The widescreen version as seen in theaters — see what you’re missing that’s being cut off the sides of the other versions on YouTube!
– “Dig A Pony” (Lennon/McCartney)
– “Get Back” (Lennon/McCartney)
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The widescreen version as seen in theaters — see what you’re missing that’s being cut off the sides of the other versions on YouTube!
– “I’ve Got A Feeling” (Lennon/McCartney)
– “One After 909” (Lennon/McCartney)
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The widescreen version shown in theaters — see what you’re missing that’s being cut off the sides of the other versions on YouTube!
– “Get Back” (Lennon/McCartney)
– “Don’t Let Me Down” (Lennon/McCartney)
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The widescreen version as seen in theaters — see what you’re missing that’s being cut off the sides of the other versions on YouTube!
– “Two Of Us” (con’t) (Lennon/McCartney)
– “Let It Be” (Lennon/McCartney)
– “The Long And Winding Road” (Lennon/McCartney)
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The widescreen version as seen in theaters — see what you’re missing that’s being cut off the sides of the other versions on YouTube!
– “Kansas City” (Leiber/Stoller)
– “Lawdy Miss Clawdy” (Price)
– “Dig It” (Lennon/McCartney)
– “Two Of Us” (Lennon/McCartney)
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The widescreen version as seen in theaters — see what you’re missing that’s being cut off the sides of the other versions on YouTube!
– “Octopus’s Garden” (Starkey)
– “You’ve Really Got A Hold On Me” (Robinson)
– “The Long And Winding Road” (Lennon/McCartney)
– “Shake, Rattle And Roll” (Calhoun)
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The widescreen version as seen in theaters — see what you’re missing that’s being cut off the sides of the other versions on YouTube!
– “Suzy Parker” (Lennon/McCartney/Harrison/Starkey)
– “I Me Mine” (Harrison)
– “For You Blue” (Harrison)
– “Bésame Mucho” (Velázquez/Skylar)
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The widescreen version as seen in theaters — see what you’re missing that’s being cut off the sides of the other versions on YouTube!
– “I’ve Got A Feeling” (Lennon/McCartney)
– “Oh!
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The widescreen version as seen in theaters — see what you’re missing that’s being cut off the sides of the other versions on YouTube! (Note: the sides were not cut off during the credits.)
– “Adagio For Strings” (Barber)
– “Don’t Let Me Down” (Lennon/McCartney)
– “Maxwell’s Silver Hammer” (Lennon/McCartney)
– “Two Of Us” (Lennon/McCartney)
– “I’ve Got A Feeling” (Lennon/McCartney)
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-By Ed Zerati
-http://www.zerati.com
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don´t let me down
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Do what thou wilt shall be the whole of the Law.
Love is the law, love under will.
Every man and every woman is a star.
The Inmost is one with the Inmost; yet the form of the One is not the form of the other; intimacy exacts fitness. He therefore who liveth by air, let him not be bold to breathe water. But mastery cometh by measure: to him who with labour, courage, and caution giveth his life to understand all that doth encompass him, and to prevail against it, shall be increase. “The word of Sin is Restriction”: seek therefore Righteousness, enquiring into Iniquity, and fortify thyself to overcome it.
I believe in one Gnostic and Catholic Church of Light, Life, Love and Liberty, the Word of whose Law is THELEMA.
The Many is as adorable to the One as the One is to the Many.
This is the Love of These; creation-parturition is the Bliss of the One; coition-dissolution is the Bliss of the Many.
The All, thus interwoven of These, is Bliss.
Naught is beyond Bliss.
I admit that my visions can never mean to other men as much as they do to me. I do not regret this. All I ask is that my results should convince seekers after truth that there is beyond doubt something worth while seeking, attainable by methods more or less like mine. I do not want to father a flock, to be the fetish of fools and fanatics, or the founder of a faith whose followers are content to echo my opinions. I want each man to cut his own way through the jungle.
– Aleister Crowley
Crowley is, admittedly, a complicated case. One can hardly blame people for feeling hatred and fear toward Crowley when Crowley himself so often exulted in provoking just such emotions. Indeed he tended to view those emotions as inevitable, given what he regarded as the revolutionary nature and power of his teachings and the prevailing hypocrisy of society … Revile Christianity (but not Christ, mind you) as he might, seek its downfall as he did, Crowley desired nothing less than a full-fledged successor religion — complete with a guiding Logos that would endure for millenia, as had the teachings of Jesus. “Thelema” was the Logos Crowley proclaimed, Greek for “Will.” “Do what thou wilt shall be the whole of the law” was its central credo. Let us concede that this credo — so redolent, seemingly, of license and arnarchy, dark deeds and darker dreams — terrifies on first impact, as does Crowley the man. … Say what you will of Crowley, judge his failings as you will, there remains a man as protean, brilliant, courageous, flabbergasting, as ever you could imagine. There endure achievements that no reasoned account of his life may ignore…
– Lawrence Sutin in Do What Thou Wilt : A Life of Aleister Crowley (2000) Introduction
You say you want a revolution
Well, you know
We all want to change the world.
Tou tell me that its evolution,
Well, you know
We all want to change the world.
But when you talk about destruction,
Dont you know that you can count me out.
Dont you know its going to be alright,
Alright, alright.
You say you got a real solution
Well, you know
Wed all love to see the plan.
You ask me for a contribution,
Well, you know
Were doing what we can.
Ut if you want money for people with minds that hate,
All I can tell you
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October 10, 2010 |
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In 1972, John Lennon had a problem.
He and his wife, Yoko Ono, had been living in New York for a year, and they wanted to stay. But it happened also to be the year President Nixon was running for reelection. Opposition to the Vietnam War had reached a peak, and Lennon and Ono often showed up at antiwar rallies to sing “Give Peace a Chance” — and to tell their fans that the best way to give peace a chance was to vote against Nixon.
The Nixon White House responded by ordering Lennon deported.
The administration said Lennon had been admitted to the country improperly. He had pleaded guilty to a misdemeanor charge of cannabis possession in London in 1968, and immigration law at the time banned the admission of anyone convicted of any drug offense.
But unlike most migrants who have problems with their legal status, Lennon and Ono had powerful friends who petitioned the Immigration and Naturalization Service on their behalf.
In honor of what would have been Lennon’s 70th birthday this month, I pulled a box from my garage containing documents I obtained through a Freedom of Information Act request about Lennon’s deportation case. The government’s response included copies of hundreds of letters sent to the INS, and they revealed the different and fascinating ways artists, writers and others tried to make the case that Lennon, a rock musician and an antiwar activist, should not be kicked out of the country.
The letters were not a spontaneous expression of enthusiasm. Rather, they were part of an organized campaign of the country’s cultural elite to stop the Nixon administration from deporting the ex-Beatle. Joan Baez wrote a letter; Beat poet Gregory Corso wrote one. So did novelists John Updike and Joyce Carol Oates, painter Jasper Johns and composer John Cage, Leonard Bernstein of “West Side Story” and Joseph Heller of “Catch-22.”
Bob Dylan‘s offering, written sometime in 1972, was in his own bold hand. “John and Yoko inspire and transcend and stimulate,” he wrote, and thereby “help put an end to this mild dull taste of petty commercialism which is being passed off as artist art by the overpowering mass media.” Then he added, “Let John and Yoko stay!”
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