From the Art Trade to Super Deluxe Boxes: Reinventing 40 Years of History
By Carlos E. Larriega
INTRODUCTION
Since John Lennon's departure from the material world, the handling of his discography and filmography at the beginning had been satisfactory. There were some complaints from fans regarding releases such as 'Milk and Honey' (1984) or 'Menlove Ave' (1986). The version of "Grow Old With Me" had poor quality and Yoko stated it was the only tape left because part of the material in the archive had been stolen (1)
"To Know Her Is To Love Her" was a Phil Spector cover. Bootleg editions showed better versions of the song, but that plodding version was chosen by Yoko. However, it seems the selection of unreleased material improved in 1998 with The John Lennon Anthology.
Grow Old With Me (1984) (Remasterado en el 2010) To Know Her Is To Love Her (1986)
Dibujo original de John Lennon del libro 'Skywriting By Word Of Mouth'
Dibujo alterado al pintarlo y agregarle otros elementos
Libro 'John Lennon Real Love, The Drawings for Sean,' adaptado por Al Naclerio (1999)
"One Day (At A Time)" de 1973 remasterado el 2010
"One Day (At A Time)" (Ultimate Mix 2024)
"You Are Here" (Ultimate Mix)
Exposición 'You Are Here' (1968)
As administrators of John Lennon's artistic and musical legacy, both Yoko Ono and Sean Lennon had the mission of ensuring the former Beatle's work would not be altered and would be preserved for the future. John not only made music and films, he also wrote books with clever stories and original drawings that complemented the tales. The drawings were illustrations to go along with stories, not pieces for gallery exhibitions. Even in 1964, John won the Foyle's Literary Prize for his book 'In His Own Write' . The award was in literature, not in painting.
Unfortunately, starting 1986, the management of John Lennon's legacy stopped focusing on preserving his work and became subject to alterations, and these actions have increased even more in the last decade. This pattern repeats itself in two areas: art and music. In the artistic realm, Yoko distorts John's work by removing it from its literary nature to manipulate his drawings and attempt to exploit them as art pieces for exhibition and sale. In the musical field, Sean Lennon made changes and alterations to two of his father's essential albums (Mind Games and Some Time In New York City)
LISTEN TO THE COLOR OF YOUR DREAMS
From Black and White to Color, From Literature to Painting
John Lennon never painted for galleries. He drew.
In 'In His Own Write' (1964) and 'A Spaniard In The Works' (1965), the drawings were footnotes. Little monsters and doodles meant to accompany the words, not to hang on a wall.
From 1986, that changed
The Art Of John Lennon, released by Yoko Ono, took those black and white ink sketches and turned them into limited edition color lithographs. The drawings were colored, cropped, and reframed.
As curator Gary Arseneau admitted: "Some of them were cropped because they had to fit a certain format… Some of them we actually added color to." (2)
The drawings affected by these changes did not only come from John's two 1960s books. They also included material that would be published posthumously as 'Skywriting By Word Of Mouth' (1986). Nothing was spared.
The mission, according to Yoko Ono, was to "preserve and protect" John's work. The result was alteration.
The reason? . Simple: to sell them as "limited editions" . Reports in The Times UK 1990-1991 and Art & Auction Magazine stated that each lithograph sold for between $1,500 and $15,000. The catalog listed them as "limited edition of 250."
The altered works were sold in SoHo, Britain, and the U.S. with John Lennon's special seal. The commercialization of these altered drawings began in 1986 and became more pronounced from the 1990s onward. Yoko admitted that color was added after his death, but said buyers were notified.
Gary Arseneau, artist and author specializing in lithography, spoke publicly:
"The so-called 'Art of John Lennon' sold in SoHo were posthumous forgeries, colored and with new compositions, each part of fake editions with forged John Lennon stamps. This is work John Lennon never saw, never created, never approved, and never signed. The dead do not create art”
Yoko claimed it wasn't "misrepresentation" . But it was clear that a "colored Lennon drawing, limited edition, numbered and autographed" increased the monetary value of John's work. They transformed a 1960s work into sellable "pop art."
We know John Lennon was obsessive about authenticity. He hated when EMI put a brown paper bag over the 'Two Virgins' cover to sell it. If he were alive, it is doubtful he would have approved coloring his ink drawings to make them "more commercial"
Yoko would say it was about "keeping the legacy alive." But there are plenty of reasons to conclude this was about altering the work to meet the current commercial demands of the market.
Case: Real Love: The Drawings For Sean (1999)
Between 1975 and 1980, John Lennon made original drawings while raising Sean. They were in ink, simple line, and black and white. They were games between father and son: John would draw something and Sean would guess what it was.
In 1999, Yoko Ono released the children's book 'Real Love: The Drawings For Sean', altering those drawings. She added color with luxurious polychrome treatments, stating it was to "enhance John's existing material but without overwhelming the drawing."
The final product was a hardcover book published by Random House, with numbered lithographs signed by Yoko, in a limited edition of 300 copies.
Yoko admitted she had trouble getting galleries to exhibit John's drawings because: "the people in the art world were telling me: 'We won’t put them in the window unless they have color,' so I thought I should do it myself."
For the Sean drawings, Yoko’s argument is: "it was for a children's book, color helps children." But the original work is still altered. John drew in black and white because that’s how he saw the world and that’s how he showed it to Sean. Coloring them 20 years later is putting a filter on them.
John never colored the drawings. They were intimate sketches, in pen, for Sean. They were not works for a gallery.
Here the same pattern used with 'The Art Of John Lennon' is employed: the black and white drawings are colored and marketed in a limited edition, signed by Yoko, at a high price. John's works are altered by Yoko to make them more "commercial/attractive" for the current market.
The intention doesn't matter. The work is still being altered. John chose to make the drawings in black and white in the late seventies. Yoko decides that in 1999 they had to be in color. She is changing the decision the artist made and approved during his lifetime.
It’s like rewriting a personal diary. It also erases the historical context. If new generations only know the colored drawing, they will never understand what John really was or what he wanted to express. They are given a filtered version. And these are changes that cannot be reversed in public perception.
SEAN LENNON'S 'MIND GAMES'
For the 50th anniversary reissue of 'Mind Games - The Ultimate Collection in 2024' - Sean Ono Lennon served as creative producer. Unlike previous productions like John Lennon/Plastic Ono Band or Imagine, this time John Lennon's son exceeded his role as curator of the musical legacy. Instead of preserving the essence of what John wanted to express in 1973, he reinterpreted it as he saw it. He didn't just make changes to the album, he also changed the traditional promotion, shifting attention away from the music to aspects that were not part of his father's original conception.
Sean removed an instrument from a song. He brought Yoko Ono into an album where she had almost nothing to contribute, except for the cover image where John is walking away from her. And he even became a co-writer and participating musician on another album that was created to relax and meditate.
Altering "One Day (At A Time)"
On 'Mind Games: The Ultimate Collection (2024)', John and Yoko's son removed Michael Brecker's saxophone solo from the original mix. It was one of the most discussed changes in the Ultimate Mixes. That solo had been approved by John. With Sean's decision, the song now focused more on his father's voice. He also made other changes in the remixes, like in the Elemental Mixes. But the specific removal of an instrument from the final mix only happens with Brecker's sax on "One Day (At A Time)".
In the original 1973 mix, the sax comes in strong on the solo. It gives you the impression of a New York session from 1973. The sax shares the spotlight with John and gives a greater sense of a studio album with the Plastic Ono Band sound. What Sean did in the 2024 mix was put the voice more front and center. And at the same time it gives the feeling that you're listening to a polished demo.
According to Sean, the goal was to "clean up the mixes and bring them closer to what John would have done today with modern technology." For him, John's voice was buried by the sax and the emotion of the song — which according to Sean, John wrote for Yoko — was getting lost. He wanted it to be a "love song stripped bare".
Brecker's sax is present on the original 1973 release of both "One Day (At A Time)" and "Bring On The Lucie." Sean only removed it from the first of those tracks.
When you grow up with the original version, every note, every solo, every breath becomes part of the memory you have of the song. Making changes feels like someone is rewriting the image you have in your mind of the melody that marked you.
By excluding Brecker's sax from the song, Sean made editorial decisions. He interpreted his father and claimed he wanted to show "what John would have done today." . The problem is that John isn't here to say yes or no. And Brecker's sax on "One Day (At A Time)" was part of the actual 1973 session. It wasn't a mixing mistake. It was a band playing live in the studio. Removing it is rewriting the history of that session.
Brecker's sax deserves to remain there for anyone who wants to hear 1973 exactly as it was. John was in the room when Michael Brecker recorded it. He approved it. Removing it 5 decades later isn't just altering the track, it's going against the very conception of it.
'Mind Games: The Meditation Mixes' (2024)
Sean Ono Lennon released 3 albums as part of the promotion for the anniversary edition of Mind Games. The project was called 'Mind Games: The Meditation Mixes'.
What Sean did was take songs from Mind Games as the foundation for "relaxation music." He extended the tracks, slowed them down, removed lyrics/vocals in several sections, and turned them into soundscapes for meditating, sleeping, and relaxing.
The songs were presented as "Mind Games for Wellbeing." There are versions "for sleep" and "for focus."
This time Sean did something more serious: he added new instruments. He recorded and layered parts himself. He introduced pianos, synthesizers, ambient effects.
These aren't just remixes. They are partial re-recordings.
This means that with the Meditation Mixes, Sean is acting as a co-author. He is playing over John's tracks. He is creating "new John Lennon music" that John never composed or played.
For John, 'Mind Games' didn't mean meditate. In 1973 he told Melody Maker the title was about "mind control. What they do to you. The establishment, the media... it's a game they're playing with your head". Years later in Playboy he doubled down: "the mind games that are played on us daily". Reducing that concept to "sleep music" erases the political edge from the song.
John Lennon didn't make music to meditate to. He made protest songs, love songs, anger songs. Reducing Mind Games to "spa background noise" goes against everything he stood for: that music should shake you, not lull you to sleep. (3)
Sean plays instruments on those mixes. The official website says that the mixes were enhanced with additional instrumentation from Sean Ono Lennon. He said: "'I have been using the Lumenate app for my own personal meditations,” and that “meditation is the ultimate mind game.”
Recording over them and selling it as 'John Lennon Meditation' is creating new work under someone else's name. It's an alteration and a disrespect.
The credits in English should finally read: 'John Lennon Featuring Sean Ono Lennon 2024'.
'She Came In Through The Bathroom Window': How Sean Rewrites History By Introducing Yoko To Mind Games 2024
Historically it is known that Yoko did not participate in Mind Games in 1973. John and Yoko were separated. Lennon recorded the album at Record Plant between July and August 1973. They shared musicians, but not the sessions or the production. However, Sean Ono Lennon was put in charge of preserving the official image of the Lennon-Ono couple. The image that everyone recognizes as indivisible between 1970 and 1972. Trying to bring Yoko into the 2024 deluxe box of Mind Games is historical revisionism. In fact, the breakup with Yoko is part of the story, and as for the album's content, the only thing linking her to the record is the cover photo, which shows John walking away from her. To deny this is to lie.
How is Yoko included in John Lennon's Mind Games Deluxe Box Set (2024)?
We know that the problems between John and Yoko began with the negative consequences of their involvement in politics in 1972. After Nixon’s election, Lennon realized he had been used; he took his frustration out on Yoko, and his public display of discontent came when, in front of his wife and other campaign members, he went into another room with a female activist to have sex and vent his frustration over the bitter defeat. Added to this was the uncomfortable situation resulting from Yoko’s attempts to get pregnant — which ended in miscarriages — and her inability to regain custody of her daughter Kyoko. Furthermore, John was struggling to remain in the U.S. and was under surveillance.
Given this bleak picture, it’s interesting to consider how Sean managed to maintain the pristine image that John and Yoko were always one.
One of the resources was provided by the fact that 'Mind Games' includes a song titled "You Are Here." And 'You Are Here' is precisely the name of an art exhibition by John and Yoko held in London in 1968. But the fact that John used a phrase from 1968 in a song recorded as recently as 1973 does not imply that Yoko was always present on 'Mind Games'. You can’t force the narrative of events using evidence like this to impose the idea that “John and Yoko were always together.”
In the booklet accompanying the 2024 deluxe edition of 'Mind Games', Sean’s liner notes state the following:
"This album was always about peace and love, the message my parents shared."
In the credits for "You Are Here," Sean adds:
"Inspired by John and Yoko’s 1968 exhibition."
To ensure that people would accept that Yoko Ono was deeply involved in the album 'Mind Games' — having inspired the song "You Are Here" — Sean Lennon released a new video in 2024 that featured images of John and Yoko from the 1968 exhibition 'You Are Here'
Another similar reference linking Yoko to 'Mind Games' in 2024 also comes from the original album itself. Track 6 is titled "Nutopian International Anthem." It consists of 3 seconds of silence to close out Side A of the 1973 vinyl. Undoubtedly a joke by John Lennon. This idea of the "Nutopian International Anthem" is linked to the joint announcement made by John Lennon and Yoko Ono in April 1973 regarding the birth of a utopian country called 'Nutopia' , whose anthem would be precisely the "Nutopian International Anthem." Undoubtedly, by April 1973, this was the kind of "happening" we had come to expect from John and Yoko, but neither the title of 'You Are Here' (from 1968) nor the idea of the "Nutopian International Anthem" places Yoko in the 'Mind Games' recording sessions.
The 'Mind Games (The Ultimate Collection)' Super Deluxe box set, released in July 2024, included additional items to link the original 1973 album to Yoko Ono:
The Yoko Ono Danger (1966)
This is a 13-inch cube-shaped acrylic art reproduction of Yoko Ono’s 1966 work, featuring engraved plaques and a certificate of authenticity, which contains the nine boxes that make up the collection set.
'John Lennon You Are Here' (1968)
A 12-inch circular reproduction on canvas of John Lennon’s 1968 artwork, with a certificate of authenticity.
Maps of John Lennon’s Liverpool and Yoko Ono’s Tokyo
Maps designed exclusively by artist Ed Fairburn, who specializes in maps and portraits. These exclusive fold-out maps of Liverpool (John) and Tokyo (Yoko), in a 46-inch square format, feature more than 700 points of interest, highlighted with ultraviolet ink, and each is described in detail in the accompanying booklets.
May Pang's credit omitted
May Pang has worked for the Lennons on recording and film projects since 1971. She served as co-producer on the albums 'Mind Games' and 'Walls and Bridges'. May coordinated sessions and musicians, and was in the studio every day while Yoko was not. In the credits for the 2024 box set, Yoko is listed for "You Are Here," but May Pang is not credited for producing the actual album. That erases the person who was actually there. This is clearly a matter of Lennon’s legacy policy, not history.
If this trend continues, it wouldn't be surprising if, in the expanded edition of the album 'Walls and Bridges' (1974) — which Sean Lennon, when asked on social media, has indicated might be released in 2027 — May Pang’s voice whispering 'John, John' on the song "Number 9 Dream" might be omitted or even replaced by Yoko’s, and her credit as co-producer might be removed.
The 'Treasure Hunt' in England and Japan
Sean Lennon organized the 'Mind Games Treasure Hunt' event in 2024. Clues were hidden, QR codes were used, and a 'treasure hunt' was held under the slogan 'Mind Games.' It was part of the promotion for the album’s reissue. The problem is that John used 'Mind Games' as a metaphor for what he experienced at the time — psychological manipulation, paranoia, and gaslighting by the CIA and the government. It was a critique. Turning it into a “fun family event to promote the deluxe box set” strips it of its political content. John didn’t want 'mind games' to be a game. He wanted people to identify those who manipulate the system and fight against them. (4)
Sean Lennon is selling 'John+Yoko' as a brand, not as a story. And for the brand to work, he has to erase the 'Lost Weekend' at all costs, make May Pang disappear, and put Yoko where she wasn’t.
Whoever buys the box set wants "the original work as it was in 1973," not the family’s 2024 version.
TURNING ‘SOME TIME IN NEW YORK CITY’ INTO 'POWER TO THE PEOPLE'
Prior to the release of the expanded edition of 'Mind Games Deluxe Edition' in 2024, it made sense to reissue 'Some Time In New York City', the original 1972 double album by John Lennon and Yoko Ono that sparked so much controversy at the time of its release, both for its cover art and the themes of its songs. The album was finally released in 2025, but with some drastic changes.
Originally, there was an attempt to release an expanded reissue of the 1972 album in 2022 to celebrate the album’s 50th anniversary. There was even an official website and several social media posts teasing the arrival of 'Some Time in New York City: The Ultimate Mixes.'
The album was supposed to be released in mid-2022, but nothing happened, and the website mysteriously disappeared. The project was put on hold without explanation. From late 2022 through 2023, Universal Music remained silent about the fate of the release. On social media, fans speculated that the project had been delayed or canceled due to the political content and controversies surrounding certain songs on the album.
On Wednesday, August 21, 2024, Sean Lennon used his official account on the social media platform X (formerly Twitter) to respond to questions and comments from several followers about the future of reissues from his father's catalog. There, he addressed the fate of the album. He explained the decisions that had been made and the approach that would be taken, given the content and historical reception of the original 1972 album. This social media teaser later materialized with the official release of the Power To The People box set on October 10, 2025.
Removing the Controversial Elements of the Album
The original cover design caused enormous censorship problems and commercial headaches both at its original release in 1972 and during the planning of its current reissue. The sleeve was designed in the style of a newspaper front page—similar to that of the 'New York Times'—and featured several controversial visual elements. The most problematic element showed a montage of U.S. President Richard Nixon dancing completely naked alongside Chinese Communist leader Mao.
Another controversial illustration designed by the Japanese artist Toshio Saeki depicted a demon stabbing a half-naked woman, which at the time sparked complaints about violent content.
In reality, the album cover was a newspaper-style exposé of events taking place in 1972: violence in New York, the situation in prisons and political prisoners, the Irish conflict, discrimination against women, and so on.
However, the biggest stumbling block was the title of the album’s most iconic song, "Woman Is the Nigger of the World." The word "nigger" in English is considered one of the most serious racial slurs and is highly offensive. By today’s standards, it is unacceptable, although in 1972 its use was explained and was even accepted by the feminist movement.
Power To The People
The solution Sean Lennon and his advisors came up with was to create a new project called 'Power To The People,' building on the 'One To One' concerts held by John and Yoko at Madison Square Garden in New York City on August 30, 1972. (5)
As a new project was planned, a different cover was designed for both the single- and double-album editions, as well as the corresponding deluxe box set. This resolved the issue with the original cover.
What Sean did to get around the problem with "Woman Is The Nigger Of The World" was to completely overhaul 'Some Time In New York City'. The album was remixed, condensed, and renamed simply 'New York City' (Ultimate Mixes) as part of the bonus material section of the 'Power To The People' super deluxe box set.
By employing this solution, on the one hand, they avoided having to display an exact replica of the controversial cover art in store windows and on current streaming platforms; and on the other hand, by creating a new album based on John and Yoko’s original 1972 studio recording, they were able to avoid the controversy surrounding "Woman Is The Nigger Of The World."
At the end of the reordered track listing on Disc 4 of the super deluxe edition of 'Power To The People', titled 'New York City', the following message was included:
"This is the complete track listing. There are no hidden tracks."
The clarification is interpreted as, "If you're looking for 'Woman Is The Nigger Of The World' it's not here."
There were other options for releasing 'Some Time In New York City' exactly as it came out in 1972, without making any modifications — or at least with only minimal changes. One such possibility was to add the controversial song at the end as a hidden track or one not listed on the album cover. Another alternative was to release the album separately, unchanged, as a limited edition exclusive for RSD (Record Store Day).
Further alterations to the original work
Omitting "Woman Is The Nigger Of The World" is not the only change from the original studio album on Disc 4 of the Super Deluxe edition. As for the track listing of this new 'New York City', only "New York City" has been added at the beginning in place of the omitted song, and the rest of the tracks follow the same order as they did on the original album.
However, Sean has also reworked two songs ("John Sinclair" and "Sunday Bloody Sunday") by releasing two extended versions. All of these tracks are presented as "Ultimate Mixes." A 2025 mix of these songs should not include any changes to their original concept without the creator's authorization.
As we know, 'Some Time In New York City' was a double album consisting of a studio disc and a live disc. Disc 7 (Live Jam 1) of the Super Deluxe box set includes the material from the live album. Therefore, the original 1972 album has not been presented as a single unit. The second live disc is mixed in with the discs dedicated to 'The Evolution Documentary' (Disc 5) and 'Studio Jam' (Disc 6) in the box set (6)
Audio recordings of John and Yoko’s TV appearances from that era, as well as home recordings, round out the last two discs of this 9-disc collection.
Final Thoughts on the Increasing Changes to John’s Musical Work
The official reason given for omitting a John Lennon song from what was initially intended to be the 50th-anniversary reissue of the album was "due to concerns regarding the content." The phrase 'Woman Is The Nigger Of The World' was first uttered by Yoko, and John defended it as a statement of feminist activism. Censoring it five decades later goes against the spirit of the song.
"Sisters O Sisters" was one of Yoko’s songs — her most rock-oriented track. Removing it from the live albums in the box set and from the concert film shown in theaters undermines its prominence. If "Woman Is The Nigger Of The World" was the problem, was it strictly necessary for the B-side of the single to be performed live by Yoko (even though it’s preserved in its 'ultimate' version)?
John and Yoko knew that "Woman Is The Nigger Of The World" was a controversial phrase. It was deliberately provocative. It was activism. If you censor it today out of "current sensibilities," you’re telling the John of 1973 that he didn’t understand the world. And he did understand it. That’s why he wrote it.
Sean serves as the curator of his father’s legacy. His intention is to "modernize" and "protect" his work. But what he’s doing in these cases is "altering" it.
The "Ultimate Mixes" may exist, but they shouldn’t replace the originals. In the end, they turn out to be "alternate versions," not "the definitive versions." The goal is to present the album to current generations using technological advancements, not to alter it for any reason.
Technology should be used to remaster (clean up the tape, increase the dynamic range, and remove noise), create Atmos/5.1 mixes (place the listener in the center of the Record Plant), and present demos/outtakes (show the creative process without altering the final version)
John’s spirit was radical, unsettling, and unfiltered. "One Day (At A Time)" without the saxophone and 'Power To The People' without "Woman Is The Nigger of the World" is John with a filter. And John hated filters.
Final Conclusions
As we've seen in the realm of art, Yoko transformed a complementary aspect of John’s work — his drawings for his stories or for teaching little Sean about the world — into altered works for exhibition in galleries and profit generation. She stripped John’s original sketches of their essence and distinctive characteristics. Sean wasn’t far behind. In 2024, she removed the saxophone from a John Lennon song, and the following year, it wasn’t just an instrument that was discarded, but an entire song. She stripped it of its social critique. This was done under the pretext of modernization. In both cases, the result is the same: a John Lennon who no longer offends anyone today.
ADDITIONAL INFORMATION
(1) In 1981, Yoko fired Fred Seaman, the Lennons' personal assistant, for misusing her accounts to cover unauthorized expenses and for taking John Lennon's clothing and personal items. Two years later, in 1983, following a lawsuit filed by Ono against Seaman, the former personal assistant pleaded guilty to second-degree theft and received a five-year suspended sentence. He was ordered to return the stolen property. Among the items stolen, as revealed by Yoko, were John’s personal diaries and family photos and videos. It is believed that Seaman’s possession also included music tapes.
“Grow Old With Me” resurfaced among the songs Yoko gave to Paul and George for The Beatles Anthology (1995–1996), and for the John Lennon Anthology in 1998, another version of the song was submitted to George Martin for production and was ultimately included in the set.
It is unclear whether that material was recovered from Seaman or through a thorough search of the Lennons’ belongings conducted in subsequent years. Yoko Ono has always had to deal with theft of her belongings by former employees. One need only recall that John Lennon’s diaries, written between 1975 and 1980, were stolen again from the Dakota after being returned by Seaman and were recovered in November 2017 in Berlin. Apparently, they were stolen along with a total of 100 other items by a former Turkish driver of Yoko’s named Koral Karsan in 2006.
(2) The drawings affected by these changes made by Yoko not only came from John Lennon’s two books from the 1960s, 'In His Own Write' and 'A Spaniard In The Works', but also included material that would later be published posthumously as 'Skywriting By Word Of Mouth' (1986).
Reports from The Times (UK) in 1990–1991 and Art & Auction Magazine regarding the launch of 'The Art of John Lennon' indicated that each lithograph sold for between $1,500 and $15,000. The catalog stated "limited edition of 250."
The commercialization of these altered drawings began in 1986 and became more widespread starting in the 1990s.
(3) John wrote “Mind Games” inspired by the book 'Mind Games: The Guide to Inner Space' by Robert Masters and Jean Houston, but he used it to talk about political manipulation. It stemmed from the FBI, Nixon, and the deportation process. For him, it wasn’t about meditation. It was about resistance.
(4) According to the lyrics of John Lennon’s song, "mind games" implied "a guerrilla war," "mental guerrilla warfare," or "conceptual guerrilla warfare." His intention was to "lift the veil." He expressed this in interviews. The most notable was the one he gave to Tony Prince of Radio Luxembourg in 1973.
(5) In February 1986, Yoko Ono released John Lennon’s album 'Live In New York City', which included 11 songs from the One To One concerts performed exclusively by John. There were no songs by her. The album was produced by Yoko and mixed by Rob Stevens. Phil Spector supervised the original 1972 mix. This album included material performed mostly during the afternoon concert. This version features "Woman Is the Nigger of the World"
(6) The second disc of 'Some Time In New York City', titled 'Live Jam', includes a concert recorded on December 15, 1969, at the London Lyceum, billed as 'John & Yoko/Plastic Ono Band & A Cast Of 1000's,' featuring John Lennon, Yoko Ono, Keith Moon, Alan White, Jim Gordon, George Harrison, Eric Clapton, Billy Preston, Nicky Hopkins, Bobby Keys, Delaney, Bonnie & Friends. They perform }
"Cold Turkey" and "Don't Worry Kyoko"
In addition, the album includes a concert recorded on June 5, 1971, at the Fillmore East in New York with Frank Zappa and The Mothers of Invention. The songs performed are "Well (Baby Please Don't Go)," "Jamrag," "Scumbag," and "Au"
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