New York, NY (Top40 Charts/ EXOM Publishing House) Paul McCartney absolved Yoko Ono of blame for breaking up the
Beatles in an talk by frequent small screen interviewer
David Frost to air on Nov. 9 by Al Jazeera English news network but he sure tinkered its facts.
He discloses reality as is: "She certainly didn't break the group up; the group was breaking up... I don't think you can blame her for anything... When Yoko came along, part of her attraction was her avant-garde side, her view of things, so she showed him another way to be, which was very attractive to him. So it was time for John to leave; he was definitely going to leave..."
The controversial new book, The Beatles: Extraordinary Plagiarists by Edgar O. Cruz, backs this claim up. On page 113, it states: "(John) Lennon had always needed a new source of inspiration to give him the imagination to be creative. After (Bob) Dylan and a brief fling with the Maharishi (Mahesh Yogi), Lennon undertook another renewal. He accepted Japanese artist Yoko Ono not only as a lover, but also as an artistic collaborator, turning out to be his new father figure. In effect, Ono and her avant-garde art were the replacements for Dylan, McCartney, Cynthia (Lennon, Lennon's legal wife), and the Beatles."
What McCartney bumped off was that Lennon tacitly wanted Ono to participate in Beatles' affairs as some sort of the fifth Beatle. He snubbed the initiative as she would have strengtened Lennon's creative power which was meandering back then due to a worsening recreational drug habit. He opted to do this as it threatened a self-perceived artistic superiority over Lennon.
But just the same, Ono turned the father figure to Lennon's well-acknowledged urge in his personal and professional life. It surfaced with Aunt Mimi, his relative who replaced the absent father who ditched him early in life.
Elvis Presley swapped her with Dylan switching him. After a fling with the Maharishi, Ono took over becoming the strong female figure that filled his primitive need.
Page 115 reads: "Without explanation, Lennon brought Ono into the control room of Studio Three of Abbey Road at the beginning of the recording sessions of 'Revolution.' On May 30, 1968, he quickly introduced her to everyone and she thereafter never left his side."
"
Revolution" is the song where Lennon thematically came to terms with himself which business manager Brian Epstein stopped him and the rest of the acidheads from commenting, specifically the Vietnam War, when he was still alive. For sure, this liberation was Ono's influence.
By doing this, Lennon shrugged the sacred rule that wives/lovers don't barge in recording sessions that barred even Epstein.
Turning his shadow in same get-ups, the stubborn Ono started to participate in
Beatles recordings. She sang the line "Not when he looked so fierce" in Lennon's "The Continuing Story of Bungalow Bill," the first female vocal in a
Beatles song. Lennon and Ono tandemed to come up with the sound version of revolution in "Revolution No. 9."
Ono was high on the strategy curve. By making Lennon crazy for her, he made him into a mad plagiarist who would mishmash song after song about her. "Julia," for example, has lyrics based on Khalil Gibran's Sand and Foam, cloaking this Ono tribute by making his mother named Julia a stand in. Yoko is "oceanchild" ("Julia / Julia / Oceanchild / Calls me...") in Nippongo.
The book, page 115, summed Lennon's addiction to Ono: "Although Lennon termed Ono's presence as an inspiration, undeniably very real in his mind, she became a creative crutch. Together they became a formidable force McCartney had only a whimper of a chance to subjugate. But her presence did not translate to passivity, as the other
Beatles had expected. Determined and outspoken about her ideas, Ono considered
Beatles songs as substandard to her avant-garde works. She began participating in Lennon's work, suggesting ideas or ways to record new
Beatles songs. Lennon had to silence the objection of the horrified
Beatles by being cantankerous."
This sway naturally cascaded the
Beatles turf. While Lennon sang "
Don't Let Me Down" to plead his case about sincerely loving Ono to the rest of the
Beatles crew, McCartney sings "Get Back, an outright dismissal of Ono by asking her "to return where she once belonged." McCartney, as expected, had a ready alibi.
For successfully doing this, McCartney punished Ono with the smooth sharing by
George Harrison and Ringo Starr. But McCartney did put aside his unfriendly pose towards Ono when Lennon wanted to rush-release "The Ballad of John and Yoko(Christ, They're Gonna Crucify Me)." He willingly recorded it with Lennon as the rest of the band were unavailable.
About McCartney blaming the break-up to Epstein's successor business manager Allen Klein, that's copping out. Failing to keep Beatlemania when Epstein passed on of rash drug use, he grabbed power by self-appointing himself as leader to disastrous outputs. Klein staged his coup with the say-so of the acidheads without Macca.
Although Klein turned out an ineffective business manager, he must be credited for extending the commercial life of the
Beatles which McCartney flunked.
Now with Ono operating Lennon's estate which has on-going business interests with Sir Paul McCartney, blaming Klein appears like a no-guilt business decision and great image booster!
The Beatles: Extraordinary Plagiarists is now disbributed exclusively by Amazon.com USA and Amazon.com
Europe (Great Britain, France, Italy, Germany and Scotland).
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