– Um filme de Michael Epstein –
(Legendado em português)


LENNONYC takes an intimate look at the time Lennon, Yoko Ono and their son, Sean, spent living in New York City during the 1970s.

“New York became a part of who John and I were,” said Ms. Ono. “We couldn’t have existed the same way anywhere else.  We had a very special relationship with the city, which is why I continue to make this my home, and I think this film captures what that time was like for us very movingly.”

“The period that Lennon lived with his family in New York is perhaps the most tender and affecting phase of his life as a public figure,” said Susan Lacy, series creator and executive producer of American Masters as well as a producer of the Lennon film.  “Just as the generation that had grown up with the Beatles was getting a little older and approaching a transitional time in their lives as they started families, they saw this reflected in Lennon as he grew from being a rock star icon into a real flesh and blood person.”

“I have long been moved by the honesty and directness of John’s music,” said Michael Epstein, LENNONYC director, producer and writer.  “And, by using never-before heard studio talkback of John from this period, I think I was able to give the viewer a window into John Lennon that had not been put to film before.”

Following the breakup of the Beatles, Lennon and Ono moved to New York City in 1971, where Lennon sought to escape the mayhem of the Beatles era and focus on his family and private life.  At the same time, he created some of the most acclaimed songs and albums of his career, most of them written at his apartment at The Dakota on Manhattan’s Upper West Side, including Mind Games, Whatever Gets You Thru the Night, I’m Losing You, and Woman. He also remained highly active in the anti-war movement as well as numerous other progressive political causes.

As much as New York made an impact on Lennon and Ono by offering them an oasis of personal and creative freedom, so too did they shape the city.  At a time when New York faced record high crime, economic fallout and seemed to be on the verge of collapse, Lennon and Ono became a beloved fixture in neighborhood restaurants, at Central Park, at sports events and at political demonstrations.

Lennon and Ono also bonded with millions of their fellow New Yorkers in their experience as immigrants.  The film traces their struggle to remain in the U.S. when the Nixon administration sought to deport them, supposedly based on a narcotics violation, but which Lennon insisted was in response to his anti-war activities.

LENNONYC features never-before heard studio recordings from the Double Fantasysessions and never-before-seen outtakes from Lennon in concert and home movies that have only recently been transferred to video.  It also features exclusive interviews with Ms. Ono, who cooperated extensively with the production and offers an unprecedented level of access, as well as with artists who worked closely with Lennon during this period, including Elton John and photographer Bob Gruen (who took the iconic photograph of Lennon in front of the skyline wearing a “New York City” t-shirt).”

Siga viagem na galeria d’A Casa de Vidro:

NYC Apartamento

Pouco tempo antes de ser assassinado em 1980, Lennon e Yoko flagrados por foto na frente do apartamento onde moravam em NYC


Lennon e oko


Yoko & Lennon nas ruas de NYC. Fotografia de Bob Gruen




John Lennon (1940 - 1980) and Yoko Ono pose on the steps of the Apple building in London, holding one of the posters that they distributed to the world's major cities as part of a peace campaign protesting against the Vietnam War. 'War Is Over, If You Want It'.   (Photo by Frank Barratt/Getty Images)

John Lennon (1940 – 1980) and Yoko Ono pose on the steps of the Apple building in London, holding one of the posters that they distributed to the world’s major cities as part of a peace campaign protesting against the Vietnam War. ‘War Is Over, If You Want It’. (Photo by Frank Barratt/Getty Images)



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Também recomendadíssimo:


BEATLES ‘N CHORO: Baixe a caixa com 4 CDs só com versões sambrazucas para clássicos dos Fab Four

BOX Capas



Mais discos pra baixar na Cyber Jukebox

Playlist files:

CD 1

  1. Carlos Malta – Help (2:13)
  2. Hamilton de Holanda – Something (3:08)
  3. Paulo Sérgio Santos – The Fool On The Hill (3:40)
  4. Henrique Cazes – Day Tripper (2:45)
  5. Rildo Hora – Here, There and Everywhere (2:32)
  6. Henrique Cazes e Marcello Gonçalves – Blackbird (3:35)
  7. Quarteto Maogani – While My Guitar Gently Weeps (4:22)
  8. Paulo Sérgio Santos – When I’m Sixty Four (2:19)
  9. Henrique Cazes – With A Little Help From My Friends (3:00)
  10. Rildo Hora – For No ONe (2:38)
  11. Hamilton de Holanda – Eleanor Rigby (2:20)
  12. Carlos Malta – The Long And Winding Road (3:07)

CD 2

  1. Carlos Malta – You’re Going To Lose That Girl (2:50)
  2. Henrique Cazes – In My Life (3:28)
  3. Rildo Hora – A Hard Day’s Night (2:43)
  4. Hamilton de Holanda – Yesterday (3:32)
  5. Paulo Sérgio Santos – Martha My Dear (2:15)
  6. Hamilton de Holanda – I Want To Hold Your Hand (2:54)
  7. Marcello Gonçalves – She’s Leaving Home (4:36)
  8. Rildo Hora – If I Fell (2:49)
  9. Henrique Cazes – You Won’t See Me (2:14)
  10. Paulo Sérgio Santos – Michelle (3:13)
  11. Hamilton de Holanda – Here Comes The Sun (3:17)
  12. Carlos Malta – Come Together (3:18)

CD 3

  1. Carlos Malta – I Feel Fine (2:51)
  2. Hamilton de Holanda – Hey Jude (4:01)
  3. Paul Sérgio Santos – Honey Pie (3:17)
  4. Henrique Cazes – Got To Get You Into My Life (3:08)
  5. Rildo Hora – Do You Want To Know A Secret (2:45)
  6. Marcello Gonçalves – We Can Work It Out (3:14)
  7. Henrique Cazes – All My Loving (3:44)
  8. Paul Sérgio Santos – Wait (2:58)
  9. Henrique Cazes – Girl (3:23)
  10. Rildo Hora – Hello Goodbye (3:12)
  11. Hamilton de Holanda – Mother Nature’s Son (3:46)
  12. Carlos Malta – Penny Lane (2:55)

CD 4

  1. Carlos Malta – The Night Before (2:28)
  2. Hamilton de Holanda – Ticket To Ride (3:01)
  3. Rildo Hora – Let It Be (3:03)
  4. Henrique Cazes – And I Love Her (3:30)
  5. Paulo Sérgio Santos – I Will (2:57)
  6. Marcello Gonçalves e Henrique Cazes – Because (3:28)
  7. Hamilton de Holanda – You Never Give Me Your Money (2:41)
  8. Rildo Hora – She Loves You (2:39)
  9. Paulo Sérgio Santos – Maxwell’s Silver Hammer (2:56)
  10. Hamilton de Holanda – Ob-la-di Ob-la-da (2:30)
  11. Henrique Cazes – Nowhere Man (2:55)
  12. Carlos Malta – The Inner Light (3:38)

Baixaê e boa festa pros teus tímpanos!

Os EUA contra John Lennon: de artista a ameaça pública, as peripécias do Beatle em seu clash com o establishment yankee…

OneSheet (Page 1)

How the Beatle became a menace to the U.S. Establishment
as revealed by Leaf’s and Scheinfield’s pulsating documentary

After the Beatles broke-up, John Lennon certainly wasn’t willing to simply let things be. Even tough he remained faithful to the pacifist creed once stated in “Revolution” (“If you talk about destruction / don’t you know that you can count me out?”), he was ready to enlist as a warrior in the growing armies of hippies and beatniks protesting against the genocidal war in Vietnam. Adding his voice to this choir of discontent, John Lennon was bound to clash with the American authorities.

After the Fab Four had disbanded, George Harrisson sought his peace of mind and spiritual serenity in Hare Krishna and Eastern religion, while McCartney went on a solo-career that would consolidate his stardom. But Lennon had other plans in mind than singing mantras or writing silly love songs. The “rebel Beatle” was about to throw himself head-on in the social and political struggles of his times and would soon become one of the most outspoken cultural icons campaigning for love, peace, freedom – in synthesis, for the “brotherhood of man” utopia “Imagine” told us about.

Details of this exciting and turbulent saga can be found in The U.S. Against John Lennon, a documentary by David Leaf and John Scheinfield which chronicles how Lennon and Yoko got so deeply involved in the most urgent political turmoils at the dawn of the 70s. Some of the songs composed during that period were hymns for the pacifist movement, such as “Give Peace a Chance”, while protest-songs like “Power to the People” reached wide-spread acceptance amongst the American citizens who were flooding the streets for mass demonstrations that helped re-shape the Cold-War era.

Lennon, in the Sixties, was no stranger to rebellion and had been seduced more than once by the counter-cultural magnet, speaking up against the stablishment. He had, for example, embarked on LSD trips, becoming one of the enthusiasts of Albert Hoffman’s potion, siding with other gurus such as Timothy Leary and Ken Kesey. Much of the historical importance of the band lays in their amazing capacity to innovate and evolve: they went from being a naive yeah-yeah-yeah pop-band and transformed into an astonishing psychedelic cosmic trip, kick-started with albums like Revolver and Sgt. Peppers. The world knew well from those days the capacity that Lennon and his peers had of being pioneers.

In 1968, in the White Album era, the Beatles had already deviated a lot from the mainstream currents of pop music and were now experimenting with extravagant instruments and journeying in India in order to gather wisdom first-hand from the Maharishi. Some years before, Lennon had raised a lot of controversy when he stated that the Beatles were more popular than Jesus Christ. This statement was far from a sociological lie, given the dimensions of mass hysteria raised by the Beatlemania. But Lennon’s phrase wasn’t swallowed smoothly by some Christians who, offended by this claim, went on to burn the records and posters of the herectical Liverpool quartet. In the mid sixties, Lennon was already some sort of a troublemaker, with a tongue behaving like a viper. However, nothing prepared the world for what he would stand-up for in the 70s.

In his solo-career, Lennon showed no signs of slowing down on his path to religious and political criticism, as we can hear in songs such as “God”, “Working Class Hero”, “Gimme Some Truth” or the era-defining “Imagine”, arguably one of the most unforgetable pieces 20th century popular music. Politically, he became more and more out-spoken against the ills he perceived in the world, and perhaps considered himself as someone who could inspire the masses muh in the way leaders such as Gandhi or Che Guevara did.

When he chose to live in America, Lennon was due to become, in the eyes of authorities, a dangerous rebel to be closely watched and whose wings should be quickly clipped. His involvement with people who were deemed by the FBI and the CIA as “radicals” – such as John Sinclair or Black Panthers activists – ended up turning Lennon into some kind of public menace to the mainstream political establishment. Soon the U.S. would be anxiously spying on Lennon and just looking for an excuse to kick him out of the country. A couple of joints found in his possession would be enough. His powerful voice of dissent had become a great nuisance for the warmongers who whished he kept his mouth shut about foreign policy matters. But Lennon wasn’t willing to shut up. He stood up in the face of danger, thus inspiring a whole generation to shake-off its letargy and “take the power back”, as decades later the hard-rockers Rage Against the Machine would enshrine in an earth-shaking protest song.

The documentary The U.S. Against John Lennon is truly an impressive dive into this historical context of the early 70s, a film bursting with great images from the archives and scenes from a country in turmoil. Inspired both by Gandhi’s pacifism and by the Hippie-era Flower Power ideas, Lennon provided fuel to the fire of love and peace. History would never forget the mottos: “make love, not war!” and “war is over (if you want it”). For these and many other reasons, The U.S. Against John Lennon is a deeply inspiring film, a testament to the courage and far-sighted-vision of one of the greatest cultural icons of the 20th century. When the film ends, we can’t avoid the feelings of gratitude and admiration towards this artist and warrior who enlightned us so much in our path to empowerment.

John e Yoko

Article by Eduardo Carli de Moraes
Toronto, Ontario
416 271 2852