages completely hidden from public view with wide beaches and ocean views. Totaling almost 15,000 square feet with nine bedrooms and twelve baths, Drexler had it all meticulously restored by architect Thierry Despont.

Warhol’s stream of celebrity guests and renters put Montauk on the international map. Frequent guests included Liza Minnelli, Liz Taylor, John Lennon, Mick Jagger, Jackie Kennedy and Lee Radziwill. The parties were legendary and stories of happy days idled away on the Hamptons’ beach are recounted in many celebrity biographies.

Warhol Interior Large2

Even though the Warhol home sale set a record at $50 million USD, his most famous paintings such as “Eight Elvises” and “Silver Car Crash” have sold for $100 million USD and higher. The listing agent was Paul Brennan of Douglas Elliman Real Estate in Montauk, New York. Visit here for more information.

Supplemental– David Bowie as Andy Warhol in Basquiat

How You Feel About Money Affects Your Wealth

Ah, Aristotle- penchant of ancient greek wisdom. Nicely said, Dude. Although we live in the richest and most advanced society the world has ever known, many of us say we need more money in order to be happy, notes best-selling business book author Doug Vermeeren.

“Even some of those in the top percentile of earners often feel like they don’t have enough money,” says Vermeeren, (www.DouglasVermeeren.com), an international speaker who consults with celebrities, business executives and professional athletes.

“The math is simple: More money does not equal more happiness. It’s our attitude toward money, not the amount, that influences our happiness the most.”

Doug Vermeeren was interviewed earlier this year by Shaw. You can watch this by clicking on the link below at the end of the article. CP

Happiness researchers Elizabeth Dunn and Michael Norton, professors at the Harvard Business School, recently published research indicating that it’s not money that makes people happy, nor the things people buy with it. Rather, it’s the experiences one has that ultimately account for happiness.

“How you experience your money on a day-to-day basis is what matters,” Vermeeren says. “If the software running in your brain is constantly reinforcing the message, ‘it’s not enough,’ then that is likely how you will see yourself and experience your life – as ‘not enough.’ ”

The world’s richest city- is it Tokyo or Dubai? The top ranking seems up for grabs and changes from year to year.

Harvard's Happiness researcher (we're not making this stuff up) Elizabeth Dunn
Harvard’s Happiness researcher  Elizabeth Dunn

Vermeeren reviews the three fallacies of abundance as it relates to happiness:

We are all entitled to a certain amount of wealth: The feeling that we deserve or are owed a certain amount of wealth will always make us unhappy with whatever we have. While we are entitled to certain human rights, those do not include a winning lottery ticket. In reality, we are not owed any amount of abundance and, in fact, should count ourselves lucky if we’re able to meet our basic needs; many in the world are not. More of us, however, would be happier simply appreciating what we have.

The result of our labors is money: Money is a means to an end, not an end in itself. This can be a challenge to keep in mind since so much of our lives are spent in the pursuit of money. We work and go to school to support ourselves and our families. We see things we want, and we know we need more money for them. Study after study shows, however, that what really makes us happy is what we do and who we do it with, and not how much money we spend.

We’ll be happiest when we finally reach our goal: We are happiest when we are progressing toward a goal. When we lose sight of our goal, veer off the path toward our goal, and even achieve our goal, we’re less happy. Rather than setting one goal and deciding you will be happy when you meet it, you’ll be most happy if you continually set goals and relish your journey toward them.

Doug Vermeeren is an internationally renowned public speaker, author, movie producer and director. His life coaching strategies help those from all walks of life, with clients including business executives, celebrities, professional athletes and more. Throughout the last decade, Vermeeren has conducted extensive first hand research into the lives of more than 400 of the world’s top contemporary achievers, making him a sought-after commentator on news outlets including ABC, FOX, CNN and more. He has written three titles contributing to Guerilla Marketing, the best-selling business series in publishing, which is included reading in the Harvard Business School.

His documentaries include the award-winning film, The Opus, which has been published by Random House as a book in 23 countries. Vermeeren’s latest film, The Gratitude Experiment , has received critical acclaim.  For the Silo, Ginny Grimsley. 

Click to view on I-tunes
Click to view on I-tunes

Letters To The Silo- Canadians Not Supporting Fair Elections Act

Letters to the SiloDear Silo and the Canadian media- Pierre Poilivere out right lies when he says that Canadians support the provisions of the “Fair” Elections Act.  Who are these people? Can he name some – other then members of his own party who have been brow beaten into submission?    This is the text  of an Email I sent to our Senators on April 4.  To date I have received a reply from four of them – Nancy Raine, Jane Cordy, David Wells, and  Grant Mitchell. The rest of them appear  to be sleeping soundly – or perhaps they have been drugged.

Dear Senators,

A long time ago John Lennon wrote a song to Paul McCartney about the break up of the
Beatles, the greatest rock band the world has ever known, entitled “How do you
sleep? I am not a song writer so I have to use prose and this is my question to you
– How do you sleep? The current government is systematically breaking down all of
the things that made Canada one of the greatest countries the world has ever known.
The latest and perhaps most insidious is the “Fair”  Elections Act.

Presumably you originally got into politics because you felt a calling to help other
people.  If you didn’t and you were just after money, a secure and highly lucrative
pension, power and influence, feel free to junk this Email (like many others you no
doubt have received) and go back to sleep.  However, if there is even the tiniest
shred of conscience and backbone left in you, it is time to wake up.  The Fair
Elections Act is anything but fair, and anyone with any kind of intelligence and
ability to think independently can see that it presents a real and present danger to
democracy in Canada.

It is time to stand up for Canada and oppose this truly horrible piece of
legislation by any means that you have.

Thank you for your time.

Sincerely,

Catherine Oliver

Supplemental- Read the Full Document Fair-Elections-Act   Learn more- Bing Search Fair-Elections-Act

 

Window Fishing Or The Night We Caught Beatlemania

Window Fishing

A Silo Canuck Book Review

I’ve never particularly been a Beatle’s fan. I like some of their songs. I like a number of them very much, but if I was asked the now proverbial question, “The Beatles or The Rolling Stones?” I would probably say, Oh, I don’t know, maybe The Who? The body of work of Mark Knopfler. Massive Attack were massive for me.

But I was not a child of the sixties, “an age of assassins,” John B. Lee writes in his poignant and powerfully executed preface, when “[o]ur childhood martyred almost all the heroes that we’d had.” John F. Kennedy. Robert F. Kennedy. Martin Luther King (Malcolm X, not mentioned but later, yes). “The list is overlong,” Lee says. “It will not end.” I understand more fully than ever these life-shattering moments, for Americans and Canadians alike; for so many  Across the Universe . Into this near death of hope came The Beatles. The Beatles came to America, came on a Sunday night in January 1964 to The Ed Sullivan show and, and as Lee exclaims with no exclamation mark, “sang my life awake.”

It’s not a perfect looking book. Yet as I read, the grainy cover photo (by an unknown photographer) of four dapper mop-tops fishing out the window of their Seattle hotel—they literally weren’t allowed to leave—starts to resonate. It’s imperfection could be viewed as integral, evoking a time in music when moments of “perfect imperfection,” as Michael Shatte calls them in his essay, were more common in pop; “happy accidents” which would not be tolerated in this era of hyper-produced top-forty songs, when singers voices are routinely, digitally “auto-tuned” in the studio, and we get used to being disappointed when we hear them live. Then there’s lip-synching. I don’t need to go on. There is great music being made by great musicians right now. But that’s not what we’re here to talk about. This is about a particular moment in pop-music history, in cultural history, and many of the moments that followed.

PaulMcCartneyBlur

The book is selected and edited by John B. Lee, a Canadian poet and writer who has published more than fifty books and received over 70 prestigious awards for his work. If you haven’t heard of him don’t feel too bad. He tells me openly there is little money in poetry, reminding me it’s not about that anyway. If it was it probably wouldn’t be poetry.

If you haven’t read him it might be time to start: his verse and prose catch the beauty of rural life, farm life, family life, hockey, human sexuality—life. Just Google him. He’s from home, you know. Right around here, right around me, the Poet Laureate of Brantford, Ontario and Norfolk County, home as well to Alexander Graham Bell and Wayne Gretzky, a poet of sport. Like McEnroe was one of the poets of my youth, making tennis beautiful, thrilling, creative; revolutionary. How I tried to emulate him…

Window Fishing Cover

Window Fishing is about a time of Revolution, evolutions in culture, and about growing up in the thick of it all. I wasn’t here yet, but as I read this book I learn. It is a literary volume. The cover photo and torn ticket stub on the back page are its only images. Or are they? Because black words on white paper are also images. And the book’s words, artistically rendered, conjure images as well as ideas. It is poetry, and prose poetry, and personal essays; fine writing by a collection of fine writers.

I learn that for most of the men, who were boys then, pubescent, the Beatles were all about music: musical discovery, even ecstasy. And style too. There was style.

For the women who write about the phenomenon of Beatlemania, there was music too. Absolutely. But there was something else. Something profound: the awakening of sexuality. Even a kind of love. Suddenly I understand all the screaming and crying, the fainting. For emerging, young (straight) women, the Beatles were more than musical. They were also beautiful. Sexy. As Susan Whelehan puts it in her essay: “John. He was mine and I was his…I was going to be his FOREVER. And I am.”

While many parents of the day may have dismissed The Fab Four at first as a silly “boy-band,” we might say now, shaking their longish (for the time), round hair-cuts—singing “Ooooo!” and “Yeah Yeah Yeah!”—fact is from the beginning The Beatles were always at the very least competent, and obviously compelling, musicians. Writes Honey Novick in her probing, poetic essay: “You could actually dance to their music.” And we know they became more and more sophisticated as they progressed through their careers, eventually making challenging, often satisfying real art-music, the way Radiohead did for me in my 20’s.

All this beautiful literature about The Beatles and the 1960’s has inspired me to listen, finally, seriously, to the music. Even if you thought, at the time, “Yeah Yeah Yeah” was just bubblegum for kids, consider the lyrics. One friend to another: “You think you lost your love/Well I saw her yesterday. She says it’s you she’s thinkin’ of/And she told me what to say: She says she loves you.” She loves you man. Yeah! (Yeah! Yeah!). What more is there to celebrate? Ecstatically.

If you were there, or if you want to learn, or if you care about music or culture or the 1960’s or just literature, embrace the “perfect imperfection” of this unique and potent book. Some of the poems made me close my eyes and shut the pages. To savour, digest. Bruce Meyer made me cry. I was 8 years old when Lennon was shot. Assassinated. It made no impact on me then. I wasn’t really there yet. The book put me there, as close as I can ever come.  For the Silo, Alan Gibson.