Godlike Productions - Discussion Forum
Users Online Now: 1,796 (Who's On?)Visitors Today: 761,297
Pageviews Today: 1,637,952Threads Today: 788Posts Today: 14,185
09:11 PM


Back to Forum
Back to Forum
Back to Thread
Back to Thread
REPLY TO THREAD
Subject ‘Neutralizing’ John Lennon: One Man Against the ‘Monster
User Name
 
 
Font color:  Font:








In accordance with industry accepted best practices we ask that users limit their copy / paste of copyrighted material to the relevant portions of the article you wish to discuss and no more than 50% of the source material, provide a link back to the original article and provide your original comments / criticism in your post with the article.
Original Message ‘Neutralizing’ John Lennon: One Man Against the ‘Monster

By John W. Whitehead

“You gotta remember, establishment, it’s just a name for evil. The monster doesn’t care whether it kills all the students or whether there’s a revolution. It’s not thinking logically, it’s out of control.”—John Lennon (1969)

John Lennon, born 75 years ago on October 9, 1940, was a musical genius and pop cultural icon.

He was also a vocal peace protester and anti-war activist and a high-profile example of the lengths to which the U.S. government will go to persecute those who dare to challenge its authority.

Long before Chelsea Manning and Edward Snowden were being castigated for blowing the whistle on the government’s war crimes and the National Security Agency’s abuse of its surveillance powers, it was Lennon who was being singled out for daring to speak truth to power about the government’s warmongering, his phone calls monitored and data files collected on his activities and associations.

For a little while, at least, Lennon became enemy number one in the eyes of the U.S. government.

Years after Lennon’s assassination it would be revealed that the FBI had collected 281 pages of files on him, including song lyrics, a letter from J. Edgar Hoover directing the agency to spy on the musician, and various written orders calling on government agents to set the stage to set Lennon up for a drug bust. As reporter Jonathan Curiel observes, “The FBI’s files on Lennon … read like the writings of a paranoid goody-two-shoes.”

As the New York Times notes, “Critics of today’s domestic surveillance object largely on privacy grounds. They have focused far less on how easily government surveillance can become an instrument for the people in power to try to hold on to power. ‘The U.S. vs. John Lennon’ … is the story not only of one man being harassed, but of a democracy being undermined.”

Indeed, as I point out in my book Battlefield America: The War on the American People, all of the many complaints we have about government today—surveillance, militarism, corruption, harassment, SWAT team raids, political persecution, spying, overcriminalization, etc.—were present in Lennon’s day and formed the basis of his call for social justice, peace and a populist revolution.

For all of these reasons, the U.S. government was obsessed with Lennon, who had learned early on that rock music could serve a political end by proclaiming a radical message. More importantly, Lennon saw that his music could mobilize the public and help to bring about change. Lennon believed in the power of the people. Unfortunately, as Lennon recognized: “The trouble with government as it is, is that it doesn’t represent the people. It controls them.”

However, as Martin Lewis writing for Time notes: “John Lennon was not God. But he earned the love and admiration of his generation by creating a huge body of work that inspired and led. The appreciation for him deepened because he then instinctively decided to use his celebrity as a bully pulpit for causes greater than his own enrichment or self-aggrandizement.”

For instance, in December 1971 at a concert in Ann Arbor, Mich., Lennon took to the stage and in his usual confrontational style belted out “John Sinclair,” a song he had written about a man sentenced to 10 years in prison for possessing two marijuana cigarettes. Within days of Lennon’s call for action, the Michigan Supreme Court ordered Sinclair released.

What Lennon did not know at the time was that government officials had been keeping strict tabs on the ex-Beatle they referred to as “Mr. Lennon.” FBI agents were in the audience at the Ann Arbor concert, “taking notes on everything from the attendance (15,000) to the artistic merits of his new song.”

The U.S. government was spying on Lennon.

By March 1971, when his “Power to the People” single was released, it was clear where Lennon stood. Having moved to New York City that same year, Lennon was ready to participate in political activism against the U. S. government, the “monster” that was financing the war in Vietnam.

The release of Lennon’s Sometime in New York City album, which contained a radical anti-government message in virtually every song and depicted President Richard Nixon and Chinese Chairman Mao Tse-tung dancing together nude on the cover, only fanned the flames of the conflict to come.

The official U.S. war against Lennon began in earnest in 1972 after rumors surfaced that Lennon planned to embark on a U.S. concert tour that would combine rock music with antiwar organizing and voter registration. Nixon, fearing Lennon’s influence on about 11 million new voters (1972 was the first year that 18-year-olds could vote), had the ex-Beatle served with deportation orders “in an effort to silence him as a voice of the peace movement.”

Then again, the FBI has had a long history of persecuting, prosecuting and generally harassing activists, politicians, and cultural figures, most notably among the latter such celebrated names as folk singer Pete Seeger, painter Pablo Picasso, comic actor and filmmaker Charlie Chaplin, comedian Lenny Bruce and poet Allen Ginsberg.

Read more here:
[link to www.informationclearinghouse.info]
Pictures (click to insert)
5ahidingiamwithranttomatowtf
bsflagIdol1hfbumpyodayeahsure
banana2burnitafros226rockonredface
pigchefabductwhateverpeacecool2tounge
 | Next Page >>





GLP